News

On 19, 22 and 29 December the Mariinsky Theatre will present the first premiere of its 242^nd season – a new production of Richard Wagner’s enchanting opera Tristan und Isolde. Directors Konstantin Balakin and Alexei Stepanyuk, together with designer Elena Vershinina, will bring this ode to all-consuming love to life on the stage of the Concert Hall.

The world premiere of Tristan und Isoldetook place almost 160 years ago, on 10 June 1865, at Munich’s Royal Court Theatre (now the Bayerische Staatsoper), conducted by Hans von Bülow. The opera was received with great enthusiasm, with the first performances achieving triumphant success.

Despite its acclaimed premiere and subsequent international renown, this work’s stage history is not replete with productions. This is primarily due to the complexity of the score and the significant demands placed on the performers, which few opera companies can meet. The Mariinsky Theatre, with its constellation of Wagnerian singers, its truly Wagnerian orchestra and its unique repertoire, is the only theatre in Russia with a history of staging Tristan und Isolde.

The opera was first performed at the Mariinsky Theatre in 1898 by a German company, but on 5 April 1899 the theatre’s own production premiered (in Russian, translated by Vsevolod Cheshikhin and edited by Ivan Ershov). Ten years later, in 1909, audiences witnessed Vsevolod Meyerhold’s directorial vision, with set design by Alexander Shervashidze (in Russian, translated by Viktor Kolomiytsov). The production received mixed reviews but had a significant impact on Meyerhold’s development as a director. With the outbreak of the First World War, all German operas disappeared from the theatre’s repertoire. Tristan und Isolde did not reappear on the playbills during the Soviet era.

The opera’s next staging came only in the new millennium, in 2005, directed by Dmitri Tcherniakov, with set design by Zinovy Margolin, Irina Tsvetkova and Gleb Filshtinsky. Valery Gergiev conducted. The production ran on the Mariinsky Theatre’s Historic Stage until 2010 and was transferred to Mariinsky II in 2015.

Konstantin Balakin and Alexei Stepanyuk’s production offers a fresh perspective on this renowned tale of love and death. In the Concert Hall, where the stage, reminiscent of an ancient amphitheatre, is situated below the stalls, no detail will escape the attentive gaze of the audience. Profound emotions and subtle, barely perceptible nuances will unfold before the audience with utmost clarity.

“Love here is presented as a myth, as an element and as a space,” Konstantin Balakin emphasises. “It is dark, but this darkness has a certain solemnity, a ritualistic quality. Wagner literally hypnotises a listener: from the first to the last sound we are immersed in an infinitely extended melody; it is mesmerising, leading us somewhere, carrying us away, we simultaneously soar and plunge into the abyss. The composer overlays his personal, rather painful experiences onto a medieval legend that is not actually tied to any particular era but continues to resonate today. Wagner said that he wanted to give the art of the future new paths, and in Tristan und Isolde he succeeded in doing this like nowhere else: symbolism, modernism and even postmodernism find expression in this opera.”

Wagner wrote the libretto for Tristan und Isolde himself, drawing inspiration from the medieval Celtic legend recounted in Gottfried von Strassburg’s epic poem. The composer significantly condensed the plot, the number of scenes, and the characters. He placed the focus on two lovers who are destined to reveal their feelings for each other only on the threshold of death.

“Young people today are pragmatic,” notes Alexei Stepanyuk. “They meet online, they marry online. Tristan und Isolde is an island of intoxicating, exalted love, where every phrase is charged with the powerful energy of passion. This production should remind us that beyond the material, there is something more – feelings and emotions. They can be so all-consuming that the concepts of ‘love’ and ‘death’ become synonymous. And death is not to be feared.”

The production design, conceived by the directors, will incorporate themes that allude to Arnold Böcklin’s iconic symbolist painting Isle of the Dead, a work contemporary to Wagner. A century ago a reproduction of this painting could be found in almost every drawing-room, not only in Germany and Austria but also in Russia. Motifs from the painting, which ushered in a new, symbolist era in painting, will serve as a visual reflection of the opera’s central idea – the ultimate collision of love and death, the mystery that the composer termed Liebestod.

On 10 and 11 December the Mariinsky Theatre will present two performances of Tchaikovsky’s The Queen of Spades in Yuri Temirkanov’s legendary production on the Historic Stage. This marks the return of the production to the theatre after an absence of almost ten years, coinciding with the 86^th birthday of the eminent conductor and director.

