The head of the ballet troupe, Mahar Vaziev, resigned. Artistic director and director of the Mariinsky Theater Valery Gergiev accepts congratulations on his birthday Partners and sponsors

Story

On November 9, 1917, with the change of power, the theater, which became the State Theatre, was transferred to the jurisdiction of the Commissariat of Education of the RSFSR, in 1920 it became academic and since then has been fully called the “State Academic Theater of Opera and Ballet” (abbreviated as GATOB). In 1935, shortly after the assassination of the first secretary Leningrad Regional Committee All-Union Communist Party (Bolsheviks) of Sergei Kirov, the theater, like many other organizations, enterprises, settlements and other objects of the USSR were named after this revolutionary.

Ballet

Orchestra

Management

Artistic director and director - Hero of Labor of the Russian Federation, People's Artist of the Russian Federation, laureate of State Prizes of the Russian Federation Valery Abisalovich Gergiev. James Cameron

Press

• Alexey Konkin. . « Russian newspaper" - vol. No. 5320 (241) dated October 25, 2010. Retrieved February 22, 2011.
• Maria Tabak.. RIA Novosti (02.08.2011). Retrieved February 22, 2011. .
• . RIA Novosti (01/19/2011). Retrieved February 22, 2011. .
• . Retrieved February 22, 2011. .
• . RGRK “Voice of Russia” (07/13/2010). Retrieved February 22, 2011. .
• (inaccessible link - story) . Encyclopedia "Around the World". Retrieved September 24, 2011. .

Links

• . Official site.

Valery Gergiev, artistic director of the Mariinsky Theater. Photo – Varvara Grankova

The artistic director and director of the Mariinsky Theater talks about how to attract five thousand spectators every night.

Before the opening of the new building of the Mariinsky Theater (it will be celebrated on May 2 with a gala concert), its artistic director and director Valery Gergiev conducted an acoustic test. The 40-minute concert program was composed of things designed to demonstrate all the properties of acoustics: from the thunderous tutti orchestra of one hundred musicians and the grandiose choirs of Verdi and Mussorgsky to the subtlest pianissimo Adagietto from Mahler's Fifth Symphony. Coming out from behind the control panel, the maestro gave the audience an impromptu tour of the theater, after which he spoke with the Friday columnist.

Today I deliberately played something very quiet, almost a prayer, and the most powerful symphonic score, where the orchestra is simply bursting, and I also spurred it on - I tried all the extremes. It is already clear that the hardness of copper is not needed, the guys themselves understood. But this is the first time, you need to feel what the acoustic scale of the hall accepts and what it doesn’t, you need to move it...

If we talk about the whole complex of parameters - acoustic, technical: light, machinery, etc. - the Metropolitan Opera has been mastering them for almost 60 years. Covent Garden - 13 years, La Scala - 9, both after major reconstructions. As for new buildings - I know well the theaters of Baden-Baden, Toronto, several Japanese, a giant complex in Beijing - I opened it.

It is absolutely clear that the acoustics here are one of the best among all those mentioned. The Metropolitan is considered the leader in terms of equipment, but we will have even more technical capabilities than the Met. And the space inside the building is enormous. However, it is important to learn how to operate all this with great freedom, with natural ease. It's a matter of time, we will certainly try. So now I wouldn’t be engaged in the thankless task of compiling ratings; let’s put this issue aside for at least a year.

- Do you already have a favorite place in the new building? Except for the conductor's stand, of course.

Behind the controls is my job. But I really like the small halls and corners in the foyer - spaces for chamber concerts. It seems to me that they should become bright accents inside this huge complex. Because they open up enormous opportunities for attracting new audiences - primarily schoolchildren and students.

We now have dozens of musicians playing chamber ensembles: magnificent strings (and more than one), wonderful brass ensemble. I think they will be glad to meet you new audience, primarily for children. If some 3 “B” class comes, say, some school 136 and hears a Little Night Serenade or a Serenade for string orchestra, and they will also be told that Mozart and Tchaikovsky took up music as children just like them, and then began to write great music, and now the whole world is listening to it - starting from such an elementary level, you can motivate children to further long-term thoughtful perception.

At one time, you proclaimed enlightenment as one of the main strategies of the Mariinsky Theater Concert Hall: operas in Russian, popularization concerts. Can you evaluate its effectiveness?

