October 12 "Journey around the World" is organized in Moscow The First Baroque Music Festival at the Bolshoi Theatre opened with the Julia Lezhneva Gala. Photo: Damir Yusupov Newsletter

"Vladimir Urin and I will try not to do the Bolshoi any harm" Irina Chernomurova, the Head of Perspective Planning and Special Projects Department explains why she addresses her husband in a formal way Theatre historian Irina Chernomurova was accepted into the Bolshoi Theatre, which her husband, Vladimir Urin, is the General Director of. At the same time the department she was made responsible for was renamed as the perspective planning and special projects department. In her interview with "Izvestia" Irina Chernomurova talked about the Bolshoi's new perspectives. Photo: bolshoi.ru - When the contract with you predecessor Mikhail Fikhtengoltz was not renewed, the theatre's management was not going to take a new employee instead of him. Does it mean that this position is not crucial for the theatre? - I guess that Mr. Urin did not appoint the head of the planning department until the last moment because he was thinking about what this department had to be like and what it had to be called. But it does not really matter what you call this position; theatre directors always had people that helped them form the repertoire and formulate the artistic vision and the style of the theatre. They studied new tendencies and followed directors and artists in the professional field; quite often they participated in the planning process. By doing this they supported artistic directors and directors who were busy with every day routine (this usually involves a lot of bureaucracy) and often did not have time to reflect and to analyze various tendencies and whatever was going on in the professional sphere. Such people worked with A. Efros, G. Tovstonogov and O. Efremov. This is P. Markov's role in the history of the Moscow Art Theatre and B. Asafyev's role in the Mariinsky Theatre. In Russia such people mostly worked at the literary department; in France and Germany they work at dramaturgy departments. By the way, the Bolshoi Theatre used to have a very strong dramaturgy department. I have been teaching music theatre management for 25 years and have been long studying the Bolshoi's managerial system. Those things that they did here in the beginning of the 2000s, are of great interest. At that time Anatoly Iksanov commissioned McKinsey & Company that are doing advising and counseling, to organize a special kind of research; as a result, the producer's department and the department of the perspective planning appeared at the Bolshoi. I have always liked the idea of such departments and I have always told my students about them. Anyway, every theatre needs some kind of a research structure that consults the management and opposes it. - What kind of research did Mr. Iksanov organize? - It was the analysis of the theatre's financial and organizational activities. It was a kind of an outside audit. - Did the management structure change as a result of this research? - As far as I remember it did. It was not widely discussed, because the Bolshoi Theatre, just like any other theatre, was not going to give out its secrets. In 1990s we all tried to learn about market relations and tried to adopt as much as we could from other countries' experience, including the USA. People were completely convinced that everything was better in other countries. I was careful with jumping to such conclusions. For example, after I had been to America I realized that we had everything, but called it by different names. Of course, we need to learn something new, but we should not go to extremes. - Mikhail Fikhtengoltz was also responsible for casting singers. Is it one of your responsibilities as well? - No, it is not. Today there is the assistant music director at the Bolshoi. The music director of the theatre and conductors of certain productions are the ones responsible for casting singers. There is also the assistant responsible for casting. This is a very difficult job. Half of the theatres in the world that use the system of stagione have realized a long time ago that there should be a casting director at the theatre who knows where to find singers. I can help and share my experience, but