The world premiere of The Queen of Spades took place at the Mariinsky Theatre on 7 December 1890, conducted by Eduard Nápravník. It was a resounding triumph for Tchaikovsky, with the enthusiastic audience calling him back for countless curtain calls. Gennady Kondratiev directed the first production, followed by stagings by Alexandre Benois (1921), Nikolai Smolich (1935) and Nikolai Gladkovsky (1946). Exactly forty years ago, on 25 December 1984, Yuri Temirkanov’s production was unveiled at the Kirov (Mariinsky) Theatre – a production destined to become a benchmark interpretation.

Temirkanov’s The Queen of Spades has garnered international acclaim, establishing itself as a definitive example of classic opera direction and a long-standing favourite in the Mariinsky Theatre’s repertoire. This production has showcased a host of exceptional artists and has been cherished by generations of theatregoers for its meticulous staging, faithful to the composer’s intentions and the spirit of the era. Together with designer Igor Ivanov, Yuri Temirkanov recreated the defining characteristics of 18^th-century St Petersburg with remarkable accuracy: the delicate latticework of the Summer Garden, the Winter Canal, the interiors of the gambling house and the masked ball – all the details and costumes meticulously reflect their historical counterparts. The production was last seen in St Petersburg in 2015, marking its 109^th performance.

In that same year, 2015, The Queen of Spades was taken to the Far East in a major artistic initiative. Valery Gergiev and leading soloists of the Mariinsky Theatre introduced Vladivostok audiences to this celebrated production, which subsequently entered the repertoire of the Primorsky Stage. Now Yuri Temirkanov’s definitive production returns to St Petersburg. It is also worth noting that another of Temirkanov’s landmark productions, Eugene Onegin, graces the Mariinsky Theatre’s December schedule with a performance on 19 December.

It is with profound sadness that the Mariinsky Theatre announces the untimely passing of principal dancer Vladimir Shklyarov. Mr Shklyarov, a beloved artist and audience favourite, died tragically on 16 November. His loss is deeply felt by the entire Mariinsky family and the wider ballet world.

Mr Shklyarov graced the Mariinsky stage for over two decades, joining the company in 2003 upon graduating from the Vaganova Academy of Russian Ballet. He was promoted to principal dancer in 2011, captivating audiences with his expressive artistry and technical brilliance. His exceptional talent was recognised with numerous awards, culminating in the prestigious title of Honoured Artist of Russia in 2020.

Renowned for his versatility and captivating stage presence, Mr Shklyarov excelled in a vast repertoire encompassing both classical and contemporary works. He was equally compelling as the noble Prince Désiré in The Sleeping Beauty and the rebellious youth in MacMillan's Manon. His performances were characterised by an impeccable technique, dramatic intensity, and an innate musicality that made him a true artist of the stage.

A memorial service will be held on 21 November at 11:30 am in the White Foyer of the Mariinsky Theatre (historic stage). Further details will be announced in due course.
The church funeral service will be held at 2:00pm in St Nicholas Naval Cathedral (Nikolskaya Square, 1/3).
The burial ceremony will take place at 4:00pm at the Smolensk Orthodox Cemetery (Kamskaya Street, 26).

Due to popular demand, the Bolshoi Theatre will present additional performances of The Queen of Spades – a large-scale collaboration between Russia’s two leading opera houses.

Following the resounding success of the first performance of this production on the Bolshoi Theatre’s Historic Stage, the decision was made to add further dates to the December repertoire. Three performances of The Queen of Spades will now take place on 13 December (commencing at 19.00) and 14 December (commencing at 12.00 and 19.00).

Leading soloists from both the Mariinsky and Bolshoi theatres will sing the principal roles, accompanied by the Bolshoi Theatre’s Chorus and Orchestra under the baton of maestro Valery Gergiev.

The libretto is by Modest Tchaikovsky, based on Alexander Pushkin’s eponymous novella. The production team includes Valery Gergiev (music director), Alexei Stepanyuk (stage director), Alexander Orlov (set designer) and Irina Cherednikova (costume designer).

Tickets are available for purchase on the Bolshoi Theatre website: bolshoi.ru

Audiences can anticipate operatic masterpieces performed by exceptional soloists under the baton of Valery Gergiev, complemented by nationwide live broadcasts of the performances.

