November, 14 2014 The Bolshoi Theatre's prima ballerina Svetlana Zakharova is going to organize charity gala concerts to help young dancers. At a meeting with the journalists, which centered around the charity gala concert "Ballet without Borders", she announced that gala concerts to support ballet schools would be organized annually. The People's Artists of Russia had the idea to support ballet schools on the regular basis during the preparation process of the concert that will take place on the Bolshoi Theatre Historic Stage on December 7th. All money raised will be donated to the Kiev Choreographic School and spent on its reconstruction. The ballet star, who studied at the Kiev School, had a chance to see for herself that the building is in a critical condition. - The roof is leaking, and in winter children have to study in classes where the temperature does not rise above 6-7 degrees Celsius, - said Svetlana Zakharova. According to the ballerina, many graduates of the Choreographic School, who are renowned dancers today, were happy to support the idea to help their native school. - We plan to have such campaigns annually. W e do not know which school will be the next, but we cannot bear the situation where children study in bad conditions, - the ballerina says. According to Yuri Baranov, the producer of the project, the concert is financed by the artists. They did not manage to find a sponsor. - Apparently, people are worried about the fact that the money is being raised in order to support a ballet school in another country; potential art patrons are concerned with not being able to see any results, - the producer explained. The participants of the concert plan to donate around 700,000 rubles (approx. $ 15,200) to the School, taking into account the money that will be spent to cover their own expenses. The approximate budget of the reconstruction was drafted half a year ago, but due to the fact that the economic conditions are unstable, the artists are not making any forecasts: it is planned to transfer the money in dollars and it is impossible to say now, which sum will finally be deposited into the School's account. The Bolshoi Theatre plays an important role in organizing this gala; the theatre provided its Historic Stage for this event. The Bolshoi General Director Vladimir Urin stressed that he had supported this idea right away and had not had any doubts, "like any sensible man". He is ready to support gala concerts in the future as well, "in case everything is negotiated beforehand and these galas do not coincide with premieres". The stage was provided on easy terms; the General Director explained that the theatre had no right to make such decisions without the permission of its founder, the Ministry of Culture, but the Ministry approved of this plan. The organizers of the concert also mentioned that the concert was a private charity project: the government of Kiev and Ukraine has nothing to do with the future reconstruction of the School. When asked about political hidden motives of such a one-way gesture, Vladimir Urin answered that he did not consider it necessary to get approvals for this decision from anybody. - We are doing our job, I mean, we are developing the art sphere, and this is precisely what we are responsible for - the Bolshoi Theatre General Director stated. The gala concert, which will take place on December 7th, will star Alina Cojocaru (the English National Ballet), Denis Rodkin (the Bolshoi Theatre), Dinu T amazlacaru (Staatsballett Berlin), Ivan Putrov (the UK), Leonid Sarafanov (the Mikhailovsky Theatre), Natalia Osipova (the Royal Ballet), Nina Zmievets (the Eifman Ballet), Patrick de Bana (France), Svetlana Zakharova (the Bolshoi Theatre), Sergey Volobuev (the Eifman Ballet) and Iana Salenko (Staatsballett Berlin). The program will include "Carmen Suite" and divertissements. Boyko Kotzev, the Ambassador of the Republic of Bulgaria to the Russian Federation had a meeting with the Bolshoi Theatre General Director and discussed opportunities to promote cooperation between the two countries in the sphere of culture and spirituality. During the meeting Mr. Kotzev and Mr. Urin mentioned, that cooperation between Bulgaria and Russia in the cultural sphere had always been very good and very fruitful. Boyko Kotzev highlighted Bulgaria's achievements in opera and ballet and discussed with Vladimir Urin guest performances of the Sofia Opera and Ballet Theatre at the Bolshoi. Mr. Urin talked about opportunities to study at the Bolshoi Theatre for young talented Bulgarian artists. He explained that during their studies those talented artists that auditioned successfully would be given jobs with the Bolshoi's company and would have a chance to perform at the Bolshoi Theatre. As we approach the New Year, the Bolshoi Theatre wants to tell a real winter fairy tale for children and adults. This