The head of the ballet troupe, mahar vaziyev, resigned. The Ministry of Culture has published the salaries of heads of museums and theaters Mariinsky Theater

History of the Mariinsky Theater It is counted from the Bolshoi Theater founded by decree of Catherine II in 1783, which was located on the site of the current Conservatory (Teatralnaya Square in St. Petersburg). In 1848, the outstanding architect A. Kavas, a prominent representative of late classicism, erected the building of the Mariinsky Theater. The name of the theater is associated with the name of the wife of Alexander II, Empress Maria Alexandrovna.

The first performance at the theater took place on October 2, 1860. It was an opera by M.I. Glinka "Life for the Tsar". The Mariinsky Theater hosted the premieres of such masterpieces of Russian classics as Ruslan and Lyudmila, Boris Godunov, Khovanshchina, operas and ballets by Tchaikovsky were staged and presented to the audience. At the Mariinsky Theater, Aida, Othello, Romeo and Juliet, Carmen and others were staged for the first time on the Russian stage.

The theater became the center of the cultural life of St. Petersburg. In the period from 1883 to 1896, under the leadership of V. Schroeter, a Russian architect of German origin, the theater was reconstructed, mainly the auditorium. The auditorium of the Mariinsky Theater is one of the most beautiful in the world. It is decorated with a luxurious three-tiered chandelier and a picturesque ceiling made by the painter Fracioli, gilded stucco decorations and sculptures, the famous curtain by the Russian artist, stage designer A. Golovin.

Listing the names of cultural figures associated with the state academic theater would take an infinite number of pages, let's name just a few of them: M. Petipa, F. Chaliapin, A. Istomina, E. Semenova, V. Nizhinsky, L. Sobinov, G. Ulanova, A. Pavlova, R. Nuriev. The Soviet period in the history of the theater was marked by the fact that in 1919 the "Mariinsky" - Mariinskii Opera House received academic status. In 1935 he was named after S.M. Kirov, which he wore until 1992. During the war, the theater was evacuated to Perm, where it held its performances. Currently, work is underway to create the second stage of the theater. The new building will be located next to the historic building, on the other side of the Kryukov Canal. The architect is the Frenchman Dominique Perrault. The artistic director and director of the theater is Valery Abisalovich Gergiev. His productions become a discovery for the world musical community. V. Gergiev is one of the outstanding conductors of the world today.

Historical places, sights in St. Petersburg:

Mariinskii Opera House(modern official name State Order of Lenin and the Order of the October Revolution Academic Mariinsky Theater, from 1935 to January 16, 1992 - Leningrad State Academic Opera and Ballet Theater named after S. M. Kirov listen)) is a musical theater in Saint Petersburg. One of the most famous and significant opera and ballet theaters in Russia and the world. It was founded in 1783.

Story

The theater traces its history back to the Bolshoi Theater founded in 1783 by order of Empress Catherine the Great, which was located in a building later rebuilt as the St. Petersburg Conservatory. He was a member of the Imperial Theaters of Russia.

On July 12, 1783, a Decree was issued approving a theatrical committee "for the management of spectacles and music." On October 5, the Bolshoi Kamenny Theater on Carousel Square was solemnly opened, from which the history of the theater begins. Later, Carousel Square changed its name to Theater Square.

In 1859, the Circus Theater located opposite the Bolshoi Theater burned down. In its place, the architect Alberto Cavos built a new theater, which was named the Mariinsky in honor of the wife of Alexander II, Empress Maria Alexandrovna. The first theatrical season in the new building opened on October 2, 1860 with Glinka's Life for the Tsar. In 1886, the old theater building was rebuilt as a conservatory, and the repertoire was completely transferred to the stage of the Mariinsky Theatre.