From 26 November to 5 December the Bolshoi Theatre of Russia will host a grand festival dedicated to the great Russian composer Modest Petrovich Musorgsky, marking the 185^th anniversary of his birth. Entitled Our Musorgsky: From the Depths…, the festival will be a collaborative effort between Russia’s two leading musical theatres – the Bolshoi and the Mariinsky. Residents and visitors to the capital will have a unique opportunity to immerse themselves in the legacy of one of the greatest masters who celebrated Russian history, identity and the splendour of its traditions and culture.

The festival will showcase the composer’s operatic masterpieces: Khovanshchina, Sorochintsy Fair, The Marriage and Salammbô. The festival will culminate with a performance of the legendary Boris Godunov on the Historic Stage, a production that has become synonymous with the Bolshoi Theatre and its historical traditions. This performance will feature the celebrated bass Ildar Abdrazakov, alongside soloists from both the Mariinsky and Bolshoi theatres, accompanied by the Bolshoi Theatre’s Chorus and Orchestra under the baton of Valery Gergiev.

The festival opens on 26 and 27 November with the premiere of a production of Khovanshchina on the Historic Stage. Leonid Baratov’s legendary 1952 production, with its opulent sets by Fyodor Fedorovsky, was revived at the Mariinsky Theatre in a new staging by Yuri Alexandrov on 1 May 2000. It will now enter the repertoire of the Bolshoi Theatre.

The festival continues with the premiere of a new version of Sorochintsy Fair on 28 and 29 November. This production, based on Boris Pokrovsky’s 2000 staging, will be directed by Ksenia Shostakovich on the Bolshoi Theatre’s New Stage. The musical edition is by Vissarion Shebalin.

In this comic opera based on Gogol’s eponymous story, Musorgsky continued the creative experiment he began in The Marriage. On the same dates – 28 and 29 November – the Chamber Stage will host the premiere of The Marriage, set to Gogol’s text, directed by Edem Ibraimov and featuring set design by Ksenia Kalinina.

On 2 December the Historic Stage will present the unfinished opera Salammbô in the Mariinsky Theatre’s musical edition. The libretto is by the composer, based on Gustave Flaubert’s novel of the same name, and also includes verses by Vasily Zhukovsky, Apollon Maykov and Alexander Polezhayev. The orchestration is by Musorgsky, Rimsky-Korsakov, Vissarion Shebalin and Vyacheslav Nagovitsyn.

The festival concludes with performances of Boris Godunov on 4 and 5 December on the Historic Stage. The libretto is by Musorgsky, based on Pushkin’s drama of the same name. The edition and orchestration are by Rimsky-Korsakov, with the scene Near St Basil’s Cathedral orchestrated by Mikhail Ippolitov-Ivanov. The renowned 1948 production by Nikolai Golovanov and Leonid Baratov (with set and costume design by Fyodor Fedorovsky and choreography by Leonid Lavrovsky), revived on 1 December 2011, will provide a triumphant conclusion to the festival.

Live broadcasts of the festival’s opening and closing performances will extend the audience reach across the country, allowing viewers to experience Khovanshchina (26 November) and Boris Godunov (4 December). The broadcasts will encompass over fifty cinemas and select art venues in thirty cities.

KARO.Art will present the broadcasts in twelve cinemas, including the country’s flagship venue, the Oktyabr Cinema Centre. Cinema versions of the broadcasts of Khovanshchina and Boris Godunov will be shown throughout Russia, distributed by Kino.Art.Pro.

This initiative follows the successful broadcast of the Bolshoi Theatre’s season opening in September 2024, which saw the return of the classic ballet The Sleeping Beauty to the repertoire of Russia’s principal theatre, reaching an audience of over 300,000 viewers in Russia and abroad.

On 2 November a significant agreement was signed between Mikhail Kotyukov, the Governor of Krasnoyarsk Krai (Krasnoyarsk Region), and Valery Gergiev, the esteemed General Director of the Bolshoi Theatre of Russia and Artistic and General Director of the Mariinsky Theatre. This partnership aims to bolster the development of musical and theatrical arts within Russia, with a particular focus on Krasnoyarsk.

The agreement outlines a collaborative framework between Krasnoyarsk Krai and Russia’s two foremost musical theatres, paving the way for a range of educational, outreach and creative initiatives. These encompass the creation of new productions, concerts, masterclasses, seminars, and the facilitation of artist exchanges. A key aspect of this partnership will be the preservation and celebration of the legacy of Dmitri Hvorostovsky, the celebrated baritone who was born in Krasnoyarsk and went on to achieve international acclaim.

