October 3 - Ekaterina Mironova, the Honored cultural worker of Russia and the Bolshoi Theatre actors and extras ensemble manager, celebrated her birthday. W e wish her success in her creative career and all the best!

October 4 - a debut in the ballet "The Taming of the Shrew". Kristina Kretova made her debut in the part of Katharina (performance started at noon) Historic Stage - rehearsal day New Stage - rehearsal day "The Maid of Orleans" at the Bolshoi Vladimir Matorin, The Bolshoi Theatre soloist, took part in the massive on-line reading of the novel "Anna Karenina" by L. Tolstoy Jean-Christophe Maillot, the choreographer and Les Ballets de Monte Carlo artistic director, talks about his work and about himself at the Bolshoi Theatre Green Living Room: .youtube.com/watch?v=tzL Wm0qnU84&list=UUUimBc08CcsoCvP_WlYJl0Q Newsletter

Sokhiev directs this production about the heroine's restless soul without costumes or set; he reconstructs the Bolshoi's connection with its own traditions, which have been thoughtlessly destroyed: in 1990 the production of "The Maid of Orleans" was staged on the main stage (director - Boris Pokrovsky, conductor - Alexander Lazarev, set designer - Valery Levental). At that time the production team and Makvala Kasrashvili, who performed the title role, interpreted Tchaikovsky's opera as the Life of Joan's of Arc. Today Sokhiev interprets this opera as a romantic poem. Anna Smirnova as Joan T o say that the music director's brilliant debut was supported by all soloists would be a hardy assertion. Anna Smirnova's high mezzo-soprano was touching in lyric scenes, but not so brilliant in crowd scenes. Maxim Paster's tender voice lacked "silver threads": the part of Charles VII was written for a dramatic tenor, and this is what Oleg Dolgov, who performed this part on the premiere night, convinced the audience in. Andrei Gonyukov performed the part of Dunois without necessary expression; his bass voice is not fast enough to sing the line, which was written for dramatic baritone. Pyotr Migunov (Thibaut D'Arc) did not cope with the volume of the vocal image suggested by Sokhiev. Perhaps, Igor Golovatenko (Lionel) was the only one who had no faults in terms of timbre and singing culture. But all these drawbacks can be fixed, if the work continues and a full stage version of the production is created. This is something that definitely needs to be done, at least for Sokhiev and the musicians that follow him. The director Yuri Lyubimov was hospitalized in a critical condition Interfax was told by a medical source that the 97-year-old Yuri Lyubimov, the founder of Taganka Theatre, was hospitalized in a critical condition. According to the source, "Y uri P. L yubimov was admitted to a Moscow hospital on Thursday". The director was in critical condition.

Y. L yubimov was born on September 30 1917. He founded Taganka Theatre in 1964 and was its head for 20 years, until he was deprived of USSR citizenship in 1984. In 1989 Lyubimov became Taganka Theatre's director again. In June 2011, during guest performances in Czech Republic, Lyubimov and the theatre's company argued. The actors demanded Lyubimov pay them their fees for the guest performances. He gave them the money, said he did not want to work with them any longer and gave his notice to terminate. Lyubimov left the theatre on July

15 201 1. Later he started working with other theatres. The opera "Prince Igor", staged by Y. L yubimov, premiered at the Bolshoi Theatre in June 2013. Mass media about the Theatre Cherry orchard is coming The International Stanislavsky Foundation announced the names of the International Stanislavsky Award-2014 laureates and announced the program of the "Stanislavsky Season". /…/ The Bolshoi Theatre General Director Vladimir Urin received the Stanislavsky Award for his contribution to the development of Russian theatre. Mr. Urin has been the Bolshoi Theatre General Director since July 2013. Before he came to the Bolshoi, he worked at the Stanislavsky and Nemirovich-Danchenko Moscow academic Music Theater for twenty years. It was during Urin's "era" that world-class choreographers came to that theatre, the building was reconstructed and sometimes it seemed to the audience that "the second music theatre of Moscow" was the /…/
first one. "Requiem". The Moscow premiere of Boris Eifman's production The ballet "Requiem", choreographed by Boris Eifman, premiered at the Bolshoi Theatre New Stage during the International Chereshnevy Les Open-Art Festival. This one-act ballet, choreographed to the music of Mozart's "Requiem" in 1991, is a philosophical parable about the eternal mystery of the human life; several years later it was transformed into a full-length production. Another act, based on A. A kh m ato va 's poem "R equie m " and ch ore ogra phed to th e m usic of D. Shostakovish's Chamber Symphony "In Memory of Victims of Fascism and War", was added to the ballet. Boris Eifman: "Every time I reread the poem "Requiem", I am shocked with the uncontrollable pain that pulsates in Akhamtova's text. Again and again the images of "possessed years" fill my ears. Processions of those who were buried alive, freeze waiting in front of the prison gates forever. October, 6 2014 In Akhmatova's poem screams of thousands of unhappy mothers and wives echo the scream of a woman who faced dreadful hardships. This mourning symphony continues to play inside of me. But the heavenly eternity of existence, which the genius Mozart praised in his "Requiem", can be found in the course of life. When you listen to this piece, you feel eternity. All worries and fears disappear; you are filled with anticipation of some global mystery. Where do I come from? Why do I exist? What am I? You turn to your memory. There is so much evil, slander and violence in my memory… And there is also so much happiness and love! Suf ferings, desperation, hope - all of this is inside me, inside every one of us. The dirge is now combined with Mozart's hymn to life". Guest performances of the Eifman Ballet in Moscow coincided with the anniversary