We have perhaps the best sales statistics in the world, and children's subscriptions fly away, no matter how many you buy. When I talk to people from the Met, they don't believe that such sales can happen. Please click on our website to see how the hall is filled at these programs.

That is, you have no doubt that the three stages of the Mariinsky Theater will attract approximately five thousand spectators every night, despite the fact that the rest of the theaters in St. Petersburg are not closed?

Only our very serious work will ultimately make this project successful. We are ready for it.

- What is it like? repertoire policy new scene?

Every month we will transfer four or five performances here from the historical building and show them two or three times. In the new conditions, the performance will have to be mounted, lit, and everyone who moves the scenery, dresses the actors, etc. needs to get used to it. Not to mention the fact that in the old building the focus of sound is completely different and here it must be carefully re-calibrated.

How quickly this process goes depends on how long it takes the team of each production to adapt to the new stage. We expect to have collected 18-20 titles by the end of July - beginning of August. This is not so little, considering that there are almost a hundred of them in our repertoire. There are performances that you especially want to see on this stage, and there are those that can wait. Each performance has several components of success. The first is the power of the work itself. The second, if these are historical productions, is scenography, because from the point of view of today's directing it is already difficult to analyze them.

- I bet: “Khovanshchina” 1960 is one of best performances Mariinsky Theater.

I know, that’s why I conduct it all the time. “Khovanshchina” was directed by Leonid Baratov, then the hand of various other directors touched it - we needed to introduce new choir artists, clean up crowd scenes. But at the heart of it all is Fyodor Fedorovsky’s unchanging scenery.

In general, the foundation is the powerful creativity of the great artists who worked at the Mariinsky Theater: Korovin, Golovin. What is one Korovinsky worth? Underwater kingdom"in "Sadko" - I want to see him here! But it needs to be properly lit, then it will not be a painted canvas, but fairy tale. But in no case should you force something or push something in the back while filling the repertoire. I absolutely do not want cancellations for technical reasons. We know that both the Parisian Opera Bastille and the Royal Opera House in London initially had huge problems This kind of thing - that's what I'm afraid of.

- Are there productions specifically for the new stage?

Certainly. Rodion Konstantinovich Shchedrin wrote the opera “Lefty” at our request; it will be a world premiere. Another premiere is Sasha Waltz’s ballet “The Rite of Spring,” which we will show for the first time here and then in Paris. "Rusalka" by Dargomyzhsky. Even the presentation of the building on May 2 will not be just a gala concert in costumes, but a kind of performance with a script on the theme of some kind of transformation, the transition of the Mariinsky Theater from one state to another.

- Why didn’t a significant part of the townspeople accept the new building?

What happens in this theater, both in the historical building and in the Concert Hall, is the subject of my constant attention and reflection. So I don’t have time to think about various statements, especially less literary ones, about the project, which is very important for us.

I thought about something else - after all, the initial attitude can change. Remember how they reacted to the action Pussy Riot in the Cathedral of Christ the Savior: to many it seemed blasphemous and caused indignation. By the way, I feel about the same way. But then another part of society was outraged by the measures that were taken, considered the sentence too harsh, and sympathized with the fact that the girls would have to spend years in prison. You see, I have already divided our huge society into two parts, and there are much more of them.

In the situation with the emergence of a new theater, the only important reaction for me from both St. Petersburg and the entire Russian public, to which I will be extremely attentive, is how in a year they will react to this huge fusion of creativity of an architect, composers, artists, directors, conductors, artists .

Now some people hastily called this almost an urban planning mistake. What about the Palace of Culture. The first five-year plan, which stood on this site, was a huge urban planning and artistic achievement? Not sure. And St. Petersburg as a whole is changing, and Mariinskii Opera House too - he wasn’t like that back in the 1960s, and 150 years ago he was completely different.

In the 1960s, it became clear that the team was suffocating within the historical walls, then a huge part of the building was added. And many outstanding artists, including Mikhail Baryshnikov, grew up in ballet classes in this annex. Is it possible in principle to build in the historical part of the city - or should everything, like the Gazprom tower, be moved to the outskirts of Lakhta? I don’t think that the emergence of a new opera house in Lakhta would be a natural harmonious scenario for both the city and the history of the Mariinsky Theater.

