DHM_interview: “The result of dance shows is not an indicator of your talent. “Winter Retreat”: minimalism and the music of Schubert

The program for the 16th season of the International Ballet Festival Dance Open has been announced. Its founder and artistic director Ekaterina Galanova told the Izvestia observer about the main events of the forum starting on April 13.

Dance Open always has a wide genre palette, but for the first time you have included a children's performance in the program, moreover, you are opening up to it. Have you decided to radically rejuvenate your audience?

We have never really included performances for children in our program before, and I think it’s time to change that. There is an acute shortage of ballets for children. But ballet, I won’t tire of repeating, is the most understandable, relatable and democratic form of art. As soon as a little person begins to think about life, ask questions about love, friendship, fidelity, relationships between people, and this happens around 5–6 years old, ballet becomes both close and interesting to him.

“The Snow Queen” by Vyacheslav Samodurov performed by the Yekaterinburg Ballet is that very high-class product that is in short supply. On the one hand, this is a serious performance with deep philosophical overtones, on the other hand, it talks about simple, important and relevant things at any age. In addition, the performance is interestingly designed in terms of design and direction - it is a colorful quest fairy tale with a huge number of fantastic characters. The music was composed by composer Artem Vasiliev at the request of the choreographer and especially for this ballet. Such a creative alliance, rare these days, is always interesting, and this experiment, I believe, was a success.

“I realized that children would enjoy watching this ballet.” Will balletomane parents be interested in it?

I think yes. Here it is necessary to say separately about the choreography. Slava Samodurov is one of the most talented modern choreographers. Everything he does is subtle, elegant, fresh, with humor, an insane amount of quotes and allusions to a variety of dance styles. If you like, this is a “digest of world ballet”, but in an original interpretation.

The Bolshoi Theater strictly adheres to age restrictions, and this, I think, is correct. The age recommendation for “The Snow Queen” is “6+”. You won't let in those who are smaller?

Parents know their children best and we trust them. You just have to remember that all spectators in the hall should be comfortable and no one should distract anyone. Of course, “The Snow Queen”, and indeed a ballet similar to it, could also appeal to a small child: the performance is bright, with many fairy-tale creatures. But I would recommend viewing from the age indicated on the poster, only because this is not a completely entertaining production. And it requires not only figurative perception, but also intellectual participation.

A little person who has already matured to the first philosophical thoughts about the world and how everything works in it should definitely come to this performance. We have plans to continue the children's line, and I would be glad if over time it can be turned into another signature feature of the festival.

You invited the iconic Israeli troupe “Batsheva” to St. Petersburg. The attitude towards her in the ballet world is ambiguous. Some of my colleagues are sure that their performances are not ballet at all.

Judging by the rate at which tickets are selling out, “Batsheva” and its artistic director, Martha Graham’s student, dance esotericist Ohad Naharin have their own fan club in St. Petersburg (laughs). The Israelis will bring the “Naharin Virus.” This is the premiere in Russia, although the play, like our festival, is 16 years old.

Is this a dance? Is this about ballet? Definitely not about ballet. This is more of a dramatic plastic performance. Some kind of philosophical mark, symbol, idea, psychedelic experiment... Working in the gaga contact improvisation technique, which is developed by Naarin and “Batsheva”, is a complete emancipation, a merging of matter and thought. As a result, the body gains wisdom, and the mind gains animal intuition at the level of super senses. Words cannot explain it - you have to see it.

Petersburgers will see it. And for those who are far away, but would like to take note of this performance, how would you present it?

This is a performance for people immersed in dramatic art. This is a manifesto of neo-avant-gardeism - hence the adaptation of the text of Peter Handke's play "Insult to the Public". And this is the personal manifesto of Naarin and his brilliant troupe.

My personal joy in the program of your festival is the performance of the Netherlands Dance Theater (NDT 1). Special thanks to you for it. Moreover, what they will show has not yet been seen in Russia.

Oh, we chased this troupe for four years to sign a contract: its tour schedules are scheduled for many years in advance. On April 21 and 22, two evenings in a row, there will be a program of three one-act plays. “Shoot The Moon” and “Silent Screen” are absolute masterpieces by Paul Lightfoot and Sol Leon. These are the masters and gurus of modern choreography, and everything they do is the absolute top, the freshest and sharpest that exists today. A magnetic spectacle with magnetic music by Philip Glass.

