Mariinsky II opens in St Petersburg

Mariinsky II opens in St Petersburg
January 4, 2013
Designed by Toronto-based Diamond Schmitt Architects, St Petersburg´s new opera house, Mariinsky II,
opens this coming May. Adding to the Mariinsky complex which consists of the Mariinsky Theatre and
Concert Hall, it cements St Petersburg´s position as a world-leading centre of performing arts. The
opening marks Artistic and General Director Maestro Valery Gergiev´s 25th anniversary of leading the
institution and is celebrated with a grand gala concert and ballet performances, as well as long-awaited
releases from the Mariinsky label‚ Wagner´s The Ring Cycle in particular. Later in May, the Stars of the
White Nights Festival, international touring, broadcasting and multi-media events around the world will
celebrate this landmark year.
Mariinsky II will accommodate around 2,000 opera-goers and is designed to complement the 19th
century architecture of the Theatre Square while, at the same time, adding a contemporary element,
improved facilities and further technological capabilities‚ the acoustical design is by Müller-BBM. It also
includes a rooftop amphitheatre that will become the principal space for the Stars of the White Nights
Festival.
The new Mariinsky II is scheduled to open May, 2-4 2013, the Stars of the White Nights Festival is from
May 24 - July 14.
http://www.theglassmagazine.com/forum/blog_post.asp?tid=4990
New Mariinsky Theatre by Diamond and Schimitt Architects
January 7, 2013
Project: New Mariinsky Theatre
Designed by Diamond and Schimitt Architects
Location: St. Petersburg, Russia
Website: www.dsai.ca
Design for the new Mariinsky Theatre in St. Petersburg coming from the drawing board of Diamond and
Schimitt Architects.
From the Architects:
The design of the New Mariinsky Theatre will be a contemporary expression of the existing historic
urban form. The height of the fenestrated masonry base will be consistent with the existing buildings of
historic St. Petersburg and will create a continuous streetscape similar to the streets of the old city.
Large bay windows will provide panoramic views of the city and the adjacent historic Mariinsky Theatre,
fulfilling the role of the historic colonnaded porticos.
Above the base of the New Mariinsky Theatre will be a gently curved metal roof enlivened by a glass
canopy. The contrast in form, material and colour between the building’s base and its roof will give the
building a contemporary identity rooted within the context of St. Petersburg’s exceptional architectural
heritage.
The New Mariinsky accommodates a 2000-seat opera and ballet house with six stages and six rehearsal
rooms as well as dressing rooms and other support facilities. The auditorium will be carefully designed
with respect to acoustics, sight lines and audience comfort in keeping with the international stature of
the Mariinsky Opera, Ballet and Orchestra.
http://www.archiscene.net/cultural/diamond-and-schimittarchitects/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+archiscene+(Archis
cene+-+Your+Daily+Architecture+%26+Design+Update)
Gergiev présente le nouveau Mariinsky
Le maestro russe Valery Gergiev était à Paris pour présenter le Mariinsky II qui ouvrira ses portes à
Saint-Pétersbourg en mai prochain.
Marc Zisman
January 8, 2013
Charisme, grandeur voire, selon certains,
despotisme, il fallait un lieu à l’image de Valery
Gergiev pour présenter le nouveau théâtre
Mariinsky de Saint-Pétersbourg. Hôtel particulier de
la rue de Grenelle à Paris, avec jardin à la française,
salons d'apparat et cour d'honneur pavée,
construite par Robert de Cotte, architecte de Louis
XIV, pour la duchesse d'Estrées et acquis en 1863
comme propriété de l'Etat Russe, la flamboyante
résidence de l’ambassadeur de Russie en France,
accueillait donc le maestro ossète, mardi 8 janvier, pour une conférence de presse destinée à détailler le
vaste projet Mariinsky II.
2013 est une année majeure pour le grand théâtre de Saint-Pétersbourg. Ce lieu unique d’opéra et de
ballet mondialement connu verra donc l’ouverture du nouvel opéra, le Mariinsky II, que l’on doit à
l’agence canadienne Diamond Schmitt Architects, célébrant le 25e anniversaire de la direction artistique
de Gergiev, en même temps qu’un nombre important de projets audiovisuels avec le label Telmondis.
Avec son inauguration, début mai, le Mariinsky II, aux côtés du légendaire Théâtre Mariinsky et de la
Salle de Concert, complète la transformation de ce complexe culturel en l’un des plus grands centres au
monde consacrée à la musique classique, à l’opéra et au ballet, et dotée de possibilités techniques
performantes.