On November 9, 1917, with the change of power, the theater, which became the State, was transferred to the jurisdiction of the Commissariat of Education of the RSFSR, in 1920 it became academic and since then it has been fully called the State Academic Opera and Ballet Theater (abbreviated as GATOB). In 1935, shortly after the assassination of the first secretary of the Leningrad Regional Committee of the All-Union Communist Party of Bolsheviks, Sergei Kirov, the theater, like many other objects, settlements, enterprises, etc. of the USSR, was named after this revolutionary.

In 1988, after the death of Yevgeny Mravinsky and the departure of Yuri Temirkanov to the Philharmonic, Valery Gergiev became artistic director and chief conductor of the Kirov Theatre.

Venues

• The main building of the Mariinsky Theater (Teatralnaya Square, 1)
• The second stage of the Mariinsky Theater (Mariinsky-2). The grand official opening and gala concert took place on May 2, 2013
• Concert Hall of the Mariinsky Theater (third stage), (Dekabristov st., 37)
• From 2016, the branch of the Mariinsky Theater (stage 4) will start working at the Vladivostok Opera House

In the off-season, the theater provides its stage for the performance of other groups.

Troupes

Opera

The opera troupe is famous for such names as Maria Maksakova, Leonid Sobinov, Irina Bogacheva, Yuri Marusin, Olga Borodina, Sergei Leiferkus, Olga Kondina and Anna Netrebko.

Management

Artistic director and director - Hero of Labor of the Russian Federation, People's Artist of the Russian Federation, laureate of the State Prizes of the Russian Federation Valery Abisalovich Gergiev.

Festivals

• International Festival of Arts "Stars of the White Nights"
• Moscow Easter Festival
• Festival of Contemporary Music "New Horizons"
• Maslenitsa festival
• Ballet Festival "Mariinsky"
• Brass Evening at the Mariinsky Festival

Partners and sponsors

General partner of the theater

• VTB Bank

The main partners of the theater

• Sberbank
• Yoko Ceschina
• Gazprom

The main sponsors of the theater

• Total
• Mercury
• TeliaSonera

Director and artistic director of the theater Valery Gergiev said that American film director James Cameron and Apple Corporation could become partners of the Mariinsky Theater. Cooperation with Cameron is connected with the plans of the theater management to develop the filming of productions in 3D.

His whole life is music. Today is the birthday of the artistic director of the Mariinsky Theater Valery Gergiev. A virtuoso musician, a citizen with a capital letter, a real workaholic - he does not even think about rest on his holiday. The Easter Festival is in full swing, and every time he goes on stage, he gives himself to his beloved work completely, without a trace.

“I was lucky to lead the Mariinsky Theatre. The world was eager to get acquainted with unknown masterpieces,” says Valery Gergiev.

Unknown masterpieces are Tchaikovsky, Prokofiev, Shostakovich... Some of the works of the most famous composers have never been performed. to Gergiev. They seemed technically complex or incomprehensible. The Mariinsky Theater Orchestra plays dozens of composers almost by heart: for example, all the symphonies of Beethoven, Mahler, Sibelius... Today, the maestro only needs ten minutes to stand in an unfamiliar hall to announce that the acoustics allow Strauss to be played. And the musicians are playing! Masterly.

They played in the best halls of the world - from New York to Tokyo. And with the same enthusiasm they give concerts in Omsk and Kirov. They consider it their civic duty to perform in the ruined Tskhinval, and in the mourning Kemerovo, and in Palmyra, which has just been liberated from terrorists.

Gergiev, the son of a front-line soldier, was destined for a military career. Even named after Valery Chkalov. Then a career as a football player - he played quite professionally. But at the music school they decided that the guy was deaf: he looked out the window, where his friends were playing football, and instead of the given rhythm, he beat out some syncopations with his palms to the beat of the ball.

When the future conductor turned 13, his father died unexpectedly.

“My father passed away at 49, too early, too young. My mother, already at an advanced age, she somehow saved me for the music school. It was not easy for her, very difficult, she raised three children alone,” he says.