I repeat: in a year or two we have the opportunity to ensure that this building is perceived as part of a single rich cultural space St. Petersburg. And I am largely confident of success, simply because we work harder than others.

By the way, when we decided Concert hall- they didn’t ask anyone’s opinion, they just built it, and very quickly. However, it seems that no debates around this project arose then. I certainly believe in higher power, something moved me, something led me to a goal, and I walked towards it. As a result, our Concert Hall very quickly gained recognition - the recordings made in it are today a huge success throughout the world, and they will say much more about the merits of the hall than any words I can utter.

Opera is an elitist art, and not every passerby will dare to speak out about it. Unlike architecture, which is judged by everyone. Maybe the idea of ​​democracy is false when it comes to art?

I have a strong suspicion, and I had it all these years when we were working on the new building, that the architect is still better versed in architecture than everyone who talks about it. Not absolutely everything, but almost. Here we are now in the room where I was already about eight months ago, and even then everything inside was done. And outside, except for the highest points of the roof, everything was completed.

But then - when the theater was basically almost ready, the main contours were visible - not only did no controversy arise, there was, in principle, no conversation. Maybe I was just too lazy to start it? And all the noise started right now, when the fences had not yet been removed and the lights had not been turned on. Let's talk when the theater appears in its full architectural design.

As for democracy, there is a well-known joke: some officer, seeing Sergei Prokofiev in the Assembly of Nobility, approached him: “Are you Prokofiev?” - "Yes". - “I don’t like your music!” Sergei Sergeevich replied: “Well, you never know who is allowed into concerts...”

You have said more than once that culture is the only thing that can now create a positive image of Russia in the world. But there has never been any consistent policy in this area. Can you, as an authoritative member of society, a member of the top officials of the state, influence this?

It doesn’t seem to me that Russia should accept some kind of “devil’s plan” that will help it suddenly suddenly export its entire culture. I think this process should go naturally. But some smarter program would not hurt the masters whom the whole world knows, and especially - here I would like to emphasize - those who are on the verge of a rapid and bright career on a national and global scale. But this process will still not so much be determined from above as naturally arise from below.

Now, as part of the “Faces of Modern Pianism” festival, we are showing not only famous pianists high class, but also young. But these guys are the future winners of the Tchaikovsky Competition. Or the Chopin, Rubinstein, Cliburn competitions, this is such a level.

They are 15-16 years old - but after all, Grigory Sokolov was 16 when he won the Tchaikovsky Competition, the rules were even rewritten for him. And by the way, I also did this for the 17-year-old Korean Seng Jin Cho, who took bronze, but could have won. I intend to devote the years that I can continue to direct the Mariinsky Theater to give a significant part of my time, effort, and energy to the younger generation, to help young people find themselves.

On May 2 you turn 60 years old - in Soviet times at this age they were sent off to a “well-deserved rest.” It is clear that in your case there is no question of this, but still you still have global plans - or will you develop what has already been developed?

There are two or three important projects in my life, in which many people may take part. But now, it seems to me, it’s a sin to even talk about it. We are opening new theater, and the main thing is to think not about my anniversary or age, but about him living a normal, interesting life.

Mariinskii Opera House(modern official name State Order of Lenin and Order October revolution Academic Mariinsky Theater, from 1935 to January 16, 1992 - Leningrad State Academic Opera and Ballet Theater named after S. M. Kirov) - Musical Theatre in St. Petersburg. One of the most famous and significant opera and ballet theaters in Russia and the world. It was founded in 1783.

Story

The theater traces its history back to its foundation in 1783 by order of Empress Catherine the Great Bolshoi Theater, which was located in a building later rebuilt as the St. Petersburg Conservatory. Was part of the Imperial Theaters of Russia.

On July 12, 1783, a decree was issued approving a theater committee “to manage spectacles and music.” On October 5, the Bolshoi Stone Theater was inaugurated on Carousel Square, from which the history of the theater dates back. Later, Carousel Square changed its name to Teatralnaya.