this is it. - Will you devote an equal amount of time to opera and ballet? - Of course. A music theatre in Russia is a double-headed eagle, and both wings have to be equally strong; otherwise the bird will not manage with the height. Initially this was the idea of the perspective planning department. - Will you have the right to influence the ballet company artistic director? - Mr. Urin has always liked to work in a team. As far as I understand, I also have the right to work in a team at the Bolshoi. It will be a creative discussion, a kind of "ping- pong" about the theatre's main challenges. I can recommend, but I will not push my decisions; I do not like to do this. When it comes to working together and living together, I prefer a dialogue, but not the use of force. However, the employees say when I am convinced that something is necessary, I can be very persistent. But I never go beyond my competence. - What are you working at right now? - I am working on finalizing the plan for the opera company for the next season and getting ready to present my proposals for the season 2016/2017. I am looking for theatre designers for some productions. I am working on the program for Maya Plisetskaya's anniversary. I am putting together the program of the next modern dance festival DanceInversion, which will take place at the Bolshoi Theatre and at the Stanislavsky Theatre (this was suggested by the General Director). I am also helping with the program "Journey into the World of the Baroque". I am not devoting all of my time and efforts to all these projects, because I still have two things I need to take care of at the Stanislavsky Theatre: the ballet "Tatiana" by John Neumeier and the festival project "Five evenings of the American ballet" (the performances have just finished). I have a contract with the Stanislavsky Theatre. - How would you define the mission of your department? - Nowadays perspective planning is the main priority for everyone, starting from the General Director. It is necessary to outline the itinerary, to break a path for the ship. W e do not want to stage something, being guided by the principle "I want to conduct this", but implement interesting creative projects. In order to do so, it is necessary to look for talents; as a rule, those talents are rare and are sold out in advance. - And the price is high as well. - This is not the main point. In 1990s it was frightful to think about the sums of money that were necessary in order to invite the best artists and directors, but today this is not the main point. It is more difficult to have those artists and directors when you need them. At the Stanislavsky Theatre I was the person who raised the alarm and said: "Too late!" I had a feeling that it was necessary to live in some different time and some different year. T oday all my thoughts are about 2017. I am worried that they are not in 2018. - Many internationally acclaimed singers say: "I would love to sing at the Bolshoi if the schedule there was planned for five years ahead". Will you be able to achieve this goal? - No. But other theatres do not plan for five years either. Everywhere, including the Bolshoi, there is preliminary planning. There is also preliminary booking of artists; later you can refuse them. You see, opera and ballet product is a most complicated puzzle, which is impossible to put together in details five years prior to the premiere; the earliest it is possible to do it, is two years in advance. - W ould you say that the Bolshoi Theatre corresponds to the world level in terms of long-term planning? - When it comes to planning new productions, it absolutely does. All theatres publish information about their plans on professional web-sites, so I know what is going on; I am confident in what I am saying. As for working with singers, we do need to look up to the West. Y ou see, it is dif ficult for us to adapt the stagione system. In Russia it makes no sense to use the system of pure stagione; I mean, look at the geography! It takes an hour to get from Stuttgart to Brussels, but in Russia it can take you three hours to get from the airport to the theatre. Russian theatre has to rely on its permanent company; it is only natural and necessary. Nowadays the Bolshoi is October, 9 2014 Newsletter