He entered the Leningrad Conservatory at the conducting faculty at the age of 19. Usually such young people are not taken into this profession. But two years later, Gergiev became a laureate of the Herbert von Karajan international competition, beating 70 of the best conductors in the world, performing 18 symphonic works! To play composers in cycles, all compositions in a row - this grandiose idea was born under the influence of outstanding Leningrad teachers.

“These were professors with a great reputation, they were Petersburgers, connoisseurs, intellectuals, but also aristocrats of the soul. We could find time to take a walk with the student after the performance, talk about Schubert, about Bach,” recalls the conductor.

In 1988, the Kirov (now the Mariinsky) Theater elected Gergiev as its chief conductor. The pace at which they have been working since then seems crazy. The Easter Festival is in full swing right now. A hotel train has been booked under it. In the morning, for example, a concert in Cherepovets, in the evening - in Vologda, and tomorrow at noon Arkhangelsk is waiting.

“We sometimes walk more than 1,000 kilometers a day. We just have to go to the limit. Recently, even the locomotive could not stand it,” says Valery Gergiev.

Many of today's orchestra members were not yet born when Gergiev took over the band. The average age is 25 years. For these young people, such a pace of life and such volumes of repertoire are already the norm. The listener of Gergiev is also rapidly getting younger - five- and even three-year-old spectators come to concerts with their parents.

On his 65th birthday, the maestro does not arrange special ceremonies. Friends will come to the Moscow concert, and the very next day - again at the conductor's stand. In the morning - in Smolensk, in the evening - in Bryansk.

Valery Gergiev, artistic director of the Mariinsky Theatre. Photo - Varvara Grankova

The artistic director and director of the Mariinsky Theater on how to attract five thousand spectators every night.

Before the opening of the new building of the Mariinsky Theater (it will be celebrated on May 2 with a gala concert), its artistic director and director Valery Gergiev conducted an acoustic test. The program of the 40-minute concert was made up of pieces designed to demonstrate all the properties of acoustics: from the thunderous tutti orchestra of a hundred musicians and the grandiose choirs of Verdi and Mussorgsky to the finest pianissimo Adagietto from Mahler's Fifth Symphony. Leaving the console, the maestro arranged for the audience an impromptu tour of the theater, after which he spoke with the columnist for Friday.

On purpose today I played something very quiet, almost a prayer, and the most powerful symphonic score, where the orchestra simply breaks, and I spurred it on - I tried all the extremes. It is already clear that the rigidity of copper is not needed, the guys themselves understood. But this is the first time, you need to feel what the acoustic scale of the hall accepts, and what not, you need to move it ...

If we talk about the whole range of parameters - acoustic, technical: light, machinery, etc. - the Metropolitan Opera has been mastering them for almost 60 years. Covent Garden - 13 years, La Scala - 9, both after major renovations. As for new buildings - I know the theaters of Baden-Baden, Toronto, several Japanese theaters, a giant complex in Beijing - I opened it.

It is clear that the acoustics here are one of the best among all those named. The Metropolitan is considered the leader in terms of equipment, but we will have even more technical capabilities than the Met. And the space inside the building is huge. However, it is important to learn to operate with all this with great freedom, with natural ease. This is a matter of time, we will certainly try. So I would not be engaged in the thankless task of compiling ratings now, let's postpone this issue for at least a year.

- Do you already have a favorite place in the new building? Except for the conductor's stand, of course.

Behind the console is my job. But I really like small halls and corners in the foyer - spaces for chamber concerts. It seems to me that they should become bright accents within this huge complex. Because they open up colossal opportunities for attracting a new audience - primarily schoolchildren and students.

We now have dozens of musicians playing in chamber ensembles: a magnificent string (and not just one), a wonderful brass ensemble. I think they will be happy to meet a new audience, especially children. If some 3 "B" class comes, let's say, some 136th school and hears the Little Night Serenade or the Serenade for String Orchestra, and they will also be told that Mozart and Tchaikovsky took up music as kids as kids like them , and then they began to write great music, and now the whole world is listening to it - starting from such an elementary level, you can get children accustomed to further long-term thoughtful perception.

