#Mariinsky Orchestra

[paul-archibald]

Overtures You Might Not Know

Overtures are popular pieces with concert goers the world over. The overtures to The Marriage of Figaro, The Magic Flute and William Tell receive regular performances but what about many of the other overtures that are hardly performed at all? In this edition of In Conversation we look at some great overtures that are worth hearing… Carl Maria Weber (1786-1826)Overture to Euryanthe Op 81London…

[elegantballetalk]

Today's watch: 🎊 

Vienna New Years concert, 2003

[balletthebestphotographs]

Evgenia Obraztsova Евгения Образцова

Evgenia Obraztsova Евгения Образцова as “Anastasia Romanovna” (Ivan IV Vasilyevich’s wife), “Ivan the Terrible Иван Грозный”, choreo and libretto by Yury Grigorovich Юрий Григорович, music by Sergey Prokofiev Сергей Прокофьев (excerpts from music to the film “Ivan the Terrible”, “Russian Overture”, “Cantata Aleksandr Nevsky”, “The Third Symphony”, Mikhail Chulaki’s version and additional music excerpts), sets and costume by Simon Virsaladze Симон Вирсаладзе, Bolshoi Ballet, June 2024 Saint Petersburg’s Bolshoi Theatre Ballet Company and Orchestra Tour Гастроли Балетной Труппы и Оркестра Большого Театра в Санкт-Петербурге в июне 2024 г, Mariinsky Theatre II, Saint Petersburg, Russia (June 12, 2024).

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

Source and more info at: Evgenia Obraztsova on Instagram

[tikitania]

Do you know why the Russian students in Mariinsky and Bolshoi productions of Nutcracker, Bayadere, Sleeping Beauty, Paquita, Don Q etc seem more well polished and extremely rehearsed than students at other top schools? Those kids have no mistakes or hesitations in their choreography. I’ve seen some videos of French kids doing the polonaise mazurka in POB’s Paquita via IG and they weren’t clean-like there were spacing issues and some hesitation that impacted the timing too. I get that the mazurka is a hard dance with a certain rhythm to dance to but how long do these French kids practice?

From what I do know I think the Russians rehearse a lot with the whole cast and orchestra and I think the teachers and higher ups there tend to be more stricter there than other countries. I’ve seen full grown men yelling at the dancers onstage during full stage rehearsal videos with children (Marco Spada and Don Q)

I also do think that the Russian “children” are older compared to NYCB productions. The youngest children at SAB onstage are like 7-9 years old. The youngest VBA students onstage are 10-11 which could make an impact on difficulty.

The Balanchine choreography for the SAB students (Nutcracker, Midsummer) tends to be more age appropriate but I think the Petipa choreography (Garland Waltz, Enchanted Garden from Corsaire) for the children is slightly harder! It was made during a time when the children were seen as “equals” to adults, and that explains why it looks harder. Most of the female students’ roles are en pointe (Little Cupids, Enchanted Garden, Garland Waltz, the two little girls in the jug dance in Bayadere), which isn’t the case with Balanchine children’s choreography.

[geraldofallon]

Fausta Gryphon

Xe/Xir

Name: Fausta Gryphon

Title: Axiomatic Madcap

Motifs: hummingbird, crocus, The Fool tarot card, fire

Music: Minkus’ Kitri variation from Don Quixote

[gorbigorbi]

Evgenia Obraztsova as Anastasia Romanovna (Ivan IV Vasilyevich’s wife), "Ivan the Terrible", choreography and libretto by Yury Grigorovich, music by Sergey Prokofiev (excerpts from music to the film "Ivan the Terrible", "Russian Overture", "Cantata Aleksandr Nevsky", "The Third Symphony", Mikhail Chulaki’s version and additional music excerpts), sets and costume by Simon Virsaladze, Bolshoi Ballet, June 2024 Saint Petersburg's Bolshoi Theatre Ballet Company and Orchestra Tour, Mariinsky Theatre II, Saint Petersburg, Russia (June 12, 2024)

Photographer was not credited by the source of this photograph.

[francaistoutsimplement]

The political tides in Europe are turning against the Empire A radical change in mood among the people is more and more evident. Is it a tsunami in the making? (Alex Krainer's Substack)

On Sunday, 29 December 2024, Croatia held presidential elections. The incumbent President Zoran Milanović won the first round in a landslide against the pro-globalist challenger Dragan Primorac. Primorac was strongly backed by the ruling party, the Croatian Democratic Union, led by the Prime Minister Andrej Plenković who has been a loyal supporter of NATO, US, UK and EU policies. In winning the Presidency, the ruling party would have captured all of Croatia's key institutions of government.