“While the specifics of how cultural infrastructure will develop here are not ours to determine,” commented Valery Gergiev, “we can certainly contribute to enriching the artistic life of a theatre or philharmonic. This can be achieved through our presence, performances, and by engaging the talented artists within our network. I believe that, now more than ever, the country’s principal venues should extend their reach and influence to support leading regions. And becoming a leading region is no small feat: it requires consistent effort and demonstrable achievements. One cannot simply be designated a leader; one must earn that distinction. And I have great faith in Krasnoyarsk’s potential.”

Governor Kotyukov expressed his enthusiasm for the partnership, stating, “This agreement provides the foundation for a dynamic collaboration between Krasnoyarsk Krai and two of Russia’s leading theatres – the Bolshoi and the Mariinsky. I am deeply grateful to Valery Abisalovich Gergiev for his confidence in our region. The partnership and friendship between our theatres have been nurtured for decades. Almost half a century ago it was the Bolshoi Theatre that played a pivotal role in establishing our Krasnoyarsk Opera and Ballet Theatre. Several artists from the Krasnoyarsk State Opera and Ballet Theatre, as well as graduates of our Institute of Arts, have gone on to become soloists at the Mariinsky and Bolshoi theatres, most notably, of course, Dmitri Hvorostovsky. In 2022 Krasnoyarsk artists had the honour of performing on the stage of the Bolshoi Theatre. This was a significant acknowledgement of the achievements of the Krasnoyarsk Opera and Ballet Theatre, which is currently enjoying a period of artistic flourishing. We anticipate a significant increase in joint projects, encompassing new productions, concerts and masterclasses. A dedicated section of the agreement focuses on preserving the legacy of Dmitri Hvorostovsky, which is of particular importance to us. I am confident that this collaboration will be immensely fruitful.”

Coinciding with the signing of the agreement, the Krasnoyarsk Philharmonic’s Grand Hall hosted the closing concert of the Hvorostovsky Arts Festival on 2 November. This large-scale cultural event culminated in a performance by the Mariinsky Orchestra under the baton of Valery Gergiev. The orchestra presented a programme for the Krasnoyarsk audience featuring Debussy's Prelude to L’Après-midi d’un faune, Prokofiev’s Symphony No. 5, Ravel’s Pavane pour une infante défunte and Shostakovich’s Symphony No. 6.

It is worth noting that Dmitri Hvorostovsky made his Mariinsky Theatre debut on 6 November 1988, singing the role of Valentin in Gounod’s Faust. The future global star, then a twenty-six-year-old artist from Krasnoyarsk, was invited by the theatre’s Music Director Valery Gergiev. A few months later Hvorostovsky won the 4^th BBC Cardiff Singer of the World competition, and he subsequently lived up to this title, performing brilliantly on the world’s leading stages. His collaboration with the Mariinsky Theatre continued, resulting in numerous recordings with the Mariinsky Orchestra under Valery Gergiev, enjoyed by listeners around the globe.

Having triumphantly concluded an extensive tour of six cities in China, Valery Gergiev and the artists of the Mariinsky Orchestra now journey to Vladivostok. On 29 October a combined orchestra of the Mariinsky Theatre, St Petersburg, and the Primorsky Stage, under the maestro’s baton, along with leading opera soloists, will open the IX International Mariinsky Far East Festival, which will unfold in two stages: an operatic programme, featuring four productions, will be presented from 29 October to 3 November, followed by a ballet programme from 14 to 17 November.

The festival commences with a performance of The Enchanted Wanderer, an opera by the eminent contemporary composer Rodion Shchedrin, on 29 October. Composed in 2002, this parable opera, based on the eponymous novella by Nikolai Leskov, immediately garnered international acclaim. Last year this masterpiece was staged in Vladivostok by Alexei Stepanyuk. Soloists from the Primorsky Stage – Evgeny Plekhanov, Ilya Astafurov and Tatiana Makarchuk – will perform the principal roles. Valery Gergiev will conduct a combined symphony orchestra of the Mariinsky Theatre, St Petersburg, and the Primorsky Stage.

