The coronavirus, which has paralyzed the normal flow of cultural life, were very ruthless to its international parts — spring and summer international festivals. Canceled the most important and largest of them are: Cannes film festival, the Opera festivals in Bayreuth and AIX-EN-Provence, Avignon theatre and Edinburgh forums. Russian ballet festivals fiercely resisted: the biggest spring festival of St. Petersburg Dance Open moved the program in October-December, coinciding in time with the main festival St. Petersburg autumn international festival of arts “Diaghilev. PS”. About the program the last competition, the difficulties — financial and organizational, as well as about the features of the character of Sergei Pavlovich Diaghilev Tatyana Kuznetsova questioned the Director and the permanent curator of the festival, Director of the St. Petersburg Museum of theatrical and musical art Natalia Metelitsa.— The largest ballet festival in Saint Petersburg- the spring Dance Open — managed almost the entire program, ballets five European companies and the final gala, to migrate in the fall. If the Schengen border will be opened, he will go from October through December, the dates have been agreed. Do not fear direct competition?— Katya (Ekaterina Galanova, head of the Dance Open.— “B”) have done a great job. Fundamentally good, that we had the St. Petersburg ballet festival hold the picture together: she starts in the spring, and we finish at the end of the year. We expressed great sympathy for them when they are due to quarantine all fell through. Now we, of course, to push our festival from 20 October to 13 November. But we still don’t know how things will turn out: the worst thing is that the virus still does not clear until the end. Nothing you can predict, you know? And still: how you will divide the audience? Moreover, the coronavirus all hit the pocket.— We have always had low prices. Even by the standards of St. Petersburg. And, thank God, I have this year some performances. Principle the event — exhibition, which is essentially and on-budget independent festival. To organize it more difficult than five troupes to bring. Involves seven Russian museums, six foreign and private collections. Plus or minus 120 portraits of them — about 30 photos, the rest is painting and drawing. Consultant — an internationally recognized researcher Diaghilev, the Dutchman sjeng Scheyen. Actually, I have his book on Diaghilev and is inspired by this very heavy work. The exhibition is called “In Diaghilev’s circle. The intersection of fate”, dedicated to Sergei Pavlovich and his circle — those he dragged into his life and those he rejected. He used to shuffle people like a deck of cards. Not on a whim, consciously. Although adored the scene could scream, cry, swear, he was on the physiology loose, CE��timentally. But apart from prudent people, without hesitation — as soon as they, as it seemed, ceased to feel the time. And what period of life do you imagine Diaghilev at the exhibition?— His entire adult life, which we have divided into 12 sections-stories. Since 1890, when the provincial boy coming to St. Petersburg and meets with these guys from school Karl May — Shura Benois, Somov Bones, by Valya Nouvel, Dima Filosofov, and story ending 1929, which is called simply: “Death in Venice”. The last section will be without portraits. Black gondola, flowing water of the Bay and floating white letters on a black background — has a lot to offer statements about the personality of Diaghilev, his value. The plot is the 11-th — special for me. 1912-1929 years, dreams about Russia, the return of the prodigal son. He’s since 1912, wanted to return, but mysteriously circumstances have always interfered — first intrigue of the Directorate, then burns the people’s house, which was planned to tour his repertory, then begins the First world war. But after the October revolution, he maintains contact with the new Russia — with Meyerhold, Mayakovsky, Ehrenburg, Lunacharsky, all this talk-talks… Each story on a separate exhibition pulls. And the story of the “World of art”? The magazine Tenisheva and Mamontov gave a lot of money, but when Serov made grants from Nicholas II, Diaghilev nobly thanked them and said no more. It was with money the man is correct, although often not paid on time. But not because they held back funds, but because they had simply not happened. When the money appeared, it has always paid off debts.— Do you have? Where?