"Thin Skin" is directed by the irreverent Marco Goeke with music by Patti Smith and Kate Jarrett. Both of them absolutely need to be seen in order to understand the pinnacle of choreographic thought. And philosophical, expressed in dance, too.

NDT 1 is a gourmet treat. And the Perm Ballet with “Cinderella,” as I understand it, will satisfy the aspirations of the general public?

The performance is, indeed, huge, full-bodied, colorful, with an impossible number of costumes, scenery and actors involved. The decorations are traveling to St. Petersburg in five trucks. Choreographer Alexey Miroshnichenko wrote the libretto himself. The plot is moved to 1957, to Moscow. “Cinderella” is staged in the main theater of the country, and the action unfolds in two planes simultaneously.

On the one hand, these are scenes from a fairy tale, on the other, we have before us the story of a young performer who dances the leading role. Her fate intersects in some ways with the fate of Cinderella, but in others it does not. Aging primos are weaving intrigues around; passions are unfolding with foreign tours - some are going, some are not; a foreign soloist is invited to play the role of the prince...

- Dashingly twisted...

Not that word. Plus original direction, a wealth of pictures and episodes, luxurious Prokofiev, a lot of Soviet aesthetics, a lot of light and air, sparkling humor and a choreographic language rich in allusions... Personally, this ballet reminds me very much of old Soviet films - clean, bright, very positive and lively. Like “Jolly Fellows” and “Spring” by Grigory Alexandrov, like “Carnival Night” by Eldar Ryazanov.

When I watched it, I felt that I was very homesick for these films, for their atmosphere. And it seemed to me that Alexey Miroshnichenko was also sad. And there are still a lot of people with us. It’s as if this mood - aching but bright nostalgia hangs in the air.

- Last question about the final gala concert. What new are you preparing this time?

The Gala of Stars Dance Open will take place on April 24 and, I hope, will surprise: there will be many new names. There was a rotation - it lasted for a couple of years, and as a result we got a lot of dancers who had never come to St. Petersburg and did not participate in the festival. Of course, there will be world-class stars with both classic and modern performances, and with those that have been staged over the past year and a half in different parts of the globe, and have already been recognized as the best. As always, we will take a walk outside of time and space through the present, past and future of world ballet.

I will share the most long-awaited. We will bring to St. Petersburg two numbers by my favorite choreographer Yura Posokhov: an incredibly graceful duet from the ballet “Lolita”, performed by Masha Kochetkova and Sebastian Klobborg, and the stunning “Chimes” with Yuan Yuan Tan and Davit Karapetyan. This duet will also be choreographed by Edward Liang.

There will also be a new piece by Dutch National Ballet premier Remy Wortmeyer featuring Anna Ohl and Daniel Camargo. Tap fans will rejoice at the arrival of the legend Sevion Glover, who takes a lot of effort to get. But I won’t reveal all the secrets of the program: I always envy the audience very much, because I’ve already seen it all, but they haven’t yet.

The artistic director of Dance Open talks about the festival program, age restrictions, the wisdom of the body and five vans of scenery.

The program for the 16th season of the International Ballet Festival Dance Open has been announced.

Its founder and artistic director Ekaterina Galanova spoke about the main events of the forum, which starts on April 13.

As soon as a little person begins to think about life, ask questions about love, friendship, fidelity, relationships between people, and this happens around 5–6 years old, ballet becomes both close and interesting to him.

In addition, the performance is interestingly designed in terms of design and direction - it is a colorful quest fairy tale with a huge number of fantastic characters. The music was composed by composer Artem Vasiliev at the request of the choreographer and especially for this ballet. Such a creative alliance, rare these days, is always interesting, and this experiment, I believe, was a success.

“I realized that children would enjoy watching this ballet.” Will balletomane parents be interested in it?

The Bolshoi Theater strictly adheres to age restrictions, and this, I think, is correct. The age recommendation for “The Snow Queen” is “6+”. You won't let in those who are smaller?

Judging by the rate at which tickets are selling out, “Batsheva” and its artistic director, Martha Graham’s student, dance esotericist Ohad Naharin have their own fan club in St. Petersburg (laughs). The Israelis will bring the “Naharin Virus.” This is the premiere in Russia, although the play, like our festival, is 16 years old.