is a beautiful and snowy, but surprisingly heart-warming "Story of Kai and Gerda"; it is the opera that was composed by Sergei Banevich, a wonderful composer from Saint Petersburg. The Bolshoi is preparing another surprise for those, who might become real connoisseurs of opera and ballet in the future. Two years ago the theatre presented the world premiere of the ballet "Moidodyr (Wash'em Clean)" to the music by E. Podgayts. Last year the Bolshoi treated its young audience to the opera "L'enfant et les Sortilèges" by M. Ravel, "The Young Person's Guide to the Orchestra" by Benjamin Britten and an exciting and educational performance "Be in the Mood for Opera", which introduces the youngest members of the audience to the world of opera. This year the Bolshoi presents the musical version of one of the most famous fairy tales in the world. Sergei Banevich has not needed any introduction for quite a long time. He was a student of Galina Ustvolskaya and Orest Yevlakhov, who, in turn, were students of Dmitry Shostakovich. He is a successor to a tradition of the Saint Petersburg school of composition; he also appeals to its roots and origins. He is a modern classic, who went down in the history of the Russian theatre and cinema (the end of the 20th - beginning of the 21st century); he wrote music for numerous theatre productions and feature films; he feels the drama better than anyone else. His music always has some action; it is theatrical in the best possible meaning of this word. It matches the meaning, the plot and the visuals harmoniously; it actually makes the visuals even brighter. Sergei Banevich wrote music for such films, as "Nicolo Paganini", "Last Will of Professor Dowell", "Flight 222", "The Pickwick Club", "Mole", "Kuka", "Two Women", etc. He is also the author of such wonderful operas, as "A Lone White Sail", "Ferdinand The Splendid", "A T own In The Sniff - Box", "The Little Prince", "Twelve Months", operettas "Treasure Island" and "The Drummer's Fate", musicals "The Staunch Tin Soldier", "The Adventures of Tom Sawyer" and "Little Mermaid" and the musical performance "The Children's World". It seems like his songs "April" and "The Sun Will Wake Up" were sung by all children of the country, and the song "Endless Road" from the film "Nicolo Paganini" was sung by all adults. "The Story of Kai and Gerda" (or "The Snow Queen") is one of Sergei Banevich's most famous operas. It was composed in 1979, when the Afghan war started; according to the composer, it seemed that it was not the right time for this beautiful story about the warmth of a human's heart, since this story contradicted the "official" Bolshoi Theatre in the Internet Newsletter

November, 14 2014 public moods too much. However, the opera was staged at the Kirov (Mariinsky) theatre. This was the right thing to do; the opera was performed at this theatre for more than 30 years and was a great success. It is the first time that the opera is being staged at the Bolshoi. The production team unites very young people and very experienced ones. The director Dmitry Belyanushkin graduated from GITIS only two years ago, but he has already become the winner of the International competition for young opera stage directors "NANO- opera" and staged productions at the Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre, the Voronezh Opera and Ballet Theatre and the State Opera and Ballet Theatre named after I.M. Yaushev in Saransk. This is not his first project at the Bolshoi Theatre; last year he created the "semi-concert"version of the opera "Le Nozze di Figaro" by W.A. Mozart. The conductor Anton Grishanin is responsible for the music component of the production. He graduated from the Urals State Conservatoire and was the director of the Chelyabinsk Opera and Ballet Theatre for five years; at the moment he is working as a conductor at the Stanislavski and Nemirovich-Danchenko Moscow Academic Music Theatre. Maestro Grishanin also cooperates with the Bolshoi Theatre, the Novosibirsk Opera and Ballet Theatre, the Deutsche Oper Berlin and the National Philharmonic of Russia. At the Bolshoi Theatre Anton Grishanin conducted such ballets, as "Don Quixote" and "Classical Symphony" to the music by S. Prokofiev and "Swan Lake". V alery Levental, the legendary set designer and the People's Artist of the USSR, creates the set for the production. The Bolshoi Theatre's chief lighting designer Damir Ismagilov creates the lighting. The cast also unites young and experienced singers; it stars artists of the Bolshoi Y oung Artists Opera Program, the Bolshoi Theatre's stars of different generations and guest singers (recent graduates and artists that have been cooperating with the Bolshoi for a long time). The director Dmitry Belyanushkin talks about working on the production, peculiar features of children's perception and the responsibility that the theatre has