« Disons que le Mariinsky historique serait votre Palais Garnier. Le Mariinsky II jouerait le rôle de l’Opéra
Bastille, et la Salle de Concert, celui de Pleyel », a expliqué Valery Gergiev devant l’assistance parisienne.
Au même titre que la capitale française a du trouver un fonctionnement de répartition des programmes
entre Garnier et Bastille, le chef russe sait qu’il devra, lui aussi, satisfaire les deux salles.
Financée par le gouvernement russe, la nouvelle salle d’environ 2000 places offre plus de 79.000 m²,
l’une des plus grandes superficies pour une institution lyrique. Une passerelle franchissant le canal
Kryukov reliera les deux Mariinsky. Tout en soulignant l’architecture XIXe siècle de Saint-Pétersbourg, le
bâtiment devrait apporter une touche de modernité unique et singulière : façades de verre et baies
vitrées offrent une vue panoramique sur la ville et le Mariinsky adjacent, tout en reprenant également le
rôle traditionnellement réservé aux portiques à colonnes.
Suivant les principes des grandes salles d’opéra des XVIII et XIXe siècles, l’auditorium est en forme de fer
à cheval et doté de trois balcons, configuration idéale tant au niveau acoustique que visuel. A cette salle
principale s’ajoutent un amphithéâtre situé sur le toit (l’un des lieux principaux du festival Stars of the
white night), un foyer ainsi que des salles de répétition.
Tout au long de la présentation de ce pharaonique complexe culturel, Gergiev n’a cessé de mettre la
jeunesse au centre de son discours. « Ça n’est qu’aujourd’hui que je comprends réellement pourquoi
Leonard Bernstein était si focalisé sur la jeunesse et sur la transmission. C’est devenu un élément
essentiel de mes activités et ce nouvel ensemble Mariinsky avec ses trois salles fait aussi parti de cette
réflexion », a-t-il insisté.
http://www.qobuz.com/info/MAGAZINE-ACTUALITES/NEWS/Gergiev-presente-le-nouveau173202
OperaWatch
Oussama Zahr
Janury 2013
1. Broadway and television star KRISTIN CHENOWETH joins the lineup of Lincoln Center's American
Songbookseries with two concerts on February 15. Songbook has expanded its scope beyond its
traditional season at the Allen Room, which opens on January 30 with Lea Salonga, to include a second
series at the Stanley H. Kaplan Penthouse, "American Songbook in the Penthouse," which opens on
March 29 with Lindsay Mendez. For a complete list of acts, visitwww.americansongbook.org.
2. The Brentano String Quartet and Anne Sofie von Otterappear on the soundtrack of Yaron Zilberman's
new film A Late Quartet, which stars Philip Seymour Hoffman, Christopher Walken, Catherine
Keener and Mark Ivanir as the members of a renowned string ensemble who struggle to stay together as
they approach their twenty-fifth anniversary. Von Otter contributes "Marietta's Lied," from Die Tote
Stadt, and the Brentano Quartet plays Beethoven's Op. 131 in C-sharp minor.
3. REGINA RESNIK, who celebrated her ninetieth birthday in August, was honored at a dinner on October
9 at a private club in Manhattan. Among the guests at the event, hosted by Metropolitan Opera Guild
president Richard J. Miller, Jr. and his wife, Carol Miller, was ROSALIND ELIAS, Resnik's longtime
colleague and friend and fellow MOG board member.
4. The Mariinsky Theatre marks the twenty-fifth anniversary
ofVALERY GERGIEV's artistic leadership with the construction of a
new opera house, dubbed Mariinsky II, set to open in May in St.
Petersburg. The company also celebrates with a new recording
of Die Walküre, featuring Jonas Kaufmann, Nina Stemme and René
Pape — the first release in a planned traversal of Wagner's
completeRing cycle.
OPERA THEATRE OF SAINT LOUIS has received a $1-million grant
from the Andrew W. Mellon Foundation to expand the American
repertoire through a cycle of new operas, beginning in 2013 with
Terence Blanchard's Champion, to be followed by Ricky Ian
Gordon's Twenty-Seven (2014) and Jack Perla's Shalimar the
Clown (2015).
5. Artistic director Nicole Paiement leads the forces of OPERA PARALLÈLE in the Bay Area premiere of
Osvaldo Golijov's Ainadamar on February 15, 16 and 17 at Yerba Buena Center for the Arts. The San
Francisco company has officially changed its name from Ensemble Parallèle in recognition of its
commitment to the presentation of contemporary chamber opera.