(Another) Putin’s stooge wins

To push their candidate over the line the ruling establishment and the media relentlessly demonized President Milanović as Putin's stooge and a pro-Russian player on account of his unwillingness to engage Croatian troops in NATO's excellent adventures in Ukraine. Well, their cunning plan backfired spectacularly and Putin's stooge won nearly 50% of the popular vote vs. less than 20% for the pro-freedom & democracy challenger. That's about as close as it gets to a landslide in Croatian politics.

It would appear that, not only is there no appetite for the Empire and its military misadventures, but below the surface, the mood toward Russia is changing, and changing in a big way.

Ballet or twerking?

On Christmas eve, Milan's La Scala theater gave the performance of Peter Ilich Tchaikovsky's Nutcracker ballet. This wouldn't seem exceptional: the ballet is a masterpiece and the music is among the most famous and most beautiful in our cultural heritage.

But barely three years ago, everyone across Europe was falling over themselves to cancel all things Russian, including the performances of Tchaikovsky's music and university courses in Russian literature. Last week La Scala not only presented Tchaikovsky's ballet, it did so based on Rudolf Nureyev's choreography and invited a Russian conductor, Valery Ovsyanikov of St Petersburg's Mariinsky Theatre to direct the orchestra. To boot, Italian national TV broadcast the whole performance.

I am not a ballet fan, but La Scala's production was done so beautifully that I ended up watching a good chunk of it. The music, the scene, the costimography and the music were a feast for the eyes and I remained glued to the TV for a good half of the performance (otherwise I never watch TV anymore). It was a wholesome contrast to the twerking and other such lewd spectacles like the opening and closing ceremonies of Paris Olympics - the kind of demoralizing cultural poison we've come to expect in the West.

Are the countercurrents gathering?

I couldn't help wondering if there wasn't something purposeful in La Scala's choice of production and artists this Christmas: a deliberate and explicit rejection of the Western devious junk culture as well as the forced, mindless hostility against Russia. If so, it seems that the same cultural countercurrents seem to be gripping many nations as the recent elections in the United States, Slovakia, Romania, Georgia, Hungary, France, Germany, Croatia and Moldova have shown (yes, Moldova too).

It may be that in spite of the loud banging of the war-drums in mainstream media, and among our political class, very different currents are gathering below the surface. These currents might continue to gain strength; it’s what our ruling establishments like to label as Russia's malign influence. More likely, the truth is that ordinary people got tired of the lies, hatred, hostility and the wars, as well as the intellectual and cultural junk food that's become the pervasive staple among Western nations. This is a hopeful sign, because escalating the wars could prove difficult for the imperial establishment. What if peace starts to break out all over the place in 2025? It’s a worthwhile idea to pray for and struggle for.

[ballet-symphonie]

Ale, do you know if something is happening at the Mariinsky? Like, the stage lights and set design are so bad. The lights aren't synchronized with the dancers and mostly have no effect to it. And the stage is soo poorly decorated. It looks empty and old. Even if you look in the old days, it was so much better. The corps of the ballet are also so unsychronized and look like they are being dragged. In Bayadere, Swan Lake it looks awful. Lastly, the orchestra is making so many mistakes like??? In Shakirova's debut, the orchestra went out of tune so many times... This is Russia's second biggest theater. The BT, ROH and even smaller theaters around the world have no problem with it. It looks incredible. Meanwhile, the MT's Juliet costume looks like a bed sheet that has been ripped... sorry of the rant lol

Did something happen? No, not anything new. The Mariinsky's productions have been in disarray for a decade at least.

A lot of their older productions are desperately in need of repair or redesign, that hideous Romeo and Juliet is near the top of my list. I know they want to 'preserve' the original theatre as untouched as possible but, I think it's come to a point that the main stage of Mariinsky (not Mariinsky II) needs its lighting and sound equipment updated.

The corps are always a bit drained before the end of the season and scheduling Bayadere and Swan Lake, two of the most intensive corps ballets, right at the finish line is practically torture and perhaps not the smartest schedule for the company. I expect the corps will be better after the restful lay off.

Regarding the orchestra....talk to Gergiev, that's his job.

