April, 3, 2014. Issue No. 7April 2 - 11 - the Bolshoi Theatre Orchestra tour in Germany, Switzerland and Austria "The Enchantress" Debuts April 2 - Stanislav Mostovoy made his debut in the role of Lukash, a merchant guest April 3 - Oleg Dolgov makes his debut in the role of Prince Yuri, Angelina Nikitchenko - in the role of Nastasya April 6 - Boris Rudak will make his debut in the role of Prince Yuri April 9 - the first large scale exhibition, dedicated to the outstanding theatre designer Fyodor Fyodorovskiy, opens at the Tretyakov Gallery on Krymsky ValMarcia Haydée: "We are the people that bring new energy to the Bolshoi after the renovation!" In the picture: at the Bolshoi Theatre in the part of Katerina in the ballet "Taming of the Shrew" during the Stuttgart Ballet 1985 tour. Photo: RIA Novosti, Alexander Makarov The Bolshoi Theatre Symphony Orchestra European tour opened on April 2 with a concert at the Berliner PhilharmonieMass media about the TheatreNewsletter to take charge of the company. Glen was a good friend of John's; Glen's productions were great successes in Stuttgart. We spent a night in his kitchen, trying to convince him. Finally, in the morning, as we were having breakfast, he said: "OK, fine, I will sign the contract". Tetley worked with us for two years. Those were a tough two years. It was like this: his work contradicted Cranko's style, so wherever Glen appeared, John disappeared. Neither the audience, nor the artists accepted Tetley. At some point he said: "Marcia, I am sorry, but I have to leave". I had to take responsibility for the company, because there was no one else to do it. Back then I told myself: "I will take charge of it now, but I will be looking for someone, who can take this position, and continue to dance". It happened so that I was in charge of the Stuttgart Ballet company for 20 years. The company was happy, because they knew: if I was in charge, Cranko's heritage would be preserved. I tried to act like Cranko. He was not only a wonderful choreographer, but also a wonderful director. John gave us, the artists, freedom; he allowed us to be ourselves. For example, he choreographed the part of Juliette for me, but when Birgit Keil danced the same part, he did not ask her to copy me and to move the same way I did. I tried to behave like John. I would have "Hamlet" did not have a lot of success in New York. I told John: "Come to Stuttgart and stage "Hamlet" the way you want. I will give you as much time as you need". One day there was a rehearsal of "Hamlet", and then I had another rehearsal, so I suggested to him to have a snack. We came to a Turkish restaurant. I had no make- up and I was totally exhausted. He looked at me and the next second his look changed. He said: "We are not doing "Cleopatra"; we are doing "Lady of the Camellias". In the last scene I want you to look just like you do now. You have to remove the make-up and come onstage like this". This is how "Lady of the Camellias" started. - This is how the part of Marguerite appeared; today all prima ballerinas in the world dream of dancing it. - Yes, this really is an incredible role. I do not know, how many times I danced in this ballet, but I was never tired of performing in "Lady of the Camellias". - How similar is Neumeier's working style to that of Cranko? - They are totally different. Neumeier came to the rehearsal and knew beforehand what we were going to do. The music started and he showed the movements. Neumeier moves in an absolutely breathtaking way. I watched and remembered, and he would make me repeat every move precisely. He knew the smallest detail. When we filmed "Lady of the Camellias", we once spent the whole day working on my solo. He made me do the same thing 12-13 times; first he would make me wear my shoes, then dance barefoot, then put the shoes on again. I pleaded: "John!" He gave me a look I would never forget and said: "Marcia, I want future young dancers to be able to watch the video of "Lady of the Camellias" and see what you are like and how you dance. I want you to show yourself perfectly". I still remember his word. So simple, Marcia - You had been the director of the Stuttgart Ballet for 20 years and then you left for Ballet de Santiago. Why? - I made this decision when I felt