6. BROOKLYN ACADEMY OF MUSIC's winter/spring season features the first U.S. outing of Andreas
Homoki's production of Marc-Antoine Charpentier's David et Jonathas (Apr. 17–21), which played the
Aix-en-Provence Festival last summer. The season, which runs from January 17 to June 9, opens with the
U.S. premiere of Peter Brook's play The Suit and includes The Laramie Cycle (Feb. 12–24), directed
byMoisés Kaufman and Leigh Fondakowski, and Ibsen's Master Builder (May 12–June 9), headlined
byJohn Turturro. For more information, visit www.bam.org, or call 718-636-4100.
http://www.operanews.com/Opera_News_Magazine/2013/1/Departments/OperaWatch.html
Depardieu, Valery Gergiev et le nouveau Mariinski
Ariane Bavelier
January 9, 2013
Le chef d'orchestre russe a profité de ses concerts à Paris pour présenter son nouveau théâtre qui
ouvrira à Saint-Pétersbourg le 2 mai prochain et revenir sur l'affaire Depardieu et les Pussy Riots dont
il ne plaint guère le sort.
Préparer l'ouverture du Marinskii II, est en soi une entreprise. Après New York,Tokyo, Pékin et Londres,
et avant Hambourg, Valery Gergiev qui dirige les plus grandes phalanges de ces métropoles a présenté
son projet à Paris.
Construit face au Mariinskii historique, de l'autre côté du canal Kryukov sur le terrain d'un ancien nightclub rue des Décabristes, le Marinskii II est un théâtre de 80 000 m2 et 2000 places. Depuis le premier
projet, signé par l'architecte français Dominique Perrault en 2006 et remercié l'année suivante, l'eau a
coulé sous les ponts de la Neva. La résille d'or prévue a été supprimée, le toit en verre aussi après que
celui d'une nouvelle patinoire de Saint-Pétersbourg, également en verre, s'est effondré un hiver sous le
poids de la neige.
«Taxer Depardieu à 75% ne va pas sauver la France»
La nouvelle salle d'opéra qui sera inaugurée début mai 2013, est finalement signée par l'agence
d'architecture canadienne Diamond Schmitt et les acousticiens Müller BBM. Il est conçu avec un toit en
métal animé par un auvent de verre, des façades et baies vitrées pour que le bâtiment soit une source
de lumière dans la longue nuit des hivers pétersbourgeois. L'inauguration durera trois jours: soirée de
gala le 2 mai, ballet le 3, opéra le 4. Le projet est entièrement financé par le gouvernement fédéral, au
contraire du Marinskii III, auditorium de 1500 places né en 2006 sous l'impulsion de Gergiev et financé à
100% par ses mécènes du monde entier. «En 25 ans à la tête du Mariinsky, c'est de cet auditorium que
je suis le plus fier. Le tsar Alexandre II a construit le Mariinski en 1860. J'ai construit l'auditorium!», se
félicite-t-il.
Chef d'orchestre sur l'estrade comme à la ville, Gergiev donne le tempo
partout où il passe. À Paris, il a pris deux heures pour exposer son projet. Et
donner ses commentaires de l'actualité. Une gazette qui débute par
l'affaire Depardieu: «Je connais Gérard depuis 23 ans. La première fois que
l'on s'est vu, c'était dans un bar new-yorkais à 2 heures du matin. C'est un
merveilleux compagnon pour boire du bon vin», concède Gergiev qui l'a
dirigé l'an passé dans l'oratorio d'Oedipus Rex de Stravinsky où il tenait le
rôle du récitant. «Taxer Depardieu à 75% semble stupide, ça n'est pas ça qui
va sauver la France! Il aurait mieux valu demander à Gérard de se produire dans des galas au profit de
telle ou telle cause. Il l'aurait fait de grand coeur!»
«Les Pussy Riots gagneront des millions»
À Londres, un des 90 journalistes conviés à la présentation du Mariinski II l' a questionné sur la liberté
des artistes à propos des Pussy Riots : «Mais ça n'a rien à voir avec la liberté des artistes! Faire une
prière punk dans une église très sacrée, car reconstruite avec l'argent des croyants russes, c'est juste de
la provocation! Elles sont devenues célèbres en cinq minutes et c'est ce qu'elles cherchaient. Quand
elles reprendront leurs concerts, quelle que soit la qualité de leur prestation artistique, elles gagneront
des millions, souvenez-vous en!»
Un tour en Chine d'où il revient, lui permet un comparatif sur la manière dont les gouvernements du
monde défendent la culture: «Connaissez-vous d'autres pays que la Chine qui construisent des maisons
d'opéras fastueuses dans des paysages joliment dessinés? Et qui compte 50 millions de pianistes? On les
boude jugeant que la Hollande vaut mieux. Or ce dernier pays vient de rayer d'un trait de plume le
festival de musique classique que j'avais lancé en 1995 pour raisons budgétaires.»