[loiladadiani]

Photographs: 1. The exterior of the Mariinsky as it looks today; 2. A view of the facade; 3. The lobby; 4. A view of the orchestra and of the "Royal Box" which was in fact used by the Tsar only when there was visiting Royalty from other countries, etc. in attendance; 5. The "Royal Box" as seen from the stage; 6. The stage as seen from the "Royal Box" (notice the decorated ceiling and lamp); 7. Another view of the stage. 8. Notice the box next to the stage; that was the Tsar's real box - that was where he sat when he attended a performance with his family; 9. Another view of the Tsar's box next to the stage

"The Season" at Saint Petersburg, the Tsars and the Mariinsky Theater

Those interested in Romanov history and how the members of the dynasty lived know that "The Season," the ballet, opera, balls, etc., were an important part of their personal and political lives. So important, that one of the many factors contributing to the fall of Nicholas II might have been his withdrawal from the social activities "The Season" entailed.

"The Season" in St. Petersburg began in the last two weeks of September. The nobility returned from their vacation in their country dachas at the end of October, at the same time as the Tsar and his family. The most brilliant part of the Season took place during this time, and long-term visitors reported the city looked most brilliant and glorious during this exciting time of gala court balls, festivals, and masquerades.

All of this revolved around the person on the Tsar, who was the most important host, guest, and critic. Nicholas I attended the theater almost every day during the Season. This pattern continued until the reign of Alexander III, when he began to cut back his attendance. His son Nicholas loved the theater (he wrote in his diary that nothing moved him more than music), and as Tsarevich, he attended operas, ballets, plays, and concerts as often as he could. After he married, his wife's frequent pregnancies and illnesses increasingly cut into his attendance. In 1900 the Imperial couple was still attending concerts and performances in the city. Still, they were becoming fewer and fewer each year.

At the center of much of Saint Petersburg's entertainment life was the famous Mariinsky Theatre. Today, it still plays a significant role in Russia's cultural life. The Mariinsky underwent several rebuildings over the years. The luxurious building went up in 1860. In 1883 it was extensively remodeled, and more decoration was added to the facade. The Mariinsky was the center of the famous Imperial Ballet and Opera, home to many of the most famous performing artists of the last 100 years.

Many of the names of these stars are legendary - Nijinsky, Karsavina, Pavlova, Kschessinska, Chaliapin, Petipa, and many others. The artists of the Imperial theatre and the upkeep of its facilities were the responsibility of the Tsar, and all of these costs came out of the annual revenues of the Imperial estates.

Tickets to the Mariinsky were hard to get. Most of them were pre-assigned to subscribers who held their seats for life; when Prince Felix Yussupov married the Tsar's niece, Irina, the Tsar asked him what he wanted as a wedding present. Yussupov, a fan of the performing arts, asked for the right to use the Tsar's box at the theater when he was away - which was a gift beyond price. His request surprised and amused the Tsar, who granted it. The Tsar's private box was on the left-hand side of the Mariinsky stage. It had an incredibly intimate view of the stage, a dining room, and its own elegant bathroom. It also had a private entrance to the building and a staircase.

The Mariinsky Theatre invariably began the Season with A Life for the Tsar, a patriotic opera. The ballet opened on the first Sunday of September, the company having assembled two weeks before.

The competition for seats and the right to subscribe proved the interest it aroused. A petition to the Chancery of the Imperial Theatres had to be filed to obtain a seat; the chance of success was so small that advertisements constantly offered big premiums to the original holders of the stalls. Fathers handed their seats down to their sons. There may have been personal motives in the attachment of some to the ballet, but the cult of this delicate art was always uppermost. (gcl)

[lesser-known-composers]

Sergei Rachmaninoff (1873-1943) - Ne poy, krasavitsa, pri mne, Op. 4, No. 4 - Orch. by Nikolai Saveliev ·

Anna Netrebko ·

Mariinsky Orchestra · Valery Gergiev ·

[landrysg]

Some Bach to take you over the hump =>

J.S. Bach, Keyboard Concerto Vo.1 in D Minor, BWV 1052, Polina Osetinskaya, piano, with the Mariinsky String Orchestra, Anton Gakkel, conductor

[elegantballetalk]

Is it just me or does Mariinsky's orchestra often sound quite horrible? Especially when the main leads were non-principals

Hello! Unfortunately I do not have the ear to properly judge the music, but, I’ve heard other people say this (about Bolshoi too!) so you’re not alone in thinking this.

Is it artists who lack musicality or is it orchestra directors? Lack of practise? Just human errors? I don’t know!

I’ve always wondered what the rules or standard is regarding how much a soloist has to follow the music versus how much the orchestra conductor has to follow the dancer. In some cases, like with fouettés, it’s obvious, if you fall out of the turns earlier, the music will not continue and move forwards, but if you manage to hold your balance, it’s not like the music will pause indefinitely until you lose your balance. This is something I think I should research more. Thank you for the interesting question.