As a result, the body gains wisdom, and the mind gains animal intuition at the level of super senses. Words cannot explain it - you have to see it.

Petersburgers will see it. And for those who are far away, but would like to take note of this performance, how would you present it?

These are the masters and gurus of modern choreography, and everything they do is the absolute top, the freshest and sharpest that exists today. A magnetic spectacle with magnetic music by Philip Glass.

NDT 1 is a gourmet treat. And the Perm Ballet with “Cinderella,” as I understand it, will satisfy the aspirations of the general public?

The performance is, indeed, huge, full-bodied, colorful, with an impossible number of costumes, scenery and actors involved. The decorations are traveling to St. Petersburg in five trucks.

Choreographer Alexey Miroshnichenko wrote the libretto himself. The plot is moved to 1957, to Moscow. “Cinderella” is staged in the main theater of the country, and the action unfolds in two planes simultaneously.

- Dashingly twisted...

Not that word. Plus original direction, a wealth of paintings and episodes, luxurious Prokofiev, a lot of Soviet aesthetics, a lot of light and air, sparkling humor and a choreographic language rich in allusions...

Personally, this ballet reminds me very much of old Soviet films - clean, bright, very positive and lively. Like “Jolly Fellows” and “Spring” by Grigory Alexandrov, like “Carnival Night” by Eldar Ryazanov.

- Last question about the final gala concert. What new are you preparing this time?

Of course, there will be world-class stars with both classic and modern performances, and with those that have been staged over the past year and a half in different parts of the globe, and have already been recognized as the best. As always, we will take a walk outside of time and space through the present, past and future of world ballet.

But I won’t reveal all the secrets of the program: I always envy the audience very much, because I’ve already seen it all, but they haven’t yet.

Dance TV shows are not only about an army of fans and the brilliance of the stage. Chelyabinsk choreographer Ekaterina Galanova, who had a chance to see the life of the show from the inside, talks about the downside of such projects.

DH: Katya, in 2014 you went to the casting of the Ukrainian competition “Everyone Dances”. How did you decide to do this?

Catherine: The decision was made very easily. At that time, I was binge-watching the seasons of the British equivalent show “So you think you can dance?”. They even told me some of the background behind such projects. And then one day the five of us and some dancer friends decided to go to a casting in Yekaterinburg. Just out of interest.

DH: Have you passed?

Catherine: Yes, we went through all the pre-casting, and we were invited to Kyiv for the video casting. It was already tougher there: immediately after the performance they tell you whether you passed or not, and in case of doubt they leave you for the evening choreography. They immediately said “yes” to me; my friends were not so lucky. A couple of weeks later I came to the dance camp again - already to film the selection from TOP-100 to TOP-20.

DH: How much time did you spend on the project?

Catherine: Four days. Every day there was a dropout; At the first selections they took not even a hundred, but about 170 people. This time was enough to understand what exactly the directors wanted to see on the project.

DH: And what?

Catherine: Of course, in addition to dancing, the director cares about spectacles, emotions, and stories. Those guys who were involved in such projects more than once took advantage of this.

DH: How was your day going?

Catherine: Very dynamic. We slept two hours a day - we went to bed at 3 am, and at 5 am we got up and went to learn choreography. Then we went back to the hotel, completely packed our suitcases, so that in case of departure we could go straight home from the set.

DH: At what point did you leave the show?

Catherine: At the penultimate stage on the way to the TOP-20. This was the fourth of five days. Before this, everything was going great, I heard only positive feedback from the jury. But in the fourth round there was an unequal number of boys and girls, I was given two partners, with each of them I had to work out a number and then dance with each of them. One of my partners did break dancing, the other did hip-hop, and we were given Afro-jazz choreography. The whole number is supported! Perhaps the guys were not ready for this. I was left on the “solo for life”, but it was no longer possible to complete it.

DH: What did you take from the project?

Catherine: Initially, I was determined that this was primarily my experience, and it could not be useless. In terms of emotions, I enjoyed the jive performance the most. The trick of the act was that the partner was blindfolded for half of the dance. It's all about trust in your partner. And, of course, seeing this world from the inside was educational.

DH: Did you have any desire to go on to other dance projects later?

Catherine: I would be interested in working on such projects as a director. There you are practically unlimited in stage decisions: if you want super scenery, video projection, flying under the ceiling - it will all be there.