Son avis sur la France? «Personne ne comprend ce que fait son gouvernement. Mitterrand avec l'Opéra
Bastille ou la Grande Bibliothèque a œuvré pour la postérité comme Catherine La Grande. Mais François
Hollande? À vrai dire, je ne comprends pas davantage ce que fait l'actuel gouvernement russe, mais je
sais que Poutine toujours défendra la culture et incitera les oligarques à l'épauler.»
http://www.lefigaro.fr/culture/2013/01/08/03004-20130108ARTFIG00663-depardieu-le-mariinskivalery-gergiev-revient-sur-l-actualite.php
LE MARIINSKY II, C'EST POUR LE 1ER MAI
Laurent Bury
January 9, 2013
Lors d’une conférence de presse donnée dans la résidence de
l’ambassadeur de Russie à Paris, ce mardi 8 janvier, Valery
Gergiev a présenté le nouveau théâtre pétersbourgeois qui
vient s’ajouter au célèbre Mariinsky (ex-Kirov) comme Bastille
est censé compléter Garnier. Alors que dans un premier temps,
c’est l’architecte français Dominique Perrault qui avait été
choisi, son projet de bâtiment couvert d’une résille dorée a été
jugé trop coûteux à entretenir, et les autorités russes se sont
donc rabattues sur le cabinet canadien Diamond Schmitt. Le
Mariinsky II, situé juste derrière le théâtre construit en
1860,sera d’une modernité plus discrète : c’est un simple
parallélépipède de pierre et de vert, doté de foyers aux murs tapissés d’onyx. L’inauguration est prévue
le 1er mai, avec un premier concert dont le public sera exclusivement composé de gloires passées et
présentes de la musique russe. Le 2 mai aura lieu le véritable gala officiel d’ouverture, avec une pléiade
de stars russes – Netrebko, Borodina, Nikitin… – mais pas seulement (Placido Domingo est annoncé sous
réserves). Viendront ensuite, le 3, une soirée de ballet, et le 4, un grand opéra, après quoi Gergiev
emmènera son orchestre ouvrir le festival de Pâques de Moscou. Il fêtera à cette occasion ses vingt-cinq
ans de direction artistique du Mariinsky et, à titre privé, son soixantième anniversaire. Et pour l’avenir, il
annonce des commandes à des compositeurs vivants (un nouvel opéra de Rodion Chtchédrine), des
coproductions internationales (l’opéra de Thierry Escaich créé prochainement à Lyon devrait ensuite
être accueilli par Saint-Pétersbourg), un effort particulier en faveur du jeune public, et une ambitieuse
politique éditoriale en matière de CD et de DVD.
http://www.forumopera.com/index.php?mact=News,cntnt01,detail,0&cntnt01articleid=4650&cntnt01r
eturnid=34
Conférence de presse avec Valery Gergiev pour l'inauguration
du Théatre Mariinsky II à la résidence de l’Ambassadeur de la
Fédération de Russie, 8 janvier 2013.
January 2013
C’est une conférence de presse passionnée qui s’est déroulée à
l’hôtel d’Estrées, résidence de l’Ambassadeur de la Fédération de
Russie, rue de Grenelle. Son Excellence, Alexandre Orlov avait très
généreusement tenu à accueillir les journalistes et personnalités
présentes, signe de l’importance de l’évènement. Le célèbre chef
d’orchestre, Valery Gergiev, directeur musical de l’Orchestre du
Mariinsky depuis 25 ans, est venu en personne à Paris présenter le
nouveau Théâtre Mariinsky qui ouvrira ses portes au printemps
prochain à Saint-Pétersbourg avec un bâtiment qui s’annonce non
seulement splendide architecturalement parlant, mais également en
termes d’accueil et de disposition des espaces. Littéralement habité
par son sujet, Valery Gergiev a parlé pendant plus d’une heure en
véritable ambassadeur de ce projet qui lui tient à cœur, projet
financièrement soutenu par l’État. Ce projet qui l’a animé pendant
près de dix ans est non seulement un grand complexe pour les
productions qui seront réalisées sur place, mais également et surtout pour travailler avec les jeunes,
comme le souligne avec insistance le maestro. Trois salles se trouveront ainsi réunies : le Mariinsky
historique, le Concert Hall et le nouveau bâtiment à l’architecture prometteuse, le Mariinsky II. De
nombreux espaces dans les différents étages permettront de réaliser des rencontres, notamment avec
les scolaires et les étudiants… Une passerelle réunira l’ancien et le nouveau bâtiment qui seront alors
distants de quelques pas l’un de l’autre.