that I got tired of being the Stuttgart Ballet director. I realized that our company needed to move in a new direction. I could not change myself and I was not ready to lead the company in this new direction. I remember, we were watching "King Edward" once together with Reid Anderson and I told him that I did not feel secure in the position of the director. Reid answered: "Marcia, if you do not feel happy, stop working". At that point I met a person who later became my husband. He was the one who helped me wrap up this story with being the director. Leaving the Stuttgart Ballet was the most important decision I made in my entire life. The Stuttgart Ballet is my whole life; it is who I am. For a long time after I had left I felt like I was cut in two halves. - However, in your recent interviews you said that ballet did not occupy the first place in your life and that you had many other interests. But you are still onstage and still dance in ballet productions. - Dance, theatre and the Stuttgart Ballet will remain the main parts of my life till my last day, till the day I die. When I simply say this word - Stuu-ut-gart - something is happening with me. Because I am who I am thanks to this city and the ballet company. But I have a husband. He is the center of my universe. If I am in Chile and he says he wants to go to China, I will leave everything and go with him. He knows it. Back then, when I had a difficult time, he told me: "Marcia, you are a part of the dance and of the theatre, and you will never be able to break all connections with it". But after the wedding I did not go to the theatre for two years; I did not watch any performances either. Together with my husband I started learning how to live a simple life. I ate and drank everything I wanted, I learned to ride a motorcycle, we went to India and climbed a mountain that was 4000 meters tall. I would do anything but ballet. At some point I will write a book "Two years without ballet". I was thrilled with everything; everything seemed unusual to me. Having a glass of wine at a bar was doing something new. When I danced, I focused only on dancing. But two years later Reid Anderson called me and said: "Marcia, we are doing "La Sylphide", and I want you to be Madge. You do not have to dance anything, you just need to act. Come!" So I thought: "Well, this is very interesting… why not?" So it started all over again. Even nowadays when I am walking down the street in Stuttgart, people recognize me. Thanks to Reid Anderson. Or take this tour at the Bolshoi. Reid invited me on tour to Moscow. Reid understands how important it is to come on the Bolshoi Theatre's stage again - not only for the Stuttgart Ballet, but for me as well. The new Bolshoi Theatre's stage. There is a difference. Back then, when I danced here in "Taming of the Shrew" together with Richard Cragun, I was overwhelmed with emotions, because I understood how many great artists had danced on this stage and in these rehearsal rooms. Everything was ancient and I felt that all the great Russian dancers were here. This time something very special is happening; we are April, 32014The People's Artist of Azerbaijan Omar Eldarov, the chief conductor of the State Choir Cappella of Armenia Oganes Cheridzhyan and a People's Artist of the USSR, who is also the head of two theatres (Moscow Art Theatre and his own theatre (the Tabakerka) Oleg Tabakov became laureates in the area of culture and art. Alexander Karlyukevich and Alexander Badak, the director and the deputy director of the Publishing House "Zvezda" (Belarus) respectively, together with Bibigul Tulegenova, an opera singer and a People's Artist of the USSR and Kazakhstan, and Yuristanbek Shygaev, a People's Artist of Kirgizia and an academician of the Kazakh and the Russian Academies of Arts became laureates in the area of humanitarian activity. The laureates are awarded with diplomas, badges of honor and certificates. The monetary prize equals 2 mln rubles (approx. $57,000). Iksanov concluded: "Very soon new the Stars of the Commonwealth will shine at the Bolshoi Theatre". He also added that he would visit his native Bolshoi Theatre with pleasure. He admitted: "Nowadays the scope of my activities is much larger, but my whole life has been connected