— From the camel. I will say for now. Before the coronavirus city festival budget was reduced 10 — fold to 17 million in the festivals. But now increase, the ready decision — after all, it is a pity to lose the reputation of one of the festival capitals of Europe. This money, of course, not yet. But, as a rule, both Russian and Western museums give us your picture for free. With the exception of the Picasso Museum, where they take a little, but it is called restoration and the preparation. But the Museum of Rouen does not take anything, and gives us five beautiful works. Then Spain, where Juan Gris, the same Sert — without them? Portraits IISS Sert, devoted friend of Diaghilev and his patroness to the arts, brought to at least a dozen — wrote it all great. But I chose Bonnard from the Madrid collection Thyssen-Bornemisza. He’s gorgeous: Misia sits all in silks, it is possible to do an exhibition of one picture. And Munch? His portrait of Harry Kessler. Harry after all was a very important person for Diaghilev, the genius, diplomat, introduced him to the highest circle of London and was General Manager of smart. And here we have to take this Munch from Florence, from a private collection. Odfor transportation of over €20 thousand As a whole troupe of Dada Masilo (the”Company Dada Masilo” from South Africa.— “B”) cost us €17 thousand Truth, our festival and help the French and the Italians, so the artistic dialogue of Europe and the “Diaghilev” continues.— But still insurance… Yes, we have to pay more than 3 million rubles And the Euro, which jumped? And logistics? I’m really lucky — responded one powerful Russian company immensely, just to tears grateful “Norilsk Nickel”, who supported this exhibition. A lot of problems with transportation: some museums require, for example, only the plane. It’s easier, of course, the trailer. But, for example, pattern 130 cm by 90 cm in a passenger plane will not be allowed — too big a format.
You want trucks, and they are in Petersburg does not fly everywhere. Count on our partner — the Pushkin Museum named after Pushkin. We in the Sheremetev Palace, the exhibition will be until February, and then moves in with him to Moscow. I hope that we’ll bring pictures so they can send. However, not all: in the Pushkin Museum the exhibition pereformuliruem. They have dominated the theme of “Diaghilev-curator”. After all, he is the founder of two professions — the curator and producer.— Yes, because first of Diaghilev in Paris, brought icons and Russian painting… Initially, he was brought to St. Petersburg German, English watercolors, Finnish artists showed, in 1905 made a terrific exhibition of Russian historical portraits in the Tauride Palace. It Diaghilev, in fact, revealed to us our XVIII century. Sooner as it seemed? Andrei Rublev, and then almost Shishkin with Repin. And he showed unknown Levitsky, Borovikovsky, Rokotov, introduced these names in the artistic revolution in the consciousness of Russian society. And then he was taken to Paris.— A producer Diaghilev person you show? The ballet will show at the festival?— I’m taking beloved St. Petersburg Svetlana Zakharova ballet “Chanel”, in this context, Koko is very important to me — this time. Secondly, it seems to me that Svetlana gets older, it becomes more interesting, more meaningful. Well and high quality choreography Posokhova (Yuri Posokhov, choreographer “a hero of our time” and “Nureyev.”— “Kommersant”). Still will be an evening of ballets by Desyatnikov — to 65-anniversary of great composer. There’s only Russian choreographers with Ministers, tyrants, Petrov, Pimonov, Kaidanovsky. First show in Ekaterinburg, then to us. Well, Angelin Preljocaj with his “Swan lake”.— Full-length ballet by Tchaikovsky?!— Well with insertions of contemporary music. But Yes, cityrealty ballet. For three years at every meeting I was saying: “Look, you do it big form — “Snow white”, “Romeo”. And in General: black-and-white’s your thing”. He promised to think about it — how else to get rid of me? And last year met in Paris, and he said to me: “you Know, �� was thinking all the time about “the Swan” and decided to do it”. Well, the world premiere was supposed to be in the spring in AIX-EN-Provence was cancelled, of course. Maybe in the end will premiere at our festival. Decorations will be coming… at least two of the van.— That is, you literally acted as Diaghilev, the choreographer imposed on the subject?— Oh, yeah, don’t know what will happen… Hope for “Swan lake” the audience in any case will go.