working on strengthening its opera company with bright talented singers. Until the middle of 1990s, when stars and the majority of young singers started leaving (they did not stay at the Bolshoi), it had been a great company, and everyone had known the names of its singers. I do hope that the fame of this opera company will be revived; we will include elements of stagione in the work of the company. W e will invite guest singers to sing parts that are performed rarely, and we will also invite masters that will help us raise the level of the singers' ensemble. I have always given credit to the Mariinsky Theatre that used to rely on its own forces and never strived to introduce the system of stagione; as a result, it is one of the best opera companies in the world today. If we take a closer look at this company we will see that there also are problems that need to be solved. But they are doing a good job and I can relate to this position: I like to do everything by myself. - The Stanislavsky Theatre also does everything itself, including the production of the monumental "War and Peace". - This is true. The same goals have been set at the Bolshoi Theatre. You know, as I compare our theatres with the foreign ones, I feel more and more proud. There are not many theatres in the world that have strong opera and ballet companies. We also should not forget about the scale! The Bolshoi Theatre gives about 500 performances per year, the Stanislavsky Theatre, which technically has one stage, gives 220 performances. - According to Valery Gergiev, there will be 1000 performances a year at the Mariinsky Theatre. - Really? But the Mariinsky has three big stages. Both the Bolshoi and the Mariinsky have big staffs; if enough efforts are made, an enormous number of performances can be given. But I would say there are chances that it will become a bit like an assembly line. This, in turn, can lead to a decrease in the number of rehearsals, which neither the soloists nor the orchestra can do without. - Still, Gergiev's third concert in one day sometimes is better in terms of quality of the orchestra's performance than a performance at the Bolshoi Theatre. - These things cannot be compared. Valery A. Gergiev has been the head of the theatre since 1988. The orchestra is his most favorite collective at the theatre. He is personally responsible for selecting the musicians, developing their stamina and technique. As for the Bolshoi, after a famous conductor Alexander Lazarev left, several musical directors changed. Russia has lost several great conductors, and it is wonderful that Gergiev stayed in Saint Petersburg. But on the other hand when it is not Gergiev who conducts the orchestra in the Mariinsky Theatre, I have heard very dif ferent performances. The theatre should be evaluated for its daily work. - Do you mean that on a "regular day" the orchestra performance at the Mariinsky and at the Bolshoi is not very much different in terms of quality? - There is no major difference. Everything depends on the conductor. - When Mr. Urin left the Stanislavsky Theatre, the farewell was very touching. How did you part with the theatre? - At some point the parting was very tragic for me as well. I had spent almost 18 years there: I felt like a mother that had raised a child and was marrying it of f. As you know, mothers usually do not like fiancés. - W ere you given a chance to choose the fiancé - I mean, your successor? - When I submitted the notice to terminate, we discussed this question. I suggested candidacies of two people from my department, but nothing happened after this discussion. At the moment there is no one working in my position; my department has been divided into several subdivisions. The department was formed gradually: at first we were dealing with foreign liaisons, then - with public relations as well. I was also in charge of the press office and the marketing; besides, I was looking for sponsors for particular projects. At the moment the international department is controlled by the general director; marketing has become a separate department, which now has its own head. As for PR and the press office, they are kind of up in the air. - Will you be responsible for recruiting the staff here? If this is the case, will you invite people from the Stanislavsky Theatre? - Right now I am the only employee at my department. Everything depends on the strategy that I develop for the department; this will allow me to understand what people I need. If the goals will be similar to those tasks that my employees at the Stanislavsky Theatre fulfilled, I will talk to them. Of course, when everything has been developed and set, there is a big temptation to take people with you. But I used to have very precise responsibilities: the schedule of guest performances, visas, negotiations and invitations, press-releases and contracts. I used to spend a lot of time on logistics, but not on analysis. Here I have different goals. I imagine this department as a scientific and research center. - When a husband and a wife work at the same institution, everyone talks about domesticity. Are you afraid of such talks? - Mr. Urin and I are not just a husband and a wife: we used to study together, then we worked at the Theatre Union and then we have spent 18 years at the Stanislavsky Theatre. We have been discussing our work as business partners for our whole lives; sometimes we fight, because our views, tastes and life philosophies are very dif ferent. It is not always about quite family life. We work for 24 hours a day. He often says: "That is enough, stop talking about work", but I cannot. He has just called me as we are having this interview and I said: "Hello, Mr. Urin". But at home I address him in the same way as well! Because we always work together, there is some distance. As for other people talking, I am not afraid of such talk: this is something that often happens at the theatre. People should evaluate the result. If the result is poor because of the relations, it means that domesticity is bad. I will dare to suppose that the presence of our couple at the Stanislavsky Theatre did not really harm the theatre that much. We will try not to do the Bolshoi any harm either. The exhibition marking Fyodor Chaliapin's charity work opens in Moscow.