Les lieux accueilleront de nombreuses productions, non seulement du patrimoine musical historique
russe, mais également contemporain, incluant des compositeurs étrangers comme Thierry Escaich, très
appréciés de Valery Gergiev . Les lieux seront également l’occasion de poursuivre et de développer une
intense activité de production musicale sous le label Mariinsky, qu’il s’agisse de productions pour le
cinéma avec d’ambitieux projets en 3D avec la société de James Cameron, de captations pour des Web
diffusions ou l’enregistrement de DVD… Dans toutes ces activités, le dynamique chef d’orchestre a
souligné combien il tenait à ce que le Mariinsky Theatre reste maître de ce qui allait être produit et que
les choix soient exclusivement faits selon le seul critère de l’excellence. Valery Gergiev tient à mettre en
valeur les talents les plus accomplis de son pays en ouverture bien entendu avec l’international, ce qu’il
pratique depuis des décennies dans son parcours personnel de chef d’orchestre. Son autre priorité :
découvrir de nouveaux talents parmi les jeunes générations, ce nouveau lieu devant être une pépinière
idéale pour cela ! En conclusion, Valery Gergiev a lancé une invitation enflammée à tous les mélomanes
pour l’inauguration du 2 au 4 mai 2013 de son nouveau théâtre : le Mariinsky II à Saint-Pétersbourg !
http://www.lexnews.fr/les_concerts.htm#mariinsky
Mariinsky Orchestra, Netrebko make splash in Barcelona
January 14, 2013
The St.Petersburg Mariinsky Theater Orchestra led by Valery Gergiev and Russian opera star Anna
Netrebko have completed the first stage of their tour of Spain with the performance of Pyotr
Tchaikovsky’s Iolanta in Barcelona.
The performance made a splash among local opera buffs.
The program of the tour features musical pieces by Beethoven Mozart, Brahms and Wagner.
Later this week, the Mariinsky Orchestra and Netrebko are due to perform in Madrid.
http://english.ruvr.ru/2013_01_14/Mariinsky-Orchestra-Netrebko-make-splash-in-Barcelona/
The Mariinsky Ballet | The Nutcracker DVD
January 14, 2013
Having a snow day or two ? Then this DVD, released in December 2012, will keep you entertained until
you can’t avoid going out any longer!
The Mariinsky Ballet’s The Nutcracker, danced by Alina Somova and Vladimir Shklyarov, with Alexandra
Korshunova as Masha and Fyodor Lopukov as Drosselmeyer was filmed live from the Mariinsky Theatre
in St Petersburg, in high definition. 103 minutes of magic and mayhem.
It’s beautifully filmed, and tells the well-known story of the Stahlbaum’s party, the magic of
Drosselmeyer, the dance of the mechanical toys, the battle, the Land of Snow, the Waltz of the
Snowflakes and on into the Kingdom of the Sweets.
http://balletnews.co.uk/the-mariinsky-ballet-the-nutcracker-dvd/
Mariinsky wins high acclaim in Madrid
January 15, 2013
The Mariinsky Theatre Orchestra directed by Valery Gergiev has stunned the Madrid public with a
virtuoso performance of Sergei Rachmaninoff’s Piano Concerto No.2 and Pyotr Tchaikovsky’s Fifth
Symphony.
Performing in tandem with outstanding pianist Denis Matsuev, maestro Gergiev took an encore to
present an equally brilliant version of Anatoly Lyadov’s Enchanted Lake, a poem practically unknown in
Spain.
The Mariinsky Orchestra will present 10 different programs during his 11-day tour of Spain.
http://english.ruvr.ru/2013_01_15/Mariinsky-wins-high-acclaim-in-Madrid/
Kampa debuts in 'Don Quixote' ballet in the Mariinsky Theatre
January 17, 2013
Keenan Kampa made her debut in 'Don Quixote' ballet in the Mariinsky Theatre in St. Petersburg. Kampa
is the first American dancer to graduate from the Vaganova Academy and to win a spot at the Mariinsky
Ballet, but hard work lies ahead.
http://indrus.in/multimedia/2013/01/17/kampa_debuts_in_don_quixote_ballet_in_the_mariinsky_thea
tre_21701.html
TCHAIKOVSKY: Symphonies Nos. 1 – 3 – London Sym. Orch./
Valery Gergiev – LSO Live (2 discs)
Exciting performances in terrific sonics on Nos. 1 & 3, 2 not quite as good performance-wise.