of tragic events near Kiev that took place on September 29 1941. The International Chereshnevy Les Open-Art Festival dedicated the Moscow premiere of the ballet "Requiem" to the memory of Babi Yar victims. The State chamber orchestra "V irtuosos of Moscow", conducted by Vladimir Spivakov, and the Academic Choir "Masters of choir singing" took part in the performances as well. Sergei Filin: "I hope to regain my eyesight" Sergei Filin. Photo: RIA NOVOSTI Newsletter

As the new season opened at the Bolshoi Theatre, its famous artist told "AiF. Zdorovye/Health" how he was doing. The famous former dancer and the Bolshoi Ballet artistic director Sergei Filin today is famous not only for his achievements in ballet, but also for the "acid attack", when the ballet artist Pavel Dmitrichenko ordered to splash thugs to splash his face with sulfuric acid. The Bolshoi Ballet artistic director has undergone 30 surgeries and is undergoing treatment at the German clinic in Aachen. A cherished dream Olga Shamblinskaya, "AiF. Zdorovye/Health": Sergei, everyone knows this dramatic story: your face was splashed with sulfuric acid and you lost your eyesight. Do the doctors in the German clinic where you are undergoing treatment, give any optimistic prognosis? - The doctors all say the same thing; they all criticize me when they see me. I need to devote more time to the treatment. But I am trying not to abandon the ballet company. Of course, I am trying to do everything I can so that the doctors can do their job. I hope to regain my eyesight. - How has your life changed after the tragedy? - I personally have not changed at all. You know, I did not expect that there would be so many kind people around. At the airport many people let me go first, airport staff help me to go through the security as fast as possible and do everything so that I feel comfortable. Let alone the courage, the support and the spiritual power of my wife, my mother, my children and my relatives. Maria (Maria Prorvich, a ballerina, Sergei Filin's wife - editor's note) learned to give injections; she is by my side all the time. My sons Sasha and Seryozha have become my eyes; they help me cross the street, tell me where to slow down and where the stairs are. I mean, the father and the children have switched roles. All those years I had been strong and I had been taking care of them. T oday they are taking care of me. Of course, you understand: this story is about a psychological trauma which will remain for our whole lives. They even watch films and cartoons with a dif ferent attitude now. If there is a situation connected with the lost of sight, they discuss it in a very serious way. They always draw a parallel with the fact that the same thing happened to their Dad. But most importantly - we are trying to remain optimists. - Do you have a dream? - I hope that I will be able to play football with my boys. - Sergei, regardless of the fact that there were many surgeries and that you have not danced for a long time, you look like you continue going to a ballet class. - Because of the condition of my eyes, I cannot do any serious physical exercises. But I have to remain slim. When I am together with the ballet company and the artists that I usually worry about and am happy for, I absolutely have to look well (laughs). I am very proud of our company. There are few theatres today that have five-six casts for the same production. Of course, the ballet company artistic director cannot be fat (laughs). I guess, the general physical condition of my body plays role as well; all those years that I rehearsed for many hours every day. - The famous choreographer Yuri Grigorovich keeps saying: "Artist are children; to be more exact, they are sons of bitches". Today you are the artistic director, but you were the Bolshoi Ballet's principal for many years. I mean, you can look at this situation from both sides. Is it true that artists are not grateful? - I guess, if this is what Yuri Grigorovich says, he is right. Artists are always ungrateful. They have to be like this. October, 6 2014 Newsletter