DH: Who has the best chance of successfully joining such show projects?

Catherine: Versatile dancers are valued. You need to prepare yourself for this, take on unfamiliar styles. Also, improvisers quickly leave projects. They move amazingly based on their sensations, but as soon as they are given the “horyag”, the guys don’t even know how to remember it all. It's hard for them.

DH: What about shocking behavior on set?

Catherine: This will work before the first TV broadcast. When the serious work begins, it's all over. On the other hand, you must be cinematic, interesting to directors, and you must have your own story.

DH: What advice would you give to those who are planning to get into dancing?

Catherine: Remember that such shows are not an indicator of your talent. It's just a resource that you can use to accomplish your goals. At the same time, the project requires a lot of dedication: if you play this seriously, you will have to leave everything you did before for a long time.

“Winter Retreat”: minimalism and the music of Schubert

Alexei: Tell us how you put together this year’s festival program - at Dance Open you need to show both modern and classical choreography, something completely new and interesting. It's extremely difficult, but you always succeed.

Catherine: I can tell you that new is our priority, but not an end in itself - we do not set ourselves the task of bringing “the first and the freshest.” The most important thing is to show something really catchy. We recently went to Zurich for premiere of Christian Spuck's ballet Winterreise- these are 24 songs by Franz Schubert, but in a modern arrangement by Hans Zehnder. I realized how great it was and decided to include the performance in the program. And aesthetes will go to Shpuk - people who are ready to watch minimalist work, enjoy the graphics, musicality, beautiful legs... Zurich has an excellent troupe, which, by the way, has many first-class Russian soloists.

"Coppelia": a brilliant reconstruction with luxurious costumes

Catherine: The same applies to Vienna, where the ballet troupe is 400 years old, but all the leading roles are danced by our friends from Russia. (Laughs.) Manuel Legris, who heads the Vienna Ballet, as a competent leader, invited many Russian soloists and in five years, by leaps and bounds, created a very strong company. We deliver from Vienna "Coppelia" by Pierre Lacotte- this was a conscious decision, because the festival always includes one reconstruction production in its program. And Lacotte, of course, is a champion among reenactment choreographers. Large, serious, high-quality work with amazing scenery and stunning costumes. There are many characters, and so many dances that one gets the feeling that Lacotte had three ballets planned, and then he was not allowed to stage two and he decided to put all the costumes and dances into one performance. (Laughs.) And this whole huge landing force comes to us from Vienna.

Alexei: And a ballet troupe is always more visible in classical work: in modern choreography there is something to hide behind, but here, as they say, there will be a product with a face.

Catherine: Yes, these are three acts of absolute happiness. I haven’t been so happy as a child for a long time, because in this “Coppelia” there is so much beauty in one ballet.

"Alice": 3D video projection, alien choreography and musicians on stage

Alexei: There is also “Alice” by Mauro Bigonzetti in the program.

Catherine: Here I had a dilemma: I understood that the performance, on the one hand, is not new, from 2014, and on the other hand, Bigonzetti is not that prolific.

Alexei: But he is a wonderful choreographer!

Catherine: Beautiful, one of my favorites. Unlike anyone else at all. On the other hand, Dortmund, where this performance will come from, is definitely not the ballet capital of the world. But I really wanted to show it here! Here is the same Shpuk with his “Winter Retreat” - it is still modernized, but neoclassical: it is clear where its roots come from. And Bigonzetti is some kind of story from another planet. Plus absolutely amazing Neapolitan music, and the musicians are included in the action, on stage along with the ballet dancers. Incredible 3D video projection by Italian artists, which is not just a background, but becomes an active character. This is real art at the intersection of visual effects, music and choreography! And it is still unknown what is more important there - video, music or dancing.

Alexei: Unfortunately, I did not see this performance. But it’s better to see it once, of course, and this especially applies to ballet.

Catherine: Well, in St. Petersburg you’ll see.