At one time, you proclaimed enlightenment as one of the main strategies of the Mariinsky Concert Hall: operas in Russian, popularization concerts. Can you evaluate its effectiveness?

We have some of the best sales statistics in the world, and children's season tickets go flying, no matter how much you make them. When I talk to people in the Met, they don't believe there can be sales like that. Please, you can click on our website - see how the hall is filled on these programs.

That is, you have no doubt that the three venues of the Mariinsky Theater will gather about five thousand spectators every evening, despite the fact that the rest of the theaters in St. Petersburg are not closed?

Only our very serious work will eventually make this project a success. We are ready for it.

- What is the repertoire policy of the new stage?

Every month we will transfer four or five performances here from the historical building and show them two or three times. Under the new conditions, the performance will have to be mounted, illuminated, everyone who moves the scenery, dresses the artists, etc. needs to get used to it. Not to mention the fact that in the old building the sound focusing is completely different, and here it must be carefully re-calibrated.

How quickly this process goes depends on how long it takes the crew of each performance to adapt to the new stage. We expect to have 18-20 titles by the end of July - beginning of August. This is not so little, considering that there are almost a hundred of them in our repertoire. There are performances that you especially want to see on this stage, there are those that can wait. Each performance has several components of success. The first is the power of the work itself. The second, if these are historical productions, is the scenography, because from the point of view of today's stage direction it is already difficult to analyze them.

- I can bet: "Khovanshchina" in 1960 is one of the best performances of the Mariinsky Theater.

I know, that's why I conduct it all the time. "Khovanshchina" was staged by Leonid Baratov, then the hand of various other directors touched it - we had to introduce new choir artists, clean up the crowd scenes. But at the heart of everything is the unchanging scenery of Fedor Fedorovsky.

In general, the basis of the foundations is the mighty work of the great artists who worked at the Mariinsky Theater: Korovin, Golovin. What is worth one Korovin's "Underwater Kingdom" in "Sadko" - I want to see him here! But it needs to be properly illuminated, then it will not be a painted canvas, but a fairy tale. But in no case should you, filling the repertoire, force something, push it in the back. I absolutely do not want cancellations for technical reasons. We know that both the Bastille Opera in Paris and the Royal Opera in London had huge problems of this kind at the beginning - that's what I'm afraid of.

- What about performances specially for the new stage?

Certainly. Rodion Konstantinovich Shchedrin wrote the opera Lefty on our order, it will be a world premiere. Another premiere is Sasha Waltz's ballet The Rite of Spring, which will be shown for the first time here and then in Paris. "Mermaid" Dargomyzhsky. Even the presentation of the building on May 2 will not be just a gala concert in costumes, but a kind of performance with a script on the theme of some kind of transformation, the transition of the Mariinsky Theater from one state to another.

- Why did a significant part of the townspeople not accept the new building?

What is happening in this theatre, and in the historic building, and in the Concert Hall, is the subject of my constant attention and reflection. So I don't have time to think about various statements, especially those of little literature, about the project, which is very important for us.

I thought about something else - after all, the initial attitude can change. Remember how they reacted to the Pussy Riot action in the Cathedral of Christ the Savior: for many it seemed like sacrilege and caused indignation. By the way, I'm pretty much the same way. But then another part of society was outraged by the measures that were taken, considered the sentence too harsh, and sympathized with the fact that the girls would have to spend years in prison. You see, I have already divided our huge society into two parts, and there are much more of them.

In the situation with the emergence of a new theater, the only important reaction for me from both St. Petersburg and the entire Russian public, to which I will be extremely attentive, is how in a year they will react to this huge fusion of the work of an architect, composers, artists, directors, conductors, artists .