John Sunier
January 22, 2013
This is a bit of challenge for me since I haven’t compared all the top-rated
recordings of these early Tchaikovsky symphonies; thee are over 500 recordings of
different Tchaikovsky symphonies in the catalog, but the last three get all the
attention, with there not being many of the first three symphonies. And no others
of all three of them in one SACD package, such as this one. There are 53 CDs of
the Third Symphony alone. Most of the single SACDs of Symphonies 1, 2 & 3 are on
expensive Japanese labels, plus a couple featuring Neeme Jarvi on BIS, and all three on PentaTone with
Pletnev conducting.
Valery Gergiev is regarded as one of the outstanding conductors of today. As Artistic and General
Director of the Mariinsky Theater in St. Petersburg, he oversees the Kirov Orchestra, Ballet and Opera,
and this exciting set has him conducting the London Symphony Orchestra. He also launched the
Mariinsky SACD label. He is known for his all-out, energetic and enthusiastic style, which seems to come
to fore in some Tchaikovsky. He already got good marks for his traversal of the final three Tchaikovsky
symphonies on the Mariinsky label, and here are the first three—much less well-known but filled with
richly expressive melodies. They are more balletic and suite-like than the familiar later three
symphonies, as the composer was sort of feeling his way toward a more perfected symphonic language.
The top-rated recordings of these three seem to be Bernstein, Karajan and Temirkanov. Nit-pickers will
find things to carp about Gergiev’s performances. For one, his usual enthusiasm seems dampened in
some almost funereally-paced tempi. The First (“Winter Dreams”) and Third (“Polish”) are still superb in
my estimation, with the Third sounding almost like a Tchaikovsky ballet score. It is the Second (“Little
Russian”) that, while refined and accurate, rather drags along with the usual Gergiev enthusiasm. Its
several themes are adaptations of Ukrainian folksongs.
But it is the usual excellent LSO Live hi-res surround sonics on this pair of bargain-priced SACDS which
for me makes them a winner on my system.
http://audaud.com/2013/01/tchaikovsky-symphonies-nos-1-3-london-sym-orch-valery-gergiev-lso-live2-discs/
Gergiev Named Chief Conductor of Munich Philharmonic
Catherine Hickley
January 23, 2012
Munich city council today voted to appoint Valery Gergiev, the
director of the Mariinsky Theatre inSt. Petersburg, as chief conductor
of the Munich Philharmonic Orchestra for a five-year term beginning
in 2015.
Gergiev will succeed Lorin Maazel, whose contract expires in two
years, the Munich Philharmonic said in a statement. Gergiev, 59,
conducted the orchestra in a series of concerts of the composer Dmitri
Shostakovich in 2011 and 2012. He described it as a “fantastic orchestra” in the statement.
“Valery Gergiev is indisputably one of the most important, influential and effective conductors of our
time,” said Hans- Georg Kueppers, Munich’s chief culture official. He was the city’s first choice, Kueppers
said.
Moscow-born Gergiev has led the Mariinsky for 20 years, is also the chief conductor of the London
Symphony Orchestra and has founded festivals in St. Petersburg, Moscow and Rotterdam. Maazel turns
83 this year.
Gergiev’s appointment was approved by the city council with a “big majority,” according to the
statement.
http://www.bloomberg.com/news/2013-01-23/gergiev-named-chief-conductor-of-munichphilharmonic.html
Munich Philharmonic names Russian star as new chief
January 23, 2013
AFP - Charismatic Russian maestro Valery Gergiev will take over as chief conductor of the prestigious
Munich Philharmonic from 2015, local officials announced on Wednesday.
Gergiev, 59, will replace Lorin Maazel as the orchestra's chief when Maazel's contract expires in 2015,
the city council said in a statement.
The Moscow-born maestro, currently chief conductor of the London Symphony Orchestra and long-time
director of the legendary Mariinsky Theatre in Saint Petersburg, will initially be appointed for a term of
five years until 2020.
"Valery Gergiev is without doubt one of the most important, influential and inspirational conductors of
our time," said Munich's culture minister Hans-Georg Kueppers.
"His youthful energy and enthusiasm will not only benefit the orchestra. His ability and charisma will
also shape audiences of all different age groups and Munich's musical life," Kueppers said.
The appointment, voted through by a majority by Munich's city council on Wednesday, had been
decided in consultation with the orchestra, which is one Germany's top ensembles, he added.
"The Munich Philharmonic is a fantastic orchestra with a great tradition," Gergiev was quoted as saying
in the statement.
"We know each other very well. I'm happy that we can intensify our artistic collaboration."
Gergiev is one of the busiest conductors working today. He has headed the Mariinsky Theatre in St.
Petersburg for 20 years and been chief conductor of the London Symphony Orchestra since 2007.