In 1859, the Circus Theater located opposite the Bolshoi Theater burned down. In its place, architect Alberto Cavos built a new theater, which was named Mariinsky in honor of the wife of Alexander II, Empress Maria Alexandrovna. First theater season opened in the new building on October 2, 1860 with Glinka’s “A Life for the Tsar.” In 1886, the old theater building was rebuilt as a conservatory, and the repertoire was completely transferred to the stage of the Mariinsky Theater.

On November 9, 1917, with the change of power, the theater, which became the State Theatre, was transferred to the jurisdiction of the Commissariat of Education of the RSFSR; in 1920 it became academic and since then has been fully called the “State Academic Theater of Opera and Ballet” (abbreviated as GATOB). In 1935, shortly after the murder of the first secretary of the Leningrad Regional Committee of the All-Union Communist Party (Bolsheviks) Sergei Kirov, the theater, like many other objects, settlements, enterprises, etc. of the USSR, was named after this revolutionary.

In 1988, after the death of Yevgeny Mravinsky and the departure of Yuri Temirkanov to the Philharmonic, Valery Gergiev became the artistic director and chief conductor of the Kirov Theater.

Venues

• The main building of the Mariinsky Theater ( theatre square, d. 1)
• Second stage of the Mariinsky Theater (Mariinsky-2). The official opening and gala concert took place on May 2, 2013
• Concert Hall of the Mariinsky Theater (third stage), (Dekabristov St., 37)
• From 2016, a branch of the Mariinsky Theater (fourth stage) will begin work in opera house Vladivostok

In the off-season, the theater makes its stage available for performances by other groups.

Troupes

Opera

Opera company famous for such names as Maria Maksakova, Leonid Sobinov, Irina Bogacheva, Yuri Marusin, Olga Borodina, Sergei Leiferkus, Olga Kondina and Anna Netrebko.

Management

Artistic director and director - Hero of Labor of the Russian Federation, National artist Russian Federation, laureate of the State Prizes of the Russian Federation Valery Abisalovich Gergiev.

Festivals

• International Arts Festival “Stars of the White Nights”
• Moscow Easter Festival
• Festival modern music"New Horizons"
• Festival "Maslenitsa"
• Mariinsky Ballet Festival
• Festival "Brass Evenings at the Mariinsky"

Partners and sponsors

General partner of the theater

• VTB Bank

Main partners of the theater

• Sberbank
• Yoko Ceschina
• Gazprom

Main sponsors of the theater

• Total
• Mercury
• TeliaSonera

Director and artistic director of the theater Valery Gergiev said that American film director James Cameron and Apple Corporation could become partners of the Mariinsky Theater. The collaboration with Cameron is connected with the plans of the theater management to develop filming of productions in 3D format.

History of the Mariinsky Theater counts from the Bolshoi Theater founded by decree of Catherine II in 1783, which was located on the site of the current Conservatory (Theater Square of St. Petersburg). In 1848, the outstanding architect A. Kavas, a prominent representative late classicism, the building of the Mariinsky Theater was erected. The name of the theater is associated with the name of the wife of Alexander II, Empress Maria Alexandrovna.

The first performance at the theater took place on October 2, 1860. It was an opera by M.I. Glinka "Life for the Tsar". On the stage of the Mariinsky Theater the premieres of such masterpieces of Russian classics as “Ruslan and Lyudmila”, “Boris Godunov”, “Khovanshchina” took place, and operas and ballets by Tchaikovsky were staged and presented to the audience. The Mariinsky Theater staged Aida, Othello, Romeo and Juliet, Carmen and others for the first time on the Russian stage.

The theater has become the center cultural life St. Petersburg. Between 1883 and 1896, under the leadership of V. Schröter, a Russian architect German origin, the theater was being reconstructed, mainly the auditorium. Auditorium The Mariinsky Theater is one of the most beautiful in the world. It is decorated with a luxurious three-tier chandelier and a picturesque lampshade made by the painter Fracioli, gilded stucco decorations and sculptures, and the famous curtain of the work Russian artist, set designer A. Golovin.