Now some people hastily called it almost a town-planning mistake. And what, the Palace of Culture. Was the first five-year plan that stood in this place a huge urban and artistic conquest? Not sure. And St. Petersburg as a whole is changing, and the Mariinsky Theater too - after all, it was not like that back in the 1960s, but 150 years ago it was completely different.

In the 1960s, it became clear that the team was suffocating in the historical walls, then a huge part of the building was added. And many outstanding artists, including Mikhail Baryshnikov, grew up in ballet classes in this annex. Is it possible, in principle, to build in the historical part of the city - or should everything, like the Gazprom tower, be moved to the outskirts in Lakhta? I do not think that the appearance of a new opera house in Lakhta would be a natural harmonious scenario for the city and for the history of the Mariinsky Theatre.

I repeat: we have the opportunity in a year or two to ensure that this building is perceived as part of a single rich cultural space of St. Petersburg. And I am largely confident in success, simply because we work harder than others.

By the way, when we conceived the Concert Hall, we did not ask anyone's opinion, we simply built it, and very quickly. However, no debate around this project then, it seems, did not arise. Of course, I believe in higher powers, something moved me, something led me to the goal, and I went to it. As a result, our Concert Hall gained recognition very quickly - the recordings made in it are now a huge success all over the world, and they will say much more about the merits of the hall than any words I can utter.

Opera is an elitist art, not every passer-by dares to speak about it. Unlike architecture, which is judged by everyone. Perhaps, in relation to art, the idea of ​​democracy is false?

I have the strongest suspicion, and it was all these years when we were working on a new building, that the architect is still better versed in architecture than everyone who talks about it. Not absolutely everything, but almost. Here we are now in the room where I was already eight months ago, and even then everything was done inside. And outside, except for the highest points of the roof, everything was completed.

But then - when the theater was basically ready, the main contours are visible - not only there was no polemic, there was no conversation in principle. Maybe just too lazy to start it? And all the noise began right now, when the fences had not yet been removed and the backlight had not been turned on. Let's talk when the theater appears in full architectural design.

As for democracy, there is a well-known anecdote: some officer, seeing Sergei Prokofiev in the Nobility Assembly, approached him: “Are you Prokofiev?” - "Yes". “But I don’t like your music!” Sergei Sergeevich replied: “Well, you never know who is allowed into concerts ...”

You have repeatedly said that culture is the only thing that can now create a positive image of Russia in the world. But there has never been any consistent policy in this area. You, as an authoritative member of society, well-connected to the first persons of the state, can you influence this?

It does not seem to me that Russia should adopt some kind of "devil's plan" that will help it suddenly take over and export all of its culture. I think this process should go naturally. But some kind of smarter program would not interfere with the masters who are known all over the world, and especially - here I want to emphasize - those who are on the verge of a fast-paced and vibrant career on a national and global scale. But this process will still be not so much determined from above as it will naturally arise from below.

Right now, as part of the Faces of Modern Pianoism festival, we are showing not only famous high-class pianists, but also young ones. But these guys are the future winners of the Tchaikovsky Competition. Or the Chopin, Rubinstein, Cliburn competitions, this is such a level.

They are 15-16 years old - but after all, Grigory Sokolov was 16 when he won the Tchaikovsky Competition, they even rewrote the rules for him. And by the way, I also did it for the 17-year-old Korean Seng Jin Cho, who took bronze, but could have won. I intend for the years that I can continue to direct the Mariinsky Theater to give a significant part of my time, efforts, energy to the younger generation, to help young people find themselves.

On May 2, you turn 60 - in Soviet times, at this age, you were escorted to a “deserved rest”. It is clear that in your case this is out of the question, but do you still have global plans - or will you develop what has already been developed?