for the young audience. - Do you remember the impression the theatre made on you in your childhood? Perhaps, it was that impression that motivated you to connect your life with the theatre. - I come from a theatre family: my parents are musicians and my grandmother is a dramatic actress. Naturally, I was raised at the theatre, I watched drama and opera productions. But I was not going to connect my life with the theatre. I even wanted to follow the example of my grandfather, who was a footballer, and went in for sport. But then I started studying music. When it was the time to enter an institute, I was thinking about entering the instrumental faculty, but I was convinced to audition for an acting and stage directing major. Gradually I became drawn to theatre. Having graduated from the institute in my native Saransk, I decided to enter the department of music theatre at GITIS (class of Alexander Titel and Igor Yasulovich). - Why did you choose musical theatre? - It is probably hard to imagine, but back then it seemed to me that I had already studied drama theatre well enough! To tell the truth, I think that a music theatre director is a broader profession. I chose the "two-in-one" course: we were taught just like a drama director, but at the same time we were studying solfeggio, music theory and analysis of music dramaturgy. So an opera director is "better equipped" than a drama one: he can work in dif ferent genres. Unfortunately, drama directors cannot always demonstrate all their talent while staging opera productions. - What were your first steps? - I was very lucky: Alexander B. Titel provided me with an opportunity to work at the theatre right away. I was his assistant for the productions of "Die Zauberflöte" and "W ar and Peace". This is how I gained my first professional experience, and what an experience! Then I staged "La Voix Humaine" at the Voronezh Opera and Ballet Theatre. Then I was of fered the chance to carry out my first independent project in Moscow - to stage two modern operas at the Stanislavski and Nemirovich- Danchenko Moscow Academic Music Theatre (this was the theatre's joint project with Vassily Barkhatov's Opergroup). Last year I staged "The Queen of Spades" at the Saransk Music theatre. After I had become a winner of the International competition for young opera stage directors "NANO-opera", Dmitry Bertman offered me the opportunity to stage "La Boheme" at the "Helikon-Opera". There are other of fers as well, and they are very interesting. At the moment I am working on several projects. This is what my career has been like so far; it has been a winding path, but a very happy one. - How do you feel at the Bolshoi Theatre? - First of all, I realize that I have a huge responsibility. Last year I passed my first exam, when I was working on the half-concert version of "Le Nozze di Figaro" together with the conductor William Lacey. I understood what the Bolshoi Theatre was like and met the artists (the cast of "The Story of Kai and Gerda" stars many of those artists). When Vladimir Urin asked me to stage "The Story of Kai and Gerda", it was a bit scary, but it is absolutely impossible to refuse such of fer! I do understand very well that I am staging not just an opera, but an opera for children; this means that the responsibility that I have is even bigger. Perhaps, it will be the first time that my audience comes to the theatre in their lives! On the other hand, it is necessary to work on this opera in the same way as if we staged Puccini. I am quoting the composer, and I consider this to be the right approach. Sergei Banevich wrote a very interesting piece, both in terms of the music and in terms of the dramaturgy. So this is another "two-in-one" situation: this has to be an absolutely "adult" production that children will be able to understand and to relate to. - In your opinion, what kind of production should it be so that children will be able to relate to it? - First of all, it should be dynamic and rich, both in events and in visuals. Modern children have a clip mentality: they watch cartoons, where pictures change every second. Naturally, it is very difficult to keep their attention. But I hope that we will be able to have the necessary dynamics. There will be magic tricks and various special ef fects that will surprise not only children, but adults as well. - What else will your production attract adults with? - When I was preparing for this project, I listened to a great amount of different children's music and realized that there was very little good quality music for kids. Sergei Banevich is one of the few composers that wrote really good music for children. Each of his pieces has something for adults as well; I mean, there is the layer that a child most likely will not comprehend, but that will be interesting for his parents. As for this particular opera, the material is