Listing the names of cultural figures associated with the state academic theater would take an infinite number of pages, let's name just a few of them: M. Petipa, F. Chaliapin, A. Istomina, E. Semenova, V. Nijinsky, L. Sobinov, G. Ulanova, A. Pavlova, R. Nuriev. The Soviet period of the theater's history is marked by the fact that in 1919 the Mariinsky Theater - Mariinskii Opera House received academic status. In 1935 he was named after S.M. Kirov, which he wore until 1992. During the war, the theater was evacuated to Perm, where it held its performances. Currently, work is underway to create a second stage of the theater. The new building will be located next to historical building, on the other side of the Kryukov Canal. The architect is Frenchman Dominique Perrault. The artistic director and director of the theater is Valery Abisalovich Gergiev. His productions become a revelation for the world musical community. V. Gergiev is one of outstanding conductors world modernity.

Historical places, attractions in St. Petersburg:

scandal ballet

Yesterday, Kommersant learned that the head of the ballet troupe of the Mariinsky Theater, Mahar Vaziev, wrote a letter of resignation on March 12. at will to the theater management. He wishes to be relieved of his post on March 24, upon graduation. international festival ballet "Mariinsky".

The day before the start of the 8th International Mariinsky Ballet Festival, Mahar Vaziev, the permanent director of the Mariinsky Theater ballet troupe for 12 years, resigned. No external impetus for this step was noticed; the statement has not yet been signed.

Meanwhile, the atmosphere in the ballet troupe is tense. Kommersant learned that a group of leading dancers attempted to write a collective letter addressed to Valery Gergiev in support of Mahar Vaziev, but the letter was never completed.

The tension between the ballet management and the artistic director of the Mariinsky Theater grew throughout last season, in particular, due to the increasing talk that Mr. Gergiev is looking for an artistic director of the ballet troupe (without whom it managed throughout the entire period of Mr. Vaziev’s service).

Among the contenders for this place they mention the 35-year-old ballet soloist Ulyana Lopatkina, dance career which is approaching sunset; 39-year-old Igor Zelensky, who last season became the artistic director of the ballet of the Novosibirsk Opera and Ballet Theater; 49-year-old head of the Vaganova School Altynai Asylmuratova and, finally, 70-year-old Elena Chernysheva, a former dancer of the Kirov Theater corps de ballet, who emigrated to the USA in the 1970s, remembered both for her tutoring at the American Ballet Theater under Mikhail Baryshnikov and for her high-profile dismissal from her position Director of the Vienna Opera Ballet.

Makhar Vaziev, appointed head of the troupe back in 1995 under the then head of the Mariinsky Theater, chief choreographer Oleg Vinogradov, actually served as artistic director all these years. The head of a troupe in most theaters is a technical position, not an artistic-political one. The head of the troupe regulates the ballet compositions, schedules rehearsals and monitors current state troupes. The artistic director is a figure of a different scale, determining both the tactics and artistic strategy of the theater. However, Mr. Vaziev never received an official appointment and was clearly offended that this position would go to another person, who would henceforth determine the artistic policy of the Mariinsky Ballet. Moreover, it was under the leadership of Mahar Vaziev Mariinsky troupe has achieved a leading position in the global ballet market. Under him, ballet became civilized, succeeded in reconstructing classics like “The Sleeping Beauty” and mastered the world ballet repertoire of the 20th century.

“Vaziev was unusually far-sighted in the decisions he made as director of the Mariinsky Ballet. He had the gift of foresight both in the selection of ballets for presentation and in the choice of choreographers whom he invited to create new works for his dancers. Mahar Vaziev “literally introduced the Mariinsky Ballet into the 20th century,” commented the famous American choreographer William Forsyth on the news of Vaziev’s resignation.

The relatively liberal repertoire policy and skillful building of a system of checks and balances, without which the work of such a complex group as the ballet troupe is unthinkable, may soon become a thing of the past for the Mariinsky. This, apparently, is what the dancers are afraid of, who are trying - so far unsuccessfully - to compose collective letters. The Mariinsky Theater did not comment on the news. Makhar Vaziev himself has so far refused to comment, and hopes to personally explain it to the director of the theater in the near future. It is possible that the dismissal of Mr. Vaziev is an opportunity for Valery Gergiev to extend his power to the ballet troupe. However, he will not be able to perform the functions of artistic director of the ballet on his own. With the departure of Mahar Vaziev, the question will arise about the appointment of a new head of the Mariinsky Ballet - now with the rank of artistic director. This will be Valery Gergiev’s choice, his creature with whom he will have to share artistic power in the theater, and his responsibility.