with theatre art, so I do miss the theatre". Five questions for Ruslan Skvortsov The Bolshoi Theatre's premier dancer "fills in" our questionnaire - If not this job, which one then? - It is difficult to say; perhaps, it would have been something creative. Or I might have become a professional hockey player. A year before I entered the Academy of Choreography I had started going in for hockey, and it had been quite serious. I had got bored with ballet by that time and so I started doing sport. But the pedagogue I Newsletter the people that bring new energy to the Bolshoi after the renovation. People will talk about us and say: do you remember those artists who danced at the Bolshoi, do you remember Marcia and the Stuttgart Ballet coming here? Do you know what I mean? We are creating the new tradition here now. For reference Marcia Haydée was born in Brazil. She began her professional ballet education in V. Velchek's studio in Rio de Janeiro and then in English Royal Ballet school. Since 1953 she worked in Theatre Municipal in Rio de Janeiro and in 1957-1961 - in Grand Ballet du Marquis de Quevas. In 1961 John Cranko, who had just taken the directorship of the Stuttgart Ballet, invited Marcia to his company as a principal dancer. In the next year she became prima ballerina. During the next years she was the choreographer's muse, having inspired him for the creation of many remarkable ballets such as "Romeo and Juliet", "Onegin", "Taming of the Shrew", "Firebird". She worked with many famous choreographers, such as K. MacMillan ("A Song of Earth", "Requiem"), M. Bejart ("Divine", Wien nur du allein y Die Stuhle (Las sillas), John Neumeier ("Lady of the April, 32014Newsletter For reference Ruslan Skvortsov was born in Yelets (Lipetsk Oblast'). Graduated from the Moscow State Academy of Choreogrpahy in 1998 (class of Vyacheslav Mikhailov) and joined the Bolshoi Theatre company. In 2000 was awarded the 3 prize at the International Ballet Competition in Moscow. His current pedagogue is Nikolai Fadeyechev. Ruslan Skvortsov, the premier of the Bolshoi Theatre Ballet, performs the role of Des Grieux in the ballet "Lady of the Camellias", which was staged at the Bolshoi Theatre with the support of VTB Bank. The Bolshoi Theatre orchestra is to tour Germany, Austria and Switzerland. We published information about it on the Bolshoi Theatre official pages in the social networks The Bolshoi Theatre Symphony Orchestra is to tour Germany, Austria and Switzerland, giving performances in 9 cities. The concerts will take place at such prestigious venues as the Berliner and Kölner Philharmonies, the Munich Philharmonie im Gasteig, the Lucerne and Rozenheim Culture and Congress Centres, the Stuttgart Liederhalle Culture and Congress Centre and others. Making his debut with the Bolshoi Symphony Orchestra will be Mischa Maisky, the world famous cellist, pupil of Mstislav Rostropovich and Grigory Pyatigorsky. Conducting will be the young, but already well-known, Alan Buribayev, Musical Director of the RTE National Symphony Orchestra in Dublin and Chief Conductor of the Brabants Orchestra in the Netherlands, who works on a regular basis with the Bolshoi Theatre. Buribayev made his debut with the Bolshoi Symphony Orchestra on its 2011 UK tour, after which he was invited to conduct Love for the Three Oranges and Eugene Onegin at the Bolshoi. The concert programmes will include the following, among other, works: Respighi's Adagio with variations for cello and orchestra, Saint-SaГ«ns' Concerto No. 1 for cello and orchestra, Tchaikovsky's Symphony No. 3, and also DvoЕ™ák's Carnaval Overture, Concerto for cello and orchestra and his Symphony No. 6. The Berliner Philharmonie BERLIN Berliner Philharmonie 2 April, 20:00 Ottorino Respighi Adagio con variazioni for cello and orchestra Camille Saint-SaГ«ns Cello Concerto No. 1 in A minor, Op. 33 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 LUCERNE Kultur- und KongresszentrumBolshoi Theatre in the Internet3 April, 19:30 AntonГn DvoЕ™ák Carnival Overture, Op. 92 Cello Concerto in B minor, Op. 104 Symphony No. 6 in D major, Op. 60 WIESBADEN Kurhaus Wiesbaden 5 April, 20:00 AntonГn DvoЕ™ák Symphony No. 6 in D major, Op. 60 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 COLOGNE