The event marks the 100 anniversary of the hospital opened by the famous singer Fyodor I. Chaliapin in the 1930s. Photo: TASS photo archives The exhibition "A White Flower of Mercy", marking Fyodor Chaliapin's charity work during the First World War, opens in Moscow. Elena Kotyakova, the All-Russian Museum Association of Musical Culture named after Mikhail Glinka spokeswoman, informed ITAR-T ASS that the event would mark

the 100 anniversary of the hospital opened by the famous singer. According to Elena Kotyakova, the exhibition at the F. I. Chaliapin memorial estate "illustrates not very well-known facts of the singer's biography". She added: "There also is a war chronicle and Chaliapin's recordings, which illustrate the repertoire of his charity concerts". The exhibits include the singer's photographs, personal belongings, playbills and programs of his concerts, costumes, editions and various objects, connected with military life, as well as First World War posters. There also will be medical instruments, the Georgievsky cross that one of the soldiers gave to Chaliapin, a German helmet, which the singer brought from the front line, as well as bullets and bullet fragments that were taken out during surgeries, and a guitar. The painting "The Four Horsemen of the Apocalypse" by V. Vasnetsov, which the painter gave Chaliapin, is an epigraph of the exhibition. Exhibits are provided by All-Russian Museum Association named after Mikhail Glinka, Chaliapin's house-museum in Saint Petersburg, the museum of the Marfo-
Mariinsky Convent and private collectors. In the evening of the same day the audience will have a chance to listen to a literary composition, based on the letters of the grand princess Elizaveta Fyodorovna, performed by the actress Anna Bokurova; the performance will take place at the Chaliapin Memorial Estate. The fragments of Alexander Kastalsky's "Fraternal Commemoration", spiritual music by Russian composers and Russian folk songs will be performed. In August 1914 Chaliapin, who was in Western Europe, gave his first charity concert; all money raised was given to the wounded. In autumn he gave a charity concert at the Bolshoi Theatre in Moscow. According to witnesses, the hospital, which was opened in October 1914, was a hospital for soldiers of lower ranks; it had state of the October, 9 2014 Photo: Gennady Cherkasov

The opening ceremony will take place at the Ostankino pond on Friday, October 10, in the evening. The audience will be presented with a forty-minute show- performance "Around the World in Less than an Hour" and fireworks. During the

following days, until Tuesday, October 14, the performance will be repeated every evening. Throughout the festival, light projections, united by the theme "Journey around the W orld" will be presented on the Bolshoi Theatre façade. The performances will take place in the evening, from 7 p.m. till 11 p.m. At the same time light installations will be shown at the Kuznetsky Bridge, between Bolshaya Dmitrovka and Petrovka. Theme art-installations and cycle programs by Russian and foreign light designers will be presented on the territory of Tsaritsyno park daily after 7 p.m. Some compositions will be shown on the façade of the Big Tsaritsyno Palace. A music

concert and the laser show will be organized here in the evening of October 12. /…/

On October 7 the festival "Journey into the World of the Baroque" opened with the Julia Lezhneva Gala, which took place on the Bolshoi Theatre New Stage. We uploaded pictures from the concert on the Bolshoi official pages in the social networks: Newsletter

art equipment. The hospital also had wards for seriously wounded and its own pharmacy. Moscow newspapers wrote that Chaliapin himself used to entertain the wounded by telling them stories, singing for them and organizing performances that his children took part in. Last respects to Yuri Lyubimov were paid in Moscow Last respects to Yuri Lyubimov, the director and People's Artist of Russia were paid in Moscow. People gathered at the front entrance of the Vakhtangov Theatre before the commemoration. Y uri Lyubimov passed away in his sleep at the Botkin Hospital, where he was taken

on October 2; the director was diagnosed with the cardiac failure. The doctors did everything they could to save the theatre director, who had recently celebrated his

97 birthday. The coffin was put on the Vakhtangov Theatre main stage; Lyubimov acted at this theatre for many decades. There also was the director's portrait and many funeral wreaths, as well as a big icon of St. Nicholas the Wonderworker, which was used in one of Lyubimov's last productions, "The Demons". The director will be buried in the Donskoy Cemetery. Y uri Lyubimov founded the Taganka Theatre in 1964 and was its head for 20 years, until he was deprived of USSR citizenship in 1984. In 1989 Lyubimov became T aganka Theatre's director again. The production of the opera "Prince Igor", which premiered at the Bolshoi Theatre in

June 2013, was one of Lyubimov's last projects. On May 20 2014 the opera-buf f "The School for Wives", based on the comedy by Moliere, premiered at the Novaya Opera. During the festival "Circle of Light" Moscow citizens will have a chance to make a virtual trip abroad The specialists will bring more color to the dull autumn weather with the help of laser shows The weather in the middle of autumn is rather bad; however, Moscow citizens will see a lot of light it the middle of October. This will have nothing to do with the weather, though. For a week, from October 6 till October 12, the central streets in the capital will be decorated with bright pink lights. This is how one of the international corporations tried to remind Moscow citizens that October "is traditionally considered a month of tackling breast cancer".