Introdans: dissimilar ballets by three masters

Catherine: And we will also show the Masters program of the Dutch troupe Introdans - from my point of view, a win-win. These are three completely different ballets within one program. It all begins with the production of Cantus by Nils Christe to the music of Arvo Pärt - it is dedicated to the soldiers who died in the wars of the 20th century. If at the beginning it is sad and sad, then in the end it is a powerfully tragic ballet. He immediately throws you off balance. The second is “Polish Pieces” by Hans van Manen - a living classic, ballet Pushkin. Everything, as always with him, is minimalistic, graphic, subtle, intelligent. And the third one is Cayetano Soto with a very funny joke thing Conrazoncorazon. The troupe from the Netherlands is incredible: when it first came on tour to our country, in 1970, even before you and I, Lesha, were born, according to eyewitnesses, Soviet ballet dancers simply had their heads blown off. And since then Introdans has continued to develop in a very interesting way.

Alexei: Yes, an exceptionally diverse program, congratulations!

"The Nutcracker": a new version of ballet number one

Catherine: You are bringing your new ballet “The Nutcracker” to our festival. We have known you since childhood, since our studies at the Vaganova Academy; like her other students, as they grew older, they danced almost all the parts in Vasily Vainonen’s “The Nutcracker” at the Mariinsky Theater. As soon as I hear this music, I have no other associations - only the choreography from this performance, as if it were part of my DNA. And I don’t understand at all: how were you able to abstract yourself from Vainonen’s production?

Alexei: Yes, I absolutely agree. Vainonen's performance is wonderful, we grew up with it. And it was really difficult to abstract myself, but I had my own personal reasons for staging this ballet. At the Vaganova Academy, I studied at the choreographer’s department with the choreographer Igor Belsky, who, as you know, at one time headed the ballet troupes at both the Maly Opera (Mikhailovsky) and the Kirov (Mariinsky) theaters. Once I came to Igor Dmitrievich, who was already feeling very bad, and saw books about Tchaikovsky and The Nutcracker on his table. He tells me: “You must stage this ballet.” Naturally, I answer: “Why? There are so many wonderful Nutcrackers already out there.” And he: “Be sure to stage it, just use the fairy tale about Princess Pirlipat and solve the problem of the great adagio. Go! And I never saw him again. Years passed, in 2009 I moved to Perm, over time our Winonanovsky performance here fell into disrepair, and the question arose of what to do - simply “dress up” it with new scenery and costumes or create a completely new, albeit neoclassical ballet. insisted on the second option: Vainonen’s “The Nutcracker” is shown all over the country, from St. Petersburg to Novosibirsk, and I wanted to do something of my own. And then I remembered Belsky’s words - and whatever one may say, it was the creative testament of my teacher. As long as I can remember, everyone kept saying: “Yes, great music, but no one can solve the problem of the great adagio.”

Catherine: Yes, yes, the problem of the great adagio haunted choreographers from Lev Ivanov and Yuri Grigorovich to Maurice Bejart, Matthew Bourne and Alexei Ratmansky: in the music there is a monstrous tragedy, but in the plot it is a happy pre-finale of the ballet. Musical people experience some dissonance. And how did you solve this main ballet problem of the century? (Laughs.)

"The Nutcracker" is perhaps the most famous ballet in the world

Alexei: You laugh, but “The Nutcracker” is perhaps the most famous ballet in the world. Tchaikovsky truly wrote music on a cosmic scale, absolutely brilliant. It is surprising that even Balanchine, the most musical choreographer in the world, did not want to solve this problem: his artists, smiling, dance a pas de deux when an anguished cry is clearly heard in the music. I followed the advice of Belsky, who recommended paying attention to Princess Pirlipat: in Hoffmann’s fairy tale about the Nutcracker, Drosselmeyer tells Clara/Masha this story about how the prince turned into a wooden doll, deciding to free the enchanted princess from the spell. As soon as he himself became the Nutcracker, the ungrateful Princess Pirlipat turned her back on him. The girl reflects, she says: “I would never act like this princess.” But in my play, Masha almost does this: literally for a moment she doubts staying in the fabulous Blumenburg, and the prince again becomes numb before her eyes. Masha screams over him, stroking his terrible and beloved face - and then the tragic music of destruction that sounds at this moment becomes completely understandable. Tchaikovsky's sister died while he was writing it. Fortunately, this only happens to Masha in a dream. This is how I solved the problem of the big adagio. Our action takes place in St. Petersburg in 1892, when the premiere of “The Nutcracker” took place at the Mariinsky Theater - this is such a good old time, the era of Alexander III, when it was still calm, good, cozy, and decadence, revolution and nightmare were only ahead. Artist Alona Pikalova created an incredible scenography, which includes the fabulous Blumenburg, and references to the pre-revolutionary Maslenitsa booths from Alexandre Benois’ “Petrushka”, and even to the cobalt mesh of the Imperial Porcelain Factory.

