The Stanislavsky and Nemirovich-Danchenko Music Theatre is now entering its very important and even symbolical period: in five years from now it will celebrate its centenary. We hope that our theatre, which was created as a stage for promoting a new aesthetics and for theatrical and musical experiment, today remains just as young, daring, and seeking new horizons as ever.
It has taken no small courage to ask the outstanding choreographer John Neumeier to stage theatre’s productions; it has been rather audacious to be the first in Russia to perform the ballets by Nacho Duato, Jiří Kylián, and Jorma Elo, or to start venturing into the mastering of English classical ballet. It needed certain boldness to carry out a world premiere of Hamlet by Vladimir Kobekin, to stage operas by the French avant-gardists Erik Satie and Darius Milhaud, and even to make bold push at what has now become a classical opera, Sergei Prokofiev’s War and Peace with its grand chorus scenes. Yet, without such courage and such desire for learning and searching it is impossible to build a contemporary theatre. The experimental views of our founding fathers, Stanislavsky and Nemirovich-Danchenko once also seemed just as daring. There was a time when it took enormous efforts to obtain permission for Vladimir Burmeister to stage Swan Lake, which has since been universally acknowledged as a world-class choreographic masterpiece and part of our classical heritage.
We know we must not stop. We may not avoid mistakes, but only such a way is the way to victory. And what is the meaning of the word “victory” for a theatre? Victory for a theatre is constant spectators’ interest based on their confidence in theatre’s integrity and honesty towards them and on their trust that each and every production and performance is a result of guaranteed professionalism of the entire team of its creators and performers.
Ara Karapetian, General Manager