On October 10 the annual, fourth festival "Circle of light" starts in the capital. There will be seven venues, including the Bolshoi Theatre facades, the Big T saritsyno Palace and several VDNKH pavilions, where the audience will be able to see dimensional light installations and laser shows, united by the theme "Journey around the World". The organizers hope that this festival will have the largest scale; it is expected that there will be 6 mln guests, which is twice as many as last year. Bolshoi Theatre in the Internet October, 9 2014 Newsletter

Photos: Damir Yusupov

On October 26 the live broadcast of the ballet "A Legend of Love", one of the Bolshoi Theatre's most highly anticipated premieres this season, will take place in cinemas around the world. The revival of the eastern legend about love and duty, choreographed by the great Y uri Grigorovich, will be presented on the Bolshoi Theatre's stage. You have a unique chance to see the premiere at cinemas in your city! T ickets are already on sale, so do not miss this event: .pathelive.com/fr/sp/spectacles/the-legend-of-love Anna Antonicheva, People's Artist of Russia and Bolshoi Theatre prima ballerina and Vladislav Lantratov, the Bolshoi Ballet's principal dancer,

celebrated their birthdays on October 8. Our best wishes to the artists! Vladislav Lantratov

Anna Antonicheva

October, 9 2014 Newsletter October, 9 2014 , 7 For articles published 7 October 2014 Die Welt, Berliner Morgenpost, Focus and many international editions, especially in Germany, report about Tugan Sokhiev, the Music Director of the Bolshoi Theatre, quitting his position at the German Deutsches Symphonie-Orchester (DSO) in Berlin. Focus writes that "The acclaimed Russian principal conductor Tugan Sokhiev (37) announced that he will not renew his contract for the 2015/2016 season. His new duties at the Moscow Bolshoi Theatre required in the medium term lot of presence and attention and that he could not in good conscience stay in Berlin, the musician said on Tuesday". Die Welt writes that "The reason is his obligation as chief conductor of Moscow's Bolshoi Theater, where, a dream job and a unique development opportunity would be natural, which of course requires a continuous presence. The house, whose ballet company has far outshone the reputation of the opera division in the last two decades, is in dire need of a famous conductor, the and vehemently strives forget the recent scandals." In a press release published in "Slipped Disc" Tugan Sokhiev says ""The tasks I have taken on at the Bolshoi Theatre at the beginning of this year are more monumental than it was possible to predict when I took up the position. They require too much presence and attention on my part in the medium-term to allow me to stay with my orchestra and fulfill my duties in Berlin with good conscience. The DSO is an excellent ensemble which deserves an artistic leader who is able to perform the exhilarating and demanding tasks to the full and who does not have to divide his energies in this way," the 37 year-old conductor explains his decision. "The DSO is a first class orchestra in fantastic shape and who will realize many wonderful projects together during this season and those to come." The Independent (UK) publishes an article about the death of Yuri Lyubimov mentioning that one of his final productions was Prince Igor at the Bolshoi Theatre. Samara mass media: Every week the brightest productions of the world's most famous theatres are broadcast in Samara as a part of the theatre cinema season 2014. "Legendary productions on a big screen" - this is the slogan for the festival at the cinema "Vertikal". Samara audiences have a chance to see productions of the British National Theatre and Shakespeare's Globe theatre (UK), the Royal Shakespeare Company (UK), ballet productions of the Bolshoi Theatre (Russia) and productions of the Metropolitan Opera (USA). /…/
In brief