[balletthebestphotographs]

Irina Golub and Leonid Sarafanov

Irina Golub Ирина Голуб and Leonid Sarafanov Леонид Сарафанов, “Rubies”, choreo by George Balanchine, music by Igor Stravinsky Игорь Стравинский, (Capriccio for Piano and Orchestra), costumes by Barbara Karinska (Varvara Jmoudsky) from “Jewels” (“Rubies”, “Emeralds” and “Diamonds”), Mariinsky Ballet Мариинский театр, Saint Petersburg, Russia.

Source and more info at: Photographer Irina Lepnyova on Facebook Photographer Irina Lepnyova on Instagram

Irina Golub on TikTok Irina Golub on Facebook Irina Golub on Instagram (Fitness Ballet Program) Irina Golub on Instagram  Irina Golub on VKontakte

Note I: This blog is open to receiving and considering any suggestions, contributions, and/or criticisms that may help correct mistakes or improve its content. Comments are available to any visitor.

Note II: Original quality of photographs might be affected by compression algorithm of the website where they are hosted.

[germanas-world]

Watch "Shostakovich Piano Concerto No 2: 2nd Movement Andante (Mariinsky Theater Orchestra)" on YouTube

[tikitania]

I don't see why anyone should be surprised at all that the Russian theatres are bending to the government's will. They don't have a choice. All you have to do is look at all the previous names of the Mariinsky Theatre and see how they conform to every political climate Russia has been through. During the Russian Empire it was the Imperial Mariinsky Theatre after the name of the Tsar's wife. It got renamed to just the State Academic Theatre after the revolution and then Leningrad State Academic Theatre after Lenin's death and the renaming of St Petersburg to Leningrad, renamed to the Kirov State Academic Theatre for almost SIXTY years after Sergei Kirov's assassination was used as escalation of Soviet oppression, and then after the USSR fell it became just Mariinsky Theatre. It has ALWAYS been forced to be a political tool because it isn't a private institution, it is directly funded by whichever government is in power and the names are a good insight into that. It is unfortunate for the dancers and orchestra and all the staff, because obviously they have historically never had a say. That's just the way it is there unfortunately and protesting within the theatre can't help anyone.

Exactly. The Mariinsky Theatre has a fascinating history of bending to the political winds that blow, and the dancers and artists within it must learn to navigate the politics, as well. Right now, ordinary Russians are jailed for speaking out against the war and all TV is state-owned, so the "truth" is whatever Putin wants to tell people. I think dancers and staff say nothing or say it so ambiguously, so as not to imperil their careers. But everything is beautiful at the ballet, right? However, as much as I would like to believe that ballet theater staff are like "conscientous objectors" there are employees who are vocal about their support for the war. At the Bolshoi, Gracheva was collecting funds to send to soldiers on the frontline, and stagehands were marking crates with "Z," a new "tag" for the Russian Army in Ukraine. War is hell.

[shadows-starlight]

Shadows and Starlight

Book 112: A Night With The Nutcracker

-

A light snowfall covered the streets of St. Petersburg, making the world look like it was covered in powdered sugar under the faint gas lamp light.

 

Malakar held his little daughter, Aurora, close to his chest, bundling her from the frigid winter's air. Both of them were dressed to the nines because tonight, Malakar's time-traveling spell took them both to Russia in 1892 for a very special occasion.

 

Tonight, Malakar was going to take Aurora to her very first performance of The Nutcracker ballet and to revisit Malakar's old friend, Pyotr Ilyich Tchaikovsky.

 

This was his composition after all.

 

For those who are unfamiliar with the story of The Nutcracker, it is the story of a girl named Clara, who receives a wooden Nutcracker doll on Christmas Eve from her godfather, Drosselmeyer. However, when the clock struck twelve, magical things began to happen. The Nutcracker doll came to life, fought off an army of mice, and whisked Clara off to the enchanted lands in the realm of the Nutcracker doll.

 

It was a play that Malakar saw every holiday season and now he got to share this tradition with his own daughter.

 

Aurora squealed softly, her breath fogging the air as she pointed at the snowflakes drifting down. Malakar smiled warmly.

 

“Yes, little one, it is beautiful,” he said, pressing a kiss to her forehead. “But wait until you hear the music.”

 

He carried her toward a large, stately building — the Mariinsky Theater, its grand façade illuminated by warm light spilling out into the snow-filled night. The faint sounds of an orchestra warming up carried through the air.

 

Inside, Malakar strode confidently into the main lobby of the theater where people rushed into the theater to get to their seats. A familiar voice called out to him.

 

"Malakar! You've come at last!"