Catherine: Yes, yes, our technical director Maxim Balandin usually cries at your performances - everything is always very complicated with the scenery, endless changes of plans. (Laughs.) Unfortunately, artists from Perm will not be able to stay for the gala concert that will end the festival. Alexey: We are also very sorry, but I am sure that you will have a traditionally brilliant line-up of artists performing at your gala concert.

Text: Vitaly Kotov

Photo: courtesy of the festival organizers (Bettina Stoess, B¦rn Hickmann, Hans Gerritsen)

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Biography

Ekaterina Galanova born in Leningrad. Her father - Anatoly Zinovievich Yufit - a famous theater critic, doctor of art history, was a professor at the Leningrad State Institute of Theater, Music and Cinematography named after N.K. Cherkasov (now), head of the department of Russian theater; creator of the country's first department of theater management.

Ekaterina Galanova graduated from the Academy of Russian Ballet named after A. Ya. Vaganova (class of People's Artist of the USSR Natalia Dudinskaya, winner of four Stalin Prizes of the second degree (1941,1947, 1949, 1951) and was accepted into the troupe of the Mariinsky Theater, where she continued her career as a ballerina. But in In the 90s, Galanova left performing activities, seriously engaged in organizing concert events, and created a large-scale international festival project in the field of ballet.

In 2001, under her leadership, together with the choreographer, Honored Artist of Estonia Vasily Medvedev, the first International Ballet Festival DANCE OPEN was held in St. Petersburg, which has since been held annually. The DANCE OPEN festival performs an educational and propaganda function, attracting the attention of the general public to the art of ballet. Master classes for children, gala concerts, photo exhibitions, film presentations and social events - all this is DANCE OPEN. The festival has long been popular not only in Russia, but also abroad.

Currently, Ekaterina Galanova also runs the Oasis company she created, which has been successfully working in the field of event and congress management for more than ten years. The company's clients are the largest federal, as well as international, state and business structures.

Creation

Ekaterina Galanova has many major projects, in the organization of which she acted as a director and producer. Some of them from the last three years:
2010

New Year's reception for representatives of the diplomatic corps accredited in St. Petersburg, on behalf of the Governor of St. Petersburg and the Representative Office of the Ministry of Foreign Affairs of the Russian Federation in St. Petersburg;
Cultural events within the framework of the Days of St. Petersburg in the Kingdom of Norway (Oslo, Stavanger);
Cultural program within the framework of the “Days of St. Petersburg in Gdansk”, Poland;
Reception on behalf of the Government of St. Petersburg for the Ministry of Natural Resources and Ecology of the Russian Federation;
Days of Russian spiritual culture in the Republic of Serbia, Belgrade;
Days of Russian spiritual culture in Bosnia and Herzegovina, Sarajevo;
Days of Russian spiritual culture in the Republic of Macedonia, Skopje;
Days of Russian spiritual culture in the Republic of Croatia, Zagreb;
Days of Russian spiritual culture in the Republika Srpska, Banja Luka;
Cultural events as part of St. Petersburg’s participation in the Russian Art Festival in Cannes, France;
Festive program dedicated to Navy Day. Concerts at the Oktyabrsky Concert Hall and on the Spit of Vasilievsky Island in St. Petersburg;
Reception on behalf of the Government of St. Petersburg on the occasion of the meeting of the mayors of the Baltic cities HELCOM;
Concert for participants in events dedicated to the celebration of the 65th anniversary of the Victory of the Soviet people in the Great Patriotic War;
Days of St. Petersburg in Bordeaux, France;
Gala concert of Russian ballet stars as part of the official visit of the President of the Russian Federation to the Kingdom of Denmark, Copenhagen;
Exhibition of photographs from the personal archive of Natalia Makarova “Stradivarius of Dance”;
The solemn ceremony of presenting the First St. Petersburg International Ballet Prize “DANCE OPEN”;
Gala concert of world ballet stars “DANCE OPEN”;
International scientific and practical conference dedicated to the problem of preserving traditions in modern ballet;
Ballet legends of St. Petersburg: Gala concert dedicated to the 100th anniversary of the birth of Vakhtang Chabukiani;
Ballet legends of St. Petersburg: Gala concert dedicated to the 100th anniversary of the birth of Galina Ulanova;
Ballet legends of St. Petersburg: Gala concert dedicated to the 100th anniversary of the birth of Konstantin Sergeev;
Ballet legends of St. Petersburg: Gala concert dedicated to the 100th anniversary of the birth of Tatyana Vecheslova;