great! Andersen's fairy tale is very beautiful and very philosophical. Perhaps, Banevich evades the religious sub- context, but he talks about eternal things, I mean, human relationships, love and the ability to hope and believe. This opera also has a real drama. I hope that adults will see the meaning that we put into this production and will have something to think about as well. At the same time it seems to me that Sergei Banevich's music is very easy for children to understand. It is very melodious, and the composer does not conceal the fact that it has influences from Tchaikovsky and Puccini. There are several leading motifs that a child will be able to remember easily and to sing after he watches the production. Newsletter

November, 14 2014 - What was your cooperation with the composer like? - The conductor Anton Grishanin and I visited Sergei Banevich and shared our impressions about the score. My main goal is to try to decode the author's idea. This is my main principle as a director. Therefore, I shared my ideas with the composer at once and he said: "This is a good idea", or "Think about it again". This kind of dialogue is very important. W e have created a new, fourth edition of this opera. This is the Bolshoi Theatre's edition. - Is the new edition very much different from the previous ones? - I would not like to go into comparative analysis now, so I will answer briefly: the most important thing is the new prologue. Sergei Banevich decided to place accents a little differently. So I would say those are changes in the meaning. The composer also wrote the orchestra introduction that immerses us into this story, and then there is the prologue, where the trolls start the intrigue. - The trolls? - We cannot do without them! The trolls are the ones that ensure the development of the plot as they create various obstacles for the main characters. I would say that we managed to be immersed in this fairy tale world and make the artists go with us. You can always feel whether it is interesting for an artist to rehearse for a production, or not. Fortunately, the company is working with great pleasure and enthusiasm. I think we all understand that a lot depends on us. Those children that come to watch our production can come to the theatre again; at first they can come to watch productions for children, and then - productions for adults, and at some point they will want to bring their children to the theatre as well. There can be a totally different scenario as well: they can become so terrified, that they will not be able to ever cross the threshold of the theatre again… - The production stars mainly young soloists… - Not only. There are the parts of the Grandmother or the Old Robber Woman; those parts will be performed by very experienced soloists. Even though many singers in the cast stars are young, it is not possible to say that they lack experience. There is Anna Aglatova, Olga Kulchinskaya, Alina Yarovaya, Boris Rudak, Stanislav Mostovoy and many, many others. Our cast stars wonderful singers… Of course, there are guys that are only starting their careers and there also are participants of the Young Artists Opera Program; it seems to me, that it is a very important chance to practice both for them and the theatre. - How did you prepare for this project? - First of all, I reread Andersen and, of course, discovered a lot of new things for myself! I had some stereotypical image of this fairy tale; perhaps, it came from the Soviet cartoon and film. Andersen's story turned out to be very surprising and very deep. For example, Kai and Gerda are not a brother and a sister, contrary to what many people think. This is very important. I also studied a lot of visual materials; I studied the everyday life of the city Odense. This is not a fairy tale city, as many children think when they read this story. This is a real city where the writer lived. I am also incredibly lucky, because I had the chance to work with such set designer as V alery Levental. Mr. Levental is a great artist! Our visuals are very beautiful and truly artistic. Of course, as we were designing this production, we argued about some things, but we were moving in the same direction, and this is the most important thing. Something I wanted to get away from he did not like either; we also picked up each other's ideas and developed them. I would say that the image of the Snow Queen turned out to be not very traditional. Many people of my generation, as well as older people, still admired the Snow Queen; she was an example of some ideal beauty. But I wanted the Snow Queen and all her world to provoke rejection in children. This is something scary; I mean, the world of the Snow Queen, a static and dead world. This is glamour, if you wish; this is a beautiful picture that has nothing behind it, there is only emptiness. This is why the Snow Queen is a kind