On 30 October Puccini’s opera Tosca, directed by Hans-Joachim Frey, will be presented at the Great Hall of the Primorsky Stage. This production premiered in Vladivostok in 2015. The leading roles will be sung by the brilliant St Petersburg-based Mariinsky Theatre soloists Tatiana Serjan and Sergei Skorokhodov. The performance will feature the Primorsky Stage Chorus, with Valery Gergiev conducting the Mariinsky Orchestra.

On 31 October Verdi’s opera Nabucco will be presented for the first time at the Primorsky Stage. This production premiered at the Mariinsky Theatre in St Petersburg last year. Leading soloists from the St Petersburg company – Vyacheslav Vasiliev, Sergei Skorokhodov, Yakov Strizhak, Olga Maslova and Zinaida Tsarenko – will take on the principal roles. The performance will feature the Primorsky Stage Chorus, with Valery Gergiev conducting the Mariinsky Orchestra.

The operatic portion of the festival concludes with three performances of one of the Mariinsky Theatre’s recent premieres. On 2 and 3 November (13:00 and 19:00) Rossini’s opera La Cenerentola will be presented in Vladivostok for the first time. Soloists from the St Petersburg company will sing the principal roles. The performances will feature the Mariinsky Chamber Chorus, with Pavel Smelkov conducting the Mariinsky Orchestra of the Primorsky Stage.

As part of the ballet programme, from 14 to 17 November, audiences in Vladivostok will have their first opportunity to see recent Mariinsky Theatre premieres from St Petersburg – Léo Delibes’ Coppélia, choreographed by Alexander Sergeev, and Anyuta, set to music by Valery Gavrilin and choreographed by Vladimir Vasiliev. Leading soloists from the Mariinsky Ballet in St Petersburg will play the principal roles. Arseny Shuplyakov will conduct the Mariinsky Orchestra of the Primorsky Stage for these performances.

On 27 October a concert by the Mariinsky Orchestra under the baton of Valery Gergiev in Macao marked the grand finale of the symphonic programme for their extensive China tour. The celebrated ensemble and maestro graced six cities across the nation: Beijing, Shanghai, Nanjing, and Macao as well as – for the first time – Jinan and Shenzhen.

During the tour the artists presented eight symphonic concerts at some of China’s most prestigious and iconic venues. These included the National Centre for the Performing Arts in Beijing, the Shandong Grand Theatre in Jinan, the Shanghai Oriental Art Centre, the Jiangsu Centre for the Performing Arts in Nanjing, the Shenzhen Concert Hall and the Macao Cultural Centre. They presented diverse programmes showcasing masterpieces by Russian and European composers to enthusiastic Chinese audiences. The concluding concert in Macao featured Debussy’s Prélude à l’après-midi d’un faune, Rachmaninoff’s Symphonic Dances and excerpts from Stravinsky’s ballet Petrouchka.

“This October has been a month filled with touring engagements for us,” Valery Gergiev summarised, “particularly in the People’s Republic of China. This is our second visit to Macao this month – we previously brought an opera here. The concert in Shenzhen, where we performed for the first time, was particularly special. It is a city of immense economic achievements, as many have observed. We have made renowned friends here, and the concert was a great pleasure.”

He continued, “It is safe to say that the performances of both the Bolshoi Ballet and the Mariinsky Ballet and Orchestra took place at the country’s leading venues. We are developing relationships with musicians, exchanging performances, and inviting young people to perform with us. And we are also looking forward to returning home. We have major events planned at both the Bolshoi Theatre of Russia and the Mariinsky Theatre as well as a festival at the Moscow Concert Hall Zaryadye. We are eager to return, we miss home, and we will be back soon!”

This extensive China tour by the Mariinsky Ballet and Orchestra under the baton of Valery Gergiev took place from 10 to 27 October. The ballet portion of the tour, which ran from 10 to 26 October, encompassed performances in Beijing, Nanchang and Shanghai, featuring Prokofiev’s Romeo and Juliet and Minkus’ La Bayadère as well as a captivating ballet gala. The symphonic leg of the tour, conducted by maestro Gergiev, took place from 17 to 27 October in Beijing, Jinan, Shanghai, Nanjing, Shenzhen and Macao.

Earlier in the month, from 4 to 6 October, the Mariinsky Theatre opera soloists, Chorus and Orchestra under maestro Gergiev presented Puccini’s Tosca in Macao to critical acclaim. Three performances, featuring the Macao Orchestra and the Macao Youth Choir, were held at the Macao Cultural Centre.

