The Stanislavsky Music Theater announced the season program

At a press conference at RIA Novosti, the Stanislavsky and Nemirovich-Danchenko Musical Theater announced its creative plans for the 105th season. Comment Tatyana Kuznetsova And Sergei Khodnev.

The Stanislavsky Music Theater showed its cards on the day of its opening after the summer holidays – the latest in a series of significant musical theaters in Russia (with the exception of the Mariinsky Theater, which does not share its plans on principle). And it made an effect – at least in terms of the ballet part.

Ballet artistic director Maxim Sevagin announced the creation of a full-length children’s ballet, which in itself is a sensation: such things are not born every decade. For the two-act “The Snow Queen” (world premiere on November 24), the young artistic director-choreographer compiled fragments of Tchaikovsky’s Fourth, Fifth and Sixth Symphonies. Admitting that he had been dreaming about this production for ten years, Maxim Sevagin emphasized the importance of the Christian philosophy of the fairy tale, but promised that the ballet would be understandable even to six-year-old children. The performance is characterized by a large crowd – the entire troupe is busy; Fyodor Beznosikov will take the control.

The second sensation was the program of one-act ballets (premiere June 24, 2024), or more precisely, their foreign authors. Despite the fact that now few Western choreographers dare to stage or license their productions in Russia, Maxim Sevagin managed to collect the first names in the program. Let’s assume that the presence of Nacho Duato, artistic director of the Mikhailovsky Theater, who has lived in Russia for many years, is natural; but it’s nice that “Stasik” chose “Duende” from 1991 – an early production of the choreographer, from the time of his creative takeoff. Russian-American Yuri Posokhov, who maintains ties with his historical homeland, also did not refuse to stage his romantic “Reflections” (2005). But the appearance of Marco Goecke with the fresh (2021) “The Great Cry” turned out to be a complete surprise, which can only be explained by the fact that he has nothing to lose: in Germany, the choreographer was subjected to obstruction after he smeared an influential critic with dog excrement. In addition to these three luminaries, the license for his famous “Minus 16” was renewed by the Israeli Ohad Naharin: the renewal of this hit will be shown on November 6.

The third sensation came with the news of the world premiere of the one-act ballet “Beauties Can’t Sleep” in May 2024. The authors are all pigs in a poke, unfamiliar to the ballet stage: composer David Ohanyan, choreographer Anastasia Vyadro. It is only known that this ballet is purely for women, and they will dance in heels. The biography of the choreographer, a participant in strip plastic festivals and immersive performances, is replete with prizes in the “Best Erotic Show Group” nomination and is crowned with the production of the plastic short film “Daisies,” which won recognition and was successfully shown around the world. In a word, you definitely won’t fall asleep with such “Beauties”.

In the case of operas, the intensity of events is, to put it mildly, calmer. The first of the three announced opera premieres, in fact, was promised back in the past season, but moved to this fall: this is “The Tsar’s Bride” staged by director Dmitry Belyanushkin, a student of MAMT artistic director Alexander Titel (premiere shows September 20–22). It is still difficult to predict how tonic or hypnotic this performance will be, because the young director’s track record includes only a few plays and they are of quite different merits: the unsuccessful “The Stone Guest” on the New Stage of the Bolshoi, the average Hamburg-according “The Marriage of Figaro” in Nizhny Novgorod (although for Nizhny this is very decent, as evidenced by the nomination for the “Golden Mask”), interestingly performed “Pagliacci” at the Helikon Opera.

Alexander Titel himself is directing Dargomyzhsky’s “Rusalka,” which will be shown at the end of the season (June 26–28). Working with him on the performance will be conductor Timur Zangiev, a maestro with a serious European career, who produced “Sadko” with Dmitry Chernyakov at the Bolshoi Theater, and “The Rake’s Progress” with Simon McBurney at MAMT.

The third opera title is also domestic. This is “Not Only Love” (March 6–8), the first opera by Rodion Shchedrin, created in 1961. There is a certain surprise in the choice itself: in St. Petersburg, Shchedrin’s lyrical opus from collective farm life was staged in the last decade, but in Moscow its time has come, it seems, for the first time in all post-Soviet times. In terms of the production team, however, there are no surprises: it will be headed by the theater’s chief conductor Felix Korobov and artistic director of the Pushkin Theater Evgeny Pisarev.