 

Malakar turned with a smile. There stood Pyotr Ilyich Tchaikovsky himself, in a finely tailored suit, his graying beard neatly combed. His eyes lit up as he approached.

 

“Pyotr!” Malakar greeted warmly, clasping the composer’s hand. "It's so good to see you again!"

 

Both men shook hands and Pyotr said, "You as well!"

 

Tchaikovsky’s gaze immediately dropped to the baby in Malakar’s arms, and a delighted smile spread across his face.

 

“And there she is — little Aurora!” Tchaikovsky cooed, holding out his gloved hand as if addressing royalty. Aurora blinked at him curiously before grabbing one of his fingers, earning a chuckle. “It's good to see you again as well, маленький цветок (little blossom)."

 

Aurora let out a sweet little laugh at Pyotr's compliment.

 

Tchaikovsky laughed warmly. “Come on in! I have secured for you the best seats in the house—naturally.” He gestured grandly toward the theater. “Tonight’s performance is special, Malakar. I trust you’ll enjoy it.”

 

The theater hummed with anticipation as the audience settled into their seats. Malakar lowered himself gracefully into his box seat with Aurora nestled securely on his lap.

 

Their view was exquisite—the stage stretched before them, its curtains shimmering like ruby silk.

 

Tchaikovsky stood below near the orchestra pit, casting one last glance toward Malakar before offering him a subtle nod. Malakar returned it, cradling Aurora close.

 

“Listen closely, my little star,” Malakar whispered into her ear as the orchestra began to tune. “Tonight, you shall hear music unlike any other—music that will outlast time itself.”

 

Aurora blinked slowly, her tiny fingers patting Malakar’s hand, as if in understanding.

 

As the overture of The Nutcracker filled the theater, the world seemed to pause. The delicate strains of the music wove their magic through the audience, and the curtain lifted to reveal the beautifully decorated foyer of the Stahlbaum house. The dancers, men, women, and children, moved with an elegance that seemed otherworldly, their movements perfectly in sync with Tchaikovsky’s brilliant score.

 

Aurora’s gaze never left the stage, her dark olive eyes wide as she watched the performance. When the sugar-plum fairies pirouetted across the stage, she let out a soft coo.

 

Malakar couldn’t help but smile as he watched her.

 

The music swelled around them, lifting the audience into a dreamlike state. Tchaikovsky’s genius flowed like magic through the theater, each note like a spell. Malakar closed his eyes briefly, letting the music wash over him.

 

He had watched this ballet over and over again growing up. He knew both the story and the music by heart and even performed a song from the ballet for a concert once. The world around him seemed to vanish with only the music surrounding him and Aurora.

 

After the performance ended and the audience erupted in applause, Malakar and Aurora joined Tchaikovsky backstage. The composer was flushed with excitement, his eyes still alive with the thrill of the evening.

 

“Well?” he asked. “Did I not promise you something magnificent?”

 

Malakar smiled and shook Pyotr's hand again, “You did not disappoint, Pyotr. The Nutcracker is a triumph. Its magic will endure for generations. It's another masterpiece in my book."

 

Tchaikovsky looked humbled, taking his hand and shaking it again. “Your words mean much to me, old friend.”

 

Aurora chose this moment to chime in with a happy babble, reaching for Tchaikovsky once again. He laughed and took her gently in his arms, holding her as if she were the most precious treasure in the world.

 

“She is my most honest critic,” Tchaikovsky teased. “And from her face, I gather she enjoyed it.”

 

Malakar smirked. “She has excellent taste.”

 

Tchaikovsky looked down at Aurora, a soft smile playing on his lips. "Ah, I almost forgot! I have a gift for you so that you can always remember this night."

 

Pyotr hid himself with his cloak just like Drosselmeyer did in the ballet, and revealed himself holding a beautiful periwinkle blue, white, and gold Nutcracker that was dressed like a king with white eyebrows and a mustache and friendly blue eyes.

 

Aurora was amazed at the little Nutcracker doll that Pyotr presented to her. She immediately took it into her hands and hugged it tight.

 

Malakar smiled warmly at Aurora's new friend and said, "Thank you, Pyotr, it’s a wonderful gift. Something that she will truly treasure forever."

 

Later, after bidding each other goodbye and stepping through the portal that took them back to their cozy cavern lair home, Malakar dressed Aurora up for bedtime and placed her in her cradle.

 

Aurora slept soundly, holding the Nutcracker doll in her grasp, having her own little dream adventure in a world of mice soldiers, sugar plum fairies, and dazzling snowflakes dancing across the skies while being whisked away by the Nutcracker prince.