of infernal creature; perhaps, she is even scary. Her costume matches this image very well. It seems strange to me when the Snow Queen or the Snow Maiden are portrayed wearing a warm hat, mittens and a fur coat: it is not like they need any of these! In our production she will be a timeless character, with a little touch of the modern era. The Queen's palace will be unusual as well. I think adults will guess our quotes and understand our allusions to certain things that are quite scary. Perhaps, any fairy tale will turn out to be rather scary, if you study it carefully. - What about your production? - There will be no gray-haired children after the production, I promise! You know, the last thing I wanted to do was to stage a super sweet "Story of Kai and Gerda". There are some warm and lyrical moments, but there also are some bitter parts. If Gerda gets into the hands of robbers, it should be scary. A child will simply not follow our story and will not feel compassion for the characters if he sees that everyone is playing at give-away and if he feels there is some fraud. The main thing about our work is to be very honest. We were trying very hard. Interview: Alexandra Melnikova Photo report from rehearsals: Damir Yusupov Newsletter November, 14 2014

http:// https:// http:// The online edition of Toronto Life publishes a story about Svetlana Lunkina who left the Bolshoi Ballet and lives now in Canada with his husband and children. Toronto Life says that while at the Bolshoi Lunkina "was renowned not only for her fluid physicality and extraordinary flexibility but also for her dramatic prowess". The local publication Over the Mountain Journal (USA) publishes a story about an American teenager who trained at the Bolshoi Ballet School for six weeks during summer. She says: "I think the Russian ballet teachers - and Russians in general - get a reputation for being harsh or overly strict, but the reality is that the people I met at the academy were just very, very passionate about what they do". The Romanian online publication 24fun.ro announces that The Pharaoh's Daughter and La Bayadère will be broadcast from the Bolshoi Ballet in Moscow to Grand Cinema & More (Bucharest) on 23 November and 7 December respectively. The publication says that "the two performances enjoy fabulous costumes, grand sets and spectacular choreography". The online publication Revista Arcadia (Columbia) writes about the opening of the new season of Bolshoi Ballet in the Film Colombia cinemas in several cities. The season will include Romeo and Juliet, The Nutcracker and Swan Lake. The TV channel Mezzo announces on its website that it will broadcast The Pharaoh's Daughter on 11 November 2014. Le Progrès (France) announces two performances of the St. Petersburg Ballet Theatre in Saint Etienne et Lyon and wonders if this is the new Russian contender to the classic throne held by Kirov and Bolshoi. The Belgian media outlet RTBF reviews Khovanchtchina at the Flemish opera where the cast included bass Alexey Tikhomirov, star of the Bolshoi, who the reviewer says embodies the character of the seer DossifeГЇ. The reviewer gives the opera an excellent review. The Italian news agency Adnkronos reports about the upcoming ballet competition at the Opera of Rome where students from international ballet schools will present the work of choreographers. Students from the Bolshoi Ballet Academy in Moscow will present the work of the choreographer Nacho Duato, a work entitled The Lover ' set to Venetian and Neapolitan music as a tribute to Italy. The Culture Northern Ireland.org publication reports about the exhibition of costumes from the Bolshoi Theatre being exhibited in Northern Ireland as part of the UK-Russia year of culture writing that Bolshoi is translated as 'large' or 'grand', and the ballet costumes for ballerinas and male principals here live up to the epithets. The Akhundov Azerbaijan State Academic Opera and Ballet Theater informed the agency "Interfax-Azerbaijan" that Elchin Azizov, the State Academic Bolshoi Theatre's soloist and an Honored Artist of Azerbaijan will perform in Baku on November 30th. The theatre's administration invited the Bolshoi Theatre's leading soloist to perform the part of Germont in G. Verdi's opera "La Traviata". The cast will also star such young and talented vocalists of the Baku theatre, as Ilakha Efendieva (Violetta), Farid Aliyev (Alfredo), People's Artist of Azerbaijan Ali Askerov (Marquis), Honored Artist of the Republic Sabina Asadova (Flora) and Anton Fershtandt (Doctor). A laureate of international competitions Ayyub Guliyev will conduct the orchestra. E. Azizov is a laureate of international vocal competitions and the first Azerbaijani artist to become a Bolshoi Theatre soloist. He has had successful performances in Russia, Austria, Italy, France, Morocco, the USA and other countries. /…/ , 7 In brief