On 1 November, at 20:00, Verdi’s Aida will resound through the Concert Hall of the Mariinsky Theatre. This concert performance of the Italian composer’s masterpiece marks the upcoming anniversary of the opera’s Russian premiere. The inimitable Elena Stikhina will take on the title role, joined by a constellation of brilliant Mariinsky Theatre soloists: Najmiddin Mavlyanov, Alexey Markov, Anna Kiknadze, Gleb Peryazev and Gennady Bezzubenkov. Gurgen Petrosyan, a laureate of the Rachmaninoff International Competition for Pianists, Composers and Conductors, will stand at the helm of the Mariinsky Orchestra.

Commissioned by the Khedive of Egypt to celebrate the opening of the Cairo Opera House and the completion of the Suez Canal, Aida holds the distinction of being the first Egyptian national opera. Its world premiere took place in Cairo on 24 December 1871, and from its very first performance the opera was met with resounding success. The Egyptian triumph was followed by acclaim in the composer’s homeland and then throughout Europe: Milan, Parma, Padua, Naples, Berlin, Vienna, Paris – in every city the work was received with enthusiasm.

In Russia Aida was first presented in St Petersburg, on the stage of the Bolshoi (Kamenny) Theatre, the grand predecessor of the Mariinsky Theatre. The premiere took place in 1875, performed by the Imperial Italian Opera Company. Just two years later, in 1877, Aida graced the Mariinsky Theatre, in what is now known as the Historic Stage. The performance was given in Russian (translated by Grigory Lishin) by the Imperial Russian Opera Company, with Eduard Nápravník conducting.

From its first performance in Russia Aida has captivated audiences, and for a century and a half it has remained a fixture on the operatic stage. The work combines a gripping plot, emotional expressiveness and a wealth of musical riches, ensuring its enduring popularity and a long and successful stage life.

The Mariinsky Ballet’s tour of China concluded today with a captivating performance of Minkus’ La Bayadère at the Shanghai Grand Theatre, marking the culmination of a highly successful visit to the country. The tour, which spanned 10 to 26 October, encompassed three cities: Beijing, Nanchang and Shanghai.

Over the course of the tour the Mariinsky Ballet presented thirteen performances, showcasing renowned masterpieces from its repertoire, including Prokofiev’s Romeo and Juliet and Minkus’ La Bayadère, alongside a dazzling gala concert. Principal roles were played by leading dancers of the Mariinsky Ballet – Viktoria Tereshkina, Renata Shakirova, Oksana Skorik, Nadezhda Batoeva, Kimin Kim, Timur Askerov, Andrey Ermakov, Roman Belyakov, Elena Yevseyeva, Philipp Stepin, Alexandra Khiteyeva and Anastasia Lukina. Arseny Shuplyakov conducted the performances.

“It is significant that this autumn tour took place within the framework of the Russia–China Cross Years of Culture, declared by the heads of both states. At the solemn ceremony dedicated to the 75^th anniversary of the establishment of diplomatic relations between our countries, Xi Jinping remarked that music unites hearts and minds, and in Chinese culture it is traditionally perceived as a language of friendship. Dance, and especially classical dance, thrives on music: great Russian composers have generously gifted the ballet world with their works. One such masterpiece – Prokofiev’s Romeo and Juliet – we presented this year in China. That ballet has been enthusiastically received by audiences across all continents for almost eighty-five years. The second ballet that Chinese audiences saw – Minkus’ La Bayadère – represents the pinnacle of classical dance. It is immensely gratifying that we were able to present all these performances live, because theatrical art is, first and foremost, an exchange of emotions, and the Chinese public welcomed us with exceptional warmth. At certain moments the audience held their breath or even gasped at the dancers’ soaring leaps and other technically demanding feats. We see how the number of devoted fans who wait for our artists after the performances at the stage door to get autographs and photographs is growing every year, which means that the desire to see us more and more often in this wonderful, rapidly developing country with an ancient culture is also growing,” said Andrian Fadeyev, Artistic Director of the Mariinsky Ballet, summarising the tour.

The Mariinsky Theatre’s extensive tour of China took place from 10 to 27 October. The tour of the Mariinsky Ballet and Symphony Orchestra under the baton of Valery Gergiev encompassed a total of seven cities: Beijing, Shanghai, Nanchang, Jinan, Nanjing, Shenzhen and Macao. The symphonic portion of the tour will conclude tomorrow, 27 October, with a concert at the Macao Cultural Centre.