There are two or three important projects in my life, in which, perhaps, many will take part. But now, I think it's even a sin to talk about it. We are opening a new theater, and the main thing is not to think about my anniversary or age, but about the fact that he would start a normal, interesting life.

mariinsky theatre, mariinsky theater poster
Coordinates: 59°55′32″ s. sh. 30°17′46″ in.  / 59.92556° N sh. 30.29611° E  / 59.92556; 30.29611(G)(O)(I)

Mariinskii Opera House(modern official name State Order of Lenin and the Order of the October Revolution Academic Mariinsky Theater, from 1935 to January 16, 1992 - Leningrad State Academic Opera and Ballet Theater named after S. M. Kirov listen)) is a musical theater in Saint Petersburg. One of the most famous and significant opera and ballet theaters in Russia and the world. It was founded in 1783.

• 1. History
• 2 Venues
• 3 Repertoire
• 4 Troupes
  • 4.1 Opera
  • 4.2 Ballet
  • 4.3 Orchestra
• 5 Guide
• 6 Festivals
• 7 Partners and sponsors
• 8 See also
• 9 Notes
• 10 Literature
• 11 Press
• 12 Links

Story

The theater traces its history back to the Bolshoi Theater founded in 1783 by order of Empress Catherine the Great, which was located in a building later rebuilt as the St. Petersburg Conservatory. He was a member of the Imperial Theaters of Russia.

Maria Alexandrovna, after whom the theater is named

On July 12, 1783, a Decree was issued approving a theatrical committee "for the management of spectacles and music." On October 5, the Bolshoi Kamenny Theater on Carousel Square was solemnly opened, from which the history of the theater begins. Later, Carousel Square changed its name to Theater Square.

In 1859, the Circus Theater located opposite the Bolshoi Theater burned down. In its place, the architect Alberto Cavos built a new theater, which was named the Mariinsky in honor of the wife of Alexander II, Empress Maria Alexandrovna. The first theatrical season in the new building opened on October 2, 1860 with Glinka's Life for the Tsar. In 1886, the old theater building was rebuilt as a conservatory, and the repertoire was completely transferred to the stage of the Mariinsky Theatre.

On November 9, 1917, with the change of power, the theater, which became the State, was transferred to the jurisdiction of the Commissariat of Education of the RSFSR, in 1920 it became academic and since then it has been fully called the State Academic Opera and Ballet Theater (abbreviated as GATOB). In 1935, shortly after the assassination of the first secretary of the Leningrad Regional Committee of the All-Union Communist Party of Bolsheviks, Sergei Kirov, the theater, like many other objects, settlements, enterprises, etc. of the USSR, was named after this revolutionary.

In 1988, after the death of Yevgeny Mravinsky and the departure of Yuri Temirkanov to the Philharmonic, Valery Gergiev became artistic director and principal conductor of the Mariinsky Theatre.

Venues

• The main building of the Mariinsky Theater (Teatralnaya Square, 1)
• The second stage of the Mariinsky Theater (Mariinsky-2). The grand official opening and gala concert took place on May 2, 2013
• Concert Hall of the Mariinsky Theater (third stage), (Dekabristov st., 37)
• From 2016, the branch of the Mariinsky Theater (stage 4) will start working at the Vladivostok Opera House

In the off-season, the theater provides its stage for the performance of other groups.

Repertoire

Troupes

• Persons: Mariinsky Theater

Opera

The opera troupe is famous for such names as Maria Maksakova, Leonid Sobinov, Irina Bogacheva, Yuri Marusin, Olga Borodina, Sergei Leiferkus, Olga Kondina and Anna Netrebko.

Ballet

Orchestra

• Musicians of the Symphony Orchestra
• Principal Conductors of the Mariinsky Theater

Management

Artistic director and director - Hero of Labor of the Russian Federation, People's Artist of the Russian Federation, laureate of the State Prizes of the Russian Federation Valery Abisalovich Gergiev.