2011

Gala reception on behalf of the Governor of St. Petersburg Georgy Sergeevich Poltavchenko, dedicated to the New Year 2012;
A gala reception on the occasion of the New Year celebration on behalf of the Governor of St. Petersburg and representatives of the Ministry of Foreign Affairs in St. Petersburg for the heads of diplomatic and consular institutions located in St. Petersburg;
Gala concert of opera soloists of leading theaters of Russia (Tashkent);
Gala concert of Russian ballet stars, dedicated to the closing of the Russia-Spain cross year 2011;
Festive concert dedicated to “Lawyer Day” on December 2, 2011 at the St. Petersburg Musical Comedy Theater;
Prize of the Interdepartmental Museum Council “Museum Olympus - 2011”;
Gala concert of soloists of leading musical theaters of Russia, accompanied by Orchestrina “Armonia” (Ashgabat);
Gala concert of the IV International Festival of Musical Performing Arts “Life is Beautiful!” (Bucharest, Romania) November 12-15, 2011;
Gala concert “Music for all times”, dedicated to the 170th anniversary of Sberbank of Russia;
Presentation of the opera art of St. Petersburg in the Trans-Baikal Territory (Chita);
Open Day and Helsinki Courtyard as part of the Helsinki Days in St. Petersburg;
Gala concert of Russian opera stars as part of the Tchaikovsky Day celebrations;
Days of Russian spiritual culture in Albania (Tirana, Durres, Shkodër);
Days of Russian spiritual culture in Montenegro (Podgorica, Cetinje);
Days of Russian spiritual culture in Bulgaria (Sofia);
Days of Russian spiritual culture in Romania (Bucharest);
Days of Culture of the Republika Srpska (Bosnia and Herzegovina) in Russia;
Days of Culture of the Republic of Serbia in Russia;
Days of Culture of the Republic of Macedonia in Russia;
Days of Culture of the Republic of Croatia in Russia;
Gala concert of World Ballet Stars in Savonlinna, Finland;
Russian artistic program in Italy within the framework of the Year of Russia - Italy 2011;
Cultural and business mission of St. Petersburg within the framework of the “Days of St. Petersburg” in Krakow;
Gala concert of Russian ballet stars at the Winter Theater in Sochi;
Organization of a concert program as part of a reception on behalf of the Governor of St. Petersburg on the occasion of the X meeting of heads of intelligence services, security agencies and law enforcement agencies of foreign states - partners of the FSB of Russia;
Russian-Norwegian cultural forum in Harstad;
Gala concert of opera soloists in Khanty-Mansiysk;
II International Youth Economic Forum 2011 (MIEF);
Concert program as part of the Hennessy gala presentation in St. Petersburg;
Cultural program within the framework of the XXIV International Book Fair in Turin;
International Meeting of BRIC Friendly Cities in Qingdao, China;
All-Russian open competition for pharmaceutical industry professionals 2010 “Platinum Ounce”;
58th CIC General Assembly;
Solemn ceremony of presenting the Second St. Petersburg International Ballet Prize “DANCE OPEN”;
“DANCE OPEN”: Gala concert of World Ballet Stars;
X International Ballet Festival “DANCE OPEN”: International scientific and practical conference “Development of academic traditions in modern ballet”, St. Petersburg;
“DANCE OPEN”: Gala concert in honor of Natalia Makarova’s anniversary;
“DANCE OPEN”: Gala concert of Russian Ballet Stars;
Evening reception as part of the FORTUM SUMMIT event, St. Petersburg;

year 2012

New Year's reception on behalf of the Governor of St. Petersburg for the heads of diplomatic missions accredited in St. Petersburg;

Gala concert of Russian ballet stars “Gala Russe” in Bahrain;