- Do you mean that you were the same? - Y es, I do (laughs). - Didn't you change your attitude towards the artists after you became the artistic director? - Even now, since I have become a director, I will never be able to stop being an artist. Every time when I do any planning or make decisions about giving work to this or that artist, I try to put myself into his shoes and to understand how I would have reacted in this situation, how I would have felt and how I would have reacted to this or that decision of the management. I have had a lot of experiences; I mean, I started my career with corps de ballet and went all the way to the Bolshoi principal. So my attitude towards artists has not changed. The degree of my responsibility has changed, though. When I was an artist, I was always responsible only for myself. But then I became a director, and now I have to make decisions for the whole company. Naturally, sometimes it is very tough. - Sergei, ballet artists retire early, at the age of 38. Plus, they all have a dif ficult childhood; all ballet artists complain about it… I have a logical question: what is the point of pushing yourself so hard and suffering so much, if you finish your career so soon? - When children demonstrate a certain talent at an early age, for example, a talent for dancing, they do not think about early retirement. I remember myself at the time when I started studying at the Moscow Choreographic Institute. I had a very vague idea about my future, especially, the future when I would have to retire (smiles). Of course, we all thought that we would be young forever, that we would dance forever and continue working for 8-10 hours a day in order to achieve some results. I have spent a very bright, emotional, interesting and unforgettable 20 years as a ballet artist, and I can say: those were the best years, and I will remember those years for all of my life. So I would say that the majority of artists that think only about their job never ask themselves the question "what is the point?". When they retire, it is crucial that the people who are around, support them and let them know how important it is to develop, so later, when the dancing career is over, they can continue working and doing some other job. - Many of the Bolshoi's famous s artists are not very willing to leave the stage. Why did you leave when your career had reached a peak? - When I finished my dancing career, I was in very good shape; I did not refuse to dance in any productions I stared in, I mean, you could say that I could have continued to dance. But I made a decision to leave when my career reached a peak, not when I was asked to leave. Believe me, it was very hard to leave the stage… But the decision was grimly determined, so I did everything possible in order not to allow myself to resume dancing. This is why I could devote much time and effort to my managerial work at the Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theater. I was busy not with myself, but with the company. It gave a certain result; perhaps, even a better result than I would have got if I had continued spending time on myself only. So it is important to leave at the right time, because in this case you will do more good. It is also very important to share everything your teachers taught you with young artists. The Bolshoi Theatre took part in the massive on-line reading of the novel "Anna Karenina" by L. Tolstoy On October 3 and 4 700 people all over the world will pass the baton and read the novel by the great Russian writer out loud from the beginning to the end. The project "Karenina. A Living Edition" was initiated by the L. Tolstoy estate-museum "Yasnaya Polyana" and companies such as Google and Samsung. The Bolshoi Theatre was chosen as one of the venues where reading took place. Vladimir Matorin (bass), one of the opera company's brightest soloists, read a fragment of the novel, sitting in the

director's box of the Bolshoi's Historic Stage on October 3 at about 5.30-6.00 p.m.

The broadcast started on October 3 at noon (Moscow time). On the Bolshoi Theatre official pages in the social networks we also congratulated Ekaterina Mironova, Honored cultural worker of Russia and the Bolshoi Theatre actors and extras ensemble manager, and Andrei Merkuriev, Honored Artist of Russia and Bolshoi Theatre principal, who celebrated their

birthdays on October 3. Ekaterina Mironova Andrei Merkuriev Bolshoi Theatre in the Internet October, 6 2014 Newsletter

October, 6 2014 , 7 The second series of performances of the ballet "The Taming of the Shrew", the much- talked about premiere of last season, started

on October 3. The performances took place on the New Stage on October 3, 4 and 5. Jean-Christophe Maillot, the choreographer of the ballet and Les Ballets de Monte Carlo artistic director was invited to the Bolshoi's Green Living Room prior to the premiere; he talked not only about his work, but also about himself. The interview is available on the Bolshoi's Y ouT ube channel! Jean-Christophe Maillot .youtube.com/watch?v=tzL Wm0qnU84&list=UUUimBc08CcsoCvP_WlYJl0Q

For articles published 2 October 2014 Dancelines, Wall Street Journal and other media report about the World Ballet Day. Dancelines writes that "the Bolshoi's four-hour segment which switched between studio and random exterior shots of the Bolshoi Theatre and its passers-by and the rehearsal of Yuri Grigorovich's 1961 ballet, The Legend of Love, was far too long. But the big highlight of the Bolshoi's day was a rehearsal of Jean-Christophe Maillot's T aming of the Shrew. Filin looked happy, the dancers looked happy and Maillot was radiating energy while speaking in English and French with so much enthusiasm that the French to Russian interpretation was hardly necessary." The Wall Street Journal's Pia Catton says writes in her blog about World Ballet Day. The article is titled "I Could Watch Ballet All Day - And Almost Did." Pointe magazine announces broadcasts of ballet and opera in cinemas writing "From October 26to April2015 the Bolshoi Ballet will screen seven different productions in cinemas across the U.S. Audiences can catch Swan Lake. Romeo and Juliette and more." PNA the Philippines News Agency in an article republished from RIA Novosti writes about the new season at the Bolshoi Theatre. About the premier of The Maid of Orleans the article says that " Less is more was the ruling principle for Bolshoi 's musical director Tugan Sokhiev at the premiere of Piotr Tchaikovsky's rare opera The Maie of Orleans." AP A the Austrian newswire announces that the Austrian TV ORF 2 will broadcast a programme about the Bolshoi Theatre in its Culture Week programme series (9:40 on 5 October). "The new Bolshoi" is a documentary of Reiner Penzholz about the structurally and artistically challenging reconstruction of the famous Russian Opera House, the Moscow Bolshoi Theater, which was reopened in late 2011 after six years of renovation. The German newspaper the Süddeutsche Zeitung publishes a large article about the Bavarian State Opera as the opera house of the year saying it has what the other lacks big stages: a fantastic conductor, courageous singer, a wise director - and an audience that is mature enough for experiments. The article compares the Bavarian State Opera to many other theatres including the Bolshoi Theatre.
In brief The charity concert Dmitri Hvorostovsky and friends - for children Dmitri Hvorostovsky, one of the most sought-after singers in the world and his opera star colleagues, performed at the charity concert at the State Kremlin Palace on