Festivals

• International Festival of Arts "Stars of the White Nights"
• Moscow Easter Festival
• Festival of Contemporary Music "New Horizons"
• Maslenitsa festival
• Ballet Festival "Mariinsky"
• Brass Evening at the Mariinsky Festival

Partners and sponsors

General partner of the theater

• VTB Bank

The main partners of the theater

• Sberbank
• Yoko Ceschina
• Gazprom

The main sponsors of the theater

• Total
• Mercury
• TeliaSonera

Director and artistic director of the theater Valery Gergiev said that American film director James Cameron and Apple Corporation could become partners of the Mariinsky Theater. Cooperation with Cameron is connected with the plans of the theater management to develop the filming of productions in 3D.

see also

• Conductors of the Mariinsky Theater

Notes

1. Official website of the Mariinsky Theatre. About the theater
2. Petersburg, the new stage of the Mariinsky Theater met the first spectators - Channel One
3. A branch of the Mariinsky Theater will start operating in Primorye in 2016. Retrieved September 13, 2015.
4. History of the Opera Company - on the website of the Mariinsky Theater
5. Opera artists - on the website of the Mariinsky Theater
6. Ballet soloists - on the website of the Mariinsky Theater
7. Orchestra of the Mariinsky Theater - on the website of the Mariinsky Theater
8. Journal of the Other - "Stars of the White Nights" in Moscow
9. Sponsors of the Mariinsky Theater - on the website of the Mariinsky Theater
10. James Cameron may become a partner of the Mariinsky Theater - The Voice of Russia

Literature

• Opera and Ballet Theater named after S. M. Kirov / compiled by T. S. Kruntyaeva; the authors of the essays A. M. Sokolova, Ya. I. Lushina, A. K. Kenigsberg; general edition of V. N. Gurkov; scientific editor A. S. Rozanov. - L.: Music, 1983. - 240 p. - 20,000 copies.
• Pantheon and repertoire of the Russian stage / F. Koni. - Petersburg: SPb., 1850.
• Classic dance. History and modernity / L. D. Blok. - M.: Art, 1987. - 556 p. - 25,000 copies.
• V. A. Telyakovsky. Diaries of the director of the imperial theaters. 1901-1903. St. Petersburg / Under the general. ed. M. G. Svetaeva. Prep. text by S. Ya. Shikhman and M. A. Malkina. Comment. M. G. Svetaeva and N. E. Zvenigorodskaya with the participation of O. M. Feldman. - M.: ART, 2002. - 702 p.
• V. A. Telyakovsky. Diaries of the Director of the Imperial Theatres. Saint Petersburg. 1903-1906 / Under the general. ed. M. G. Svetaeva; Prep. text by M. A. Malkina and M. V. Khalizeva; Comment. M. G. Svetaeva, N. E. Zvenigorodskaya and M. V. Khalizeva. - M.: ART, 2006. - 928 p.
• V. A. Telyakovsky. Diaries of the Director of the Imperial Theatres. Saint Petersburg. 1906-1909 / Under the general ed. M. G. Svetaeva; Prep. text by M. V. Khalizeva and M. V. Lvova; Comment. M. G. Svetaeva, N. E. Zvenigorodskaya and M. V. Khalizeva. - M.: ART, 2011. - 928 p.
• A. Yu. Rudnev. Mariinsky Theatre: quarter-century results

Press

• Alexey Konkin. Black text on a white background: The famous opera director Graham Vick showed The Makropulos Affair at the Mariinsky Theater. "Rossiyskaya Gazeta" - vol. No. 5320 (241) dated October 25, 2010. Retrieved February 22, 2011.
• Maria Tabak. The Mariinsky Theater will present the ballet Giselle in Washington. RIA Novosti (02.08.2011). Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• The Mariinsky Theater will bring opera and ballet to Moscow on tour. RIA Novosti (19.01.2011). Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• Mariinsky Opera and Ballet Theater - history. Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• The Mariinsky Theater will show the premiere of Giuseppe Verdi's opera Attila. RGRK "Voice of Russia" (13.07.2010). Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• Mariinsky Theater (inaccessible link - history). Encyclopedia "Circumnavigation". Retrieved September 24, 2011. Archived from the original on April 1, 2009.

Links

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