He is also chief conductor of the World Orchestra for Peace, an initiative set up in 1995 by legendary
maestro Georg Solti.
The classical music scene has been abuzz with speculation recently that Gergiev was to take the Munich
position after the LSO in London announced last week that he would not be renewing his contract with
them after the end of 2015.
But the London orchestra insisted that their relationship with Gergiev remained "excellent" and would
continue to be strong even after his departure.
The Munich Philharmonic is one of Germany's top orchestras and its previous chief conductors include
the legendary Sergiu Celibidache, US maestro James Levine and German star conductor Christian
Thielemann.
http://www.france24.com/en/20130123-munich-philharmonic-names-russian-star-new-chief
Valery Gergiev can head the Munich philharmonic orchestra
January 23, 2013
The art director of the Maryinsky Theater Valery Gergiev can elect the chief conductor of the Munich
philharmonic orchestra. On this post the Petersburger will replace the American maestro Lorin Maazel.
Maestro Gergiev can become the chief conductor of the Munich philharmonic orchestra, reports ITARTASS with reference to the representative of cultural department of the capital of Bavaria Jennifer
Becker.
“The head of Department for culture of Munich Hans-George Kyuppers is going to submit Gergiev’s
candidate for discussion. The decisive word in such affairs remains behind city council. Meeting at which
this question will be discussed, will take place on Wednesday”, – reported Becker.
Meanwhile already meeting of musicians of an orchestra who supported the statement of the art
director of the Maryinsky Theater of Valery Gergiev in this position took place.
If the city council votes for the Petersburger, it will replace the American conductor Lorin Maazel behind
a conductor’s stand. But there will be it not earlier than 2015 when at the present chief conductor
contract action will end.
http://ru-facts.com/news/view/13719.html
Maestro Valery Gergiev to head Munich Philarmonic
January 24, 2013
Acclaimed Russian conductor Valery Gergiev is to take over as chief conductor at one of Germany’s
leading orchestras, the Munich Philharmonic in 2015.
The Artistic Director of St. Petersburg’s Mariinsky Theatre Gergiev will replace Lorin Maazel whose
contract expires in 2015. The news was announced in an official statement from Munich City Council on
Wednesday.
Gergiev’s contract with the Munich Philharmonic will span five years and expire in 2020.
"Valery Gergiev is without doubt one of the most important, influential and inspirational conductors of
our time," said Munich's Culture Minister Hans-Georg Kueppers. "His youthful energy and enthusiasm
will not only benefit the orchestra. His ability and charisma will also shape audiences of all different age
groups and Munich's musical life," Kueppers said.
"The Munich Philharmonic is a fantastic orchestra with a great tradition," Gergiev was quoted as saying
in the statement. "We know each other very well. I'm happy that we can intensify our artistic
collaboration."
Gergiev has headed the Mariinsky Theatre in St. Petersburg for over 20 years and has served as the chief
conductor of the London Symphony Orchestra since 2007. LSO has already confirmed in a statement
that they will not be prolonging Gergiev’s contract which ends in two years time.
http://rt.com/art-and-culture/news/valery-gergiev-munich-conductor-663/
Coming Soon: New Mariinsky Theater In St. Petersburg
January 29, 2013
Project: New Mariinsky Theater (Mariinsky II)
Architect: Diamond Schmitt Architects
Location: St. Petersburg, Russia
Function: In May, Diamond Schmitt Architects is set to complete a new home for the Mariinsky Opera,
Orchestra, and Ballet, directly across the street from the old Mariinsky Theater in St. Petersburg.
Complementing the city’s 19th-century architecture while adding a distinctive contemporary element,
the new building will be one of the largest opera facilities in the world. Features include a main stage
and rehearsal stage with multiple support areas; rehearsal rooms; dining and production space for 2,500
staff members; and a rooftop amphitheatre. Read more about this project in the Architizer database.
Images courtesy of Diamond Schmitt Architects
http://www.architizer.com/en_us/blog/dyn/74169/first-look-new-mariinsky-theater-in-stpetersburg/#.URAU3R3pd8F
The real melodrama at the Bolshoi Ballet is offstage
Jaime Weinman
January 30, 2013
The world was shocked earlier this month when a masked assailant threw acid in the face of Sergei Filin,
the artistic director of the Bolshoi Ballet in Moscow, requiring him to have operations to save his
eyesight. But it was just one of many scandals at Russia’s most beloved arts institution. In the past two
years, Filin has had his tires slashed by what he claimed were his artistic enemies at the company; a
deputy director was forced to resign after photos of him in bed with a man were circulated online,
reportedly by a rival; there were allegations of trading sex for promotions; one ballerina who sued the
company told the Daily Beast, “Men with knives threatened to kill my ballet partners.” Another Bolshoi
dancer fled to Canada this week after being threatened over her husband’s business.