Gala concert of Bulgarian opera stars with the participation of Vladimir Galuzin;
Exhibition “Forgotten photographs of the Russian-Turkish war”;
Project “DANCEOPEN in the CIS: Russian ballet school for the young generation of the CIS”;
Concert of the folklore ensemble "Basil";
Opening of the photo exhibition “Colorful Romania”;
Gala concert of soloists of the National Opera of Romania (Iasi) and the Orchestra of the Yekaterinburg State Academic Opera and Ballet Theater;
Concert of the Bulgarian male choir “Ioan Kukuzel the Angel-voiced”;
Concert of the Bulgarian chamber ensemble “Sofia Soloists”;
XI All-Russian Forum “Strategic planning in regions and cities of Russia”;
Photo exhibition “Albania in Photographs”;
Opening of the exhibition “Montenegrin Contemporary Art in the 21st Century” at the Erarta Museum of Contemporary Art;
Gala concert of soloists of the National Opera of Bucharest;
Grand opening of the Days of Spiritual Culture of Albania. Concert of the National Chamber Orchestra conducted by Oleg Arapi and the Mother Teresa Choir conducted by Suzanna Turku;
Opening of the Days of Spiritual Culture of Montenegro, concert of the chamber ensemble “Montenegrin Strings”;
Opening of the “Days of Romanian Spiritual Culture in Russia”, a unique show “Mozart Rocks”;
Russian festival in India;
Festival “Theatrical Cultural and Educational Project” (India);
Concert dedicated to the 200th anniversary of the War of 1812. Bolshie Vyazemy. Museum-Reserve of A. S. Pushkin;
Gala concert of Russian ballet stars (GALA RUSSE LES ETOILES DES BALLETS RUSSES) in Monaco;
Gala concerts of Russian ballet stars in Venezuela in Caracas and Maracaibo;
ST.PETERSBURG-SAVONLINNA BALLET DAYS: Gala concert of ballet stars DANCE OPEN;
ST.PETERSBURG-SAVONLINNA BALLET DAYS: Master classes;
Concert of the Russian Horn Orchestra on the open stage Live Site Sochi 2014 near the Sea Terminal, Sochi;
Concert of the laureates of the XIV International Competition. P.I. Tchaikovsky, Sochi;
Gala concert of opera soloists of leading Russian theaters in Sochi;
International Forum “Comprehensive development of underground space in megacities as one of the most important areas of state management of territorial development”;
Gala reception for participants and guests of the 20th Plenary meeting of the Egmont Group;
Children's Day on Palace Square in St. Petersburg;
Gala concert “Boris Eifman and the Ballet Stars” at the Mikhailovsky Castle as part of the celebration of the City Day of St. Petersburg;
Gala concert of opera stars at the Mikhailovsky Castle as part of the celebration of the City Day of St. Petersburg;
Ceremony of awarding prizes from the Government of St. Petersburg in the field of literature, art and architecture for 2011;
16th International Conference of the European Society for the Study of the History of Economic Thought (ESHET);
Cultural program within the framework of the Days of St. Petersburg in Bavaria, Munich;
Solemn ceremony of presenting the III St. Petersburg International Ballet Prize “DANCE OPEN”;
“DANCE OPEN”: Gala concert of world ballet stars;
“DANCE OPEN”: Gala concert in honor of the 100th anniversary of Natalia Dudinskaya;
“DANCE OPEN”: show “Bad Boys of Dance”;
Cultural and business mission of St. Petersburg in Maribor, Slovenia;
Festive concert dedicated to International Women's Day on March 8;

International Ballet Festival DANCE OPEN

, Bolshoi Theater of Russia, Hamburg Ballet, The English National Ballet, The New York City Ballet, Mariinsky Theater, Mikhailovsky Theater, Staatsoper Berlin, Dresden Semper Oper Ballet, San Francisco Ballet, American Ballet Theater and other prestigious ballet companies.

The program of the modern Festival includes:

gala concerts of world ballet stars;
themed concerts with stars,

dedicated to the anniversaries of the legends of world choreography, the history of Russian and world ballet, etc.;

touring performances of the best ballet companies in the world,

those coming to Russia for the first time or extremely rarely;

master classes from leading Russian and foreign

teachers and ballet stars for students from different countries;

concerts of young dancers following master classes;
exhibitions and film presentations;
DANCE OPEN International Ballet Award Ceremony;
social events;

The best soloists on the planet at the peak of their careers annually gather to participate in star-studded gala concerts and themed DANCE OPEN concerts. The concert program includes only “crown” numbers and pearls of world choreography, both classical and modern.