October 4 2014. All money raised will be donated to support orphans, severely ill children and families with many children. /…/ The concert also starred: Anna Aglatova - soprano, the Bolshoi Theatre's soloist. In the year of 2000 Anna entered the Gnesin Music College. In 2001, she received a Sergei Leiferkus grant from the Vladimir Spivakov Fund. She completed her studies at the department of academic singing at the Gnesin Music College (R. Lisitsyan's class) in 2004, after which she enrolled at the Gnesin Russian Music Academy's faculty of singing. During her studies in Moscow, Anna performed together with the famous harpist Semyon Kulikov. In 2003, she was invited to take part in the 14th Chaliapin Season at Mineralnye vody (Stavrapol Kray) and in the Christmas Festival in Dusseldorf. In May 2006 she sang Susanna in a concert performance of "Le Nozze di Figaro" (Moscow International Performance Arts Center, conductor T eodor Currentzis), she also sang this role at the premiere of this opera at the Novosibirsk State Academic Opera and Ballet Theatre (conductor Teodor Currentzis, director Tatjana Guerbaca). She participated in the Irina Arkhipova Fund project Russian Chamber Vocal Lyric - from Glinka to Sviridov. Anna Aglatova has participated in many prestigious competitions and also performed solo all over Europe. In 2005 she made her debut at the Bolshoi Theatre with the role of Nannetta in the opera "Falstaf f". Since that time she has been taking part in almost all productions staged at the theatre. Kristina Mkhitaryan - soprano, a participant of the Bolshoi Theatre Young Artists Opera Program. She was born in Novorossyisk. She graduated from the Galina V ishnevskaya Theatre Studio in Moscow in 2004 (class of Zh. V. Tsupikova). In 2004-08 she studied with Ruzanna Lisician in the Gnesin Music College. After graduation she continued her studies at the vocal faculty of the Russian Gnesin Academy of Music. In 2009 she became a soloist of the Gnesin opera studio. Since 2012 Kristina Mkhitaryan has been a participant of the Bolshoi Theatre Young Artists Opera Program. Her repertoire includes such parts, as Xenia ("Boris Godunov" by M. Mussorgsky), a Polovtsian maiden ("Prince Igor" by A. Borodin), First Lady ("Die Zauberfloete" by W.A. Mozart). Kristina Mkhitaryan has toured extensively in Russia and abroad. In 2001-02 she toured in Spain and Germany with the Galina Vishnevskaya Theatre Studio. In September 2011 she sang at the Festival "Peregrinos Musicales" in Spain, Santiago de Compostela, performed at the Omsk Philharmonic Hall together with the "team" of the Vladimir Spivakov International Charity Fund scholars, and sang at the Sochi Winter Theatre at the International Children's Festival of Art and Sport "Kinotavrik". In 2013 she participated in the VI International Winter Art Festival in Sochi, where she performed together with "The Moscow Soloists", conducted by Yuri Bashmet. Pavel Valuzhin - tenor, a participant of the Bolshoi Theatre Young Artists Opera Program. In 2007 he graduated from the Molodechny Music College named after M. Oginsky (class of G. I. Yurevich). In 2013 he completed his vocal studies at the St Petersburg State Rimsky-Korsakov Conservatory where he studied under Prof. Irina Bogacheva. At the Opera Studio of the Conservatory he performed the role of Almerik in "Iolanta" by Tchaikovski and the Young Gypsy in "Aleko" by Rachmaninov. He participated in concert and festival performances of the Conservatory. He has toured in Russia and Italy. Since September 2013 Pavel has been a member of the Young Artists Program of the Bolshoi Theatre. Alexander Tsymbalyuk - bass, the Bolshoi Theatre's soloist.