For North Americans, the whole thing seems mystifying. Here, the world of classical ballet and dance is a
low-stakes world. But Russians “take a special pride in the world of ballet and opera,” says Valery
Gergiev, the celebrated conductor of the Mariinsky Theatre in St. Petersburg. “There are many national
heroes and national treasures.” That’s the good side of a world where culture is taken seriously enough
to have actual scandals.
When the West has noticed Russian culture in recent years, it’s often over something like the trial of
Pussy Riot, the dissident punk group. But in Russia itself, classical ballet gets a lot more attention. Robert
Johnson, a former director of the Centre for Russian and East European studies at the University of
Toronto, recalls that when he was in Russia, dancers and musicians “were much more widely known to
ordinary people than most of our ‘classical’ stars have ever been.”
Fights at the Bolshoi have always been widely covered in Russia. It was national news when the
renovation of its theatre ran an alleged 16 times over budget, and when two of the company’s star
dancers defected to its rival, the Mariinsky. “The ballerinas are rock stars,” says Canadian architect Jack
Diamond, founder of the firm Diamond and Schmitt. “You see twentysomethings going on dates to the
opera and the ballet.” Diamond saw this first-hand when he went to Russia to build a new theatre for
the Mariinsky, due to open with a major gala this May. Project architect Gary McCluskie recalls that
Gergiev was treated like a pop idol: “A little security detail is with him—not that it’s a crazy backstage
scene, but there are always people who want to speak to him.”
What makes ordinary Russians so fascinated by the things we consider highbrow? Part of it may be, as
Diamond puts it, that “Russians have a tremendous pride in their culture and their heritage.” And while
the media in Western countries often ignores classical music—the New York Times recently gave a
buyout to its chief classical writer—in Russia, Gergiev says, reporters “are still watchful over opera and
classical music.” Russia also still has a lot of synergy between the arts and government: when Gergiev
and other classical artists endorsed Vladimir Putin, it was a major story. When President Obama had his
second inauguration, classical artists were almost non-existent, and the major controversy revolved
around Beyoncé’s alleged lip-synching of the national anthem.
There’s a downside to the higher profile of the arts in Russia. The attack on Filin shows how dangerous it
can be for classical artists to work in an atmosphere of Machiavellian plots and conspiracies—like show
business, with a historically Russian twist. A dancer who was passed over for Filin’s job has been
questioned in connection with the attack, and responded to the accusations by claiming he was a victim
of the Stalinist “methods of 1937.”
But Johnson says it’s a mistake to say the arts have been “contaminated by being linked to a rough-andtumble street society,” and McCluskie says one fascinating thing about Russia is that it marries “a very
knowledgeable audience when it comes to ballet, music, opera and so on” with “a Wild West quality on
the entrepreneurial side. They’ve got those extremes built into the culture. It’s a different mix than we
are used to in North America.” Even if it can get a little dangerous sometimes.
Bolshoi ballet dancers and crew are seen backstage during a rehearsal of Tchaikovsky’s ballet “The
Sleeping Beauty” at the Bolshoi Theatre on Nov. 16, 2011. (Denis Sinyakov/Reuters)
Russia’s Prime Minister Dmitry Medvedev delivers a speech during a ceremony to mark the 100th
anniversary of the State Pushkin Museum of Fine Arts at the Bolshoi Theatre on May 31, 2012.
(Yekaterina Shtukina/Reuters)
Bolshoi dancers perform the Gisele ballet at the Palais de Beaulieu theater in Lausanne on Feb. 10, 2011.
(Denis Balibouse/Reuters)
Dancers from the Bolshoi Theatre talk to children after a charity concert at an orphanage in the Russian
town of Sapozhok, 300 km southeast of Moscow, on May 12, 2008. (Denis Sinyakov/Reuters)
Dancers Galina Stepanenko as Odette and Sergei Filin as Siegfried, performing during the rehearsal of
Pyotr Chaikovsky’s ‘Swan Lake’ in Bolshoi Theatre on Feb. 28, 2001. (Alexander Nemenov/AFP/Getty)
Sergei Filin, artistic director of Russia’s prestigious Bolshoi Ballet, gestures during an interview in a still
image from footage shot by Ren TV in a Moscow hospital on Jan. 18, 2013, after a masked attacker
threw acid in the face of the artistic director. (Reuters/Ren TV)
http://www2.macleans.ca/2013/01/30/the-real-melodrama-at-the-bolshoi-ballet-is-offstage/#more344613