Kölner Philharmonie 6 April, 20:00 AntonГn DvoЕ™ák Carnival Overture, Op. 92 AntonГn DvoЕ™ák Cello Concerto in B minor, Op. 104 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 ROSENHEIM Kultur- und Kongresszentrum 7 April, 20:00 AntonГn DvoЕ™ák Carnival Overture, Op. 92 AntonГn DvoЕ™ák Cello Concerto in B minor, Op. 104 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 STUTTGART Liederhalle 8 April, 20:00 AntonГn DvoЕ™ák Symphony No. 6 in D major, Op. 60 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 MUNICH Philharmonie am Gasteig 9 April, 20:00 AntonГn DvoЕ™ák Carnival Overture, Op. 92 Cello Concerto in B minor, Op. 104 Symphony No. 6 in D major, Op. 60 ST PГ–LTEN Festspielhaus St. Pölten April, 32014Newsletter Digest has been compiled by The Bolshoi Theatre Press Office Photos: Damir Yusupov and Mikhail Logvinov Design layout: Vladimir AndrusenkoAll materials used in the digest are the public domain of information agencies, mass media, civil society organizations and government 10 April, 19:30 Ottorino Respighi Adagio con variazioni for cello and orchestra Camille Saint-SaГ«ns Cello Concerto No. 1 in A minor, Op. 33 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 REGENSBURG Audimax der Universität Regensburg 11 April, 20:00 AntonГn DvoЕ™ák Carnival Overture, Op. 92 AntonГn DvoЕ™ák Cello Concerto in B minor, Op. 104 Pyotr Tchaikovsky Symphony No. 3 in D major, Op. 29 of articles published on April 1 2014 The Sarasota Herald Tribune reviews the Bolshoi Ballet's Marco Spada based on viewing it in the cinema. The reviewer says David Hallberg's role is impossibly difficult but that he manages to do everything very well. The other members of the cast also dance very well. But the reviewer says the plot is too complicated and reminds her of a Russian novel. Brescia Oggi (Italy) reports that Alenka Bratusek the Prime Minister of Slovenia visited Brescia where she attended the performance of Svetlana Zakharova, principal dancer of the Bolshoi and La Scala étoile, who has performed with great success at the Brescia Grand Theatre. Resmusica publishes a Q&A interview with violinist Vladimir Repin about the festival he founded in his home town of Novosibirsk. Frankfurther Rundschau reviews Rossinni's The Thieving Magpie at the Frankfurt Opera where mezzo soprano Alexandra Kadurina, trained in Moscow at the Bolshoi, had one of the leading roles. In briefYaroslavl mass media: The International Music Festival, directed by Maestro Yuri Bashmet, will take place in Yaroslavl from May 3 to May 11 2014 /…/ In 2014 the festival program is to star such famous musicians and collectives, as the Bolshoi Theatre's soloist Maxim Paster (tenor), the Camerata Salzburg chamber orchestra (Austria), a world-famous pianist from Finland Olli Mustonen, the percussion ensemble from Strasbourg (France) and many other renowned artists. Oleg Menshikov's Brass Orchestra will present the production "The Brass"; joined project with the academy "La Chapelle" (Belgium) will also take place during the festival. Kazan mass media: On April 3 ticket sales for The 26th international classic ballet festival named after Rudolf Nureyev start. The festival will be organized at the Tatar State Opera and Ballet Theatre named after Mussa Djalil from May 14 to May 28. The festival will open with the premiere of "Carmina Burana, or the Wheel of Fortune", the mystery in 2 parts to the music of the famous Cantata by Carl Orff. It looks like the production, choreographed by Alexander Polubentsev (Saint Petersburg), will become an important event of the cultural life in Kazan. Philosophical and careless texts of the vagrants of the Middle Ages will be interpreted by means of the modern plastique. Classical performances, starring the world famous ballet dancers, make up a considerable part of the festival program. For example, the outstanding ballerina Svetlana Zakharova (the Bolshoi Theatre) will perform the title role in the ballet "Giselle"; it will also be the first time that the Kazan audience will see the charismatic Sergei Polunin (Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre) in the part of Albrecht. |
Main Stage
1 Teatralnaya ploschad (1 Theatre Square), Moscow, Russia
New Stage
Bol'shaya Dmitrovka Street, 4/2, Moscow, Russia