Translated material
The contract is unlimited
World ballet celebrity enters Russian service
The previous such case was 160 years ago - Marius Petipa came to St. Petersburg and stayed to work at the Mariinsky Theater. Now Nacho Duato becomes the artistic director of the Mikhailovsky Theater ballet. At a press conference at RIA Novosti, journalists from Moscow and St. Petersburg (with the help of an organized teleconference) asked the world celebrity why he needed this, and theater director Vladimir Kekhman - how he managed it.On July 31, Duato's contract with the National Dance Theater of Spain expires. The choreographer, now 52 years old, led this troupe for 20 years, transforming it from an undistinguished and classical troupe into a famous troupe specializing in modern choreography. But the government of the country decided that Spain still needed a classical theater, which is why the contract was not renewed once again. The troupe will be refocused on performing classics. Duato is leaving - and it was immediately clear that he would not be lost: before that, he staged up to six productions a year outside his native theater, in the next season there will be 14 of them. Theater managers, having learned that the person was being released, rushed to offer contracts - and many Duato agreed, including to our people: his ballets will soon appear at both the Bolshoi and the Musical. But the offer from the Mikhailovsky Theater, which he accepted, is a completely different offer. This is not a one-time job. This is life.
According to Vladimir Kekhman, Duato’s contract is unlimited. “He will work as long as he can,” said the director (that is, at least, like Petipa, for fifty years). Duato himself also periodically spoke about “next seasons,” that is, he assumed that there would be many of them. The choreographer said: “I will lead the Mikhailovsky Ballet with great hopes and with the enormous energy with which I led the National Dance Theater, but also with the experience that I have acquired over 20 years.” It is clear that journalists were most interested in the degree of impending changes in the theater.
“What will be the proportion between modern and classical ballets on the playbill?” -- “Some seasons will be more classic, some will be more modern. Just like in Munich and Paris.” -- “Will Duato bring artists from Spain with him and invite outside stars?” - “Definitely not in the first year, he will work only for Mikhailovsky’s troupe. Subsequently, perhaps, individual stars will appear when they are needed in a specific performance.” -- “Will other contemporary choreographers appear in the theater?” - “At first, no, the premieres will belong only to Duato himself. When the dancers are ready, he will invite Kilian, Forsyth and Mats Ek.”
Naturally, the writing public immediately began to ask how powers would be divided between Duato and the theater’s chief choreographer, Mikhail Messerer (in fact, in two years, he brought the troupe to a state where it is not a shame to invite a star choreographer). And in general, will Messerer continue to work in the theater, will he produce new performances? The theater director did not allow Nacho Duato to answer this question and spoke about his vision of the situation.
According to Vladimir Kekhman, Mikhail Messerer’s contract ends in 2011. “In a week, he and I will discuss how we will continue to cooperate. I think we will find a solution with him that will allow him to stay in the theater. But in the theater there is a principle of unity of command, everyone knows this. Therefore, everything regarding the division of powers - the entire concept will be shaped by the new artistic director.” Speaking about possible new productions by the expert on Soviet choreography of the “golden years,” Kekhman said that he has not yet discussed with Messerer “what we are doing next, regardless of the appearance of Duato.” Everything will be decided at meetings in August.
When asked whether Duato has a repertoire plan, Kekhman also answered: the repertoire was made before March 2011. In the spring, it is planned to hold a large festival of modern choreography, which will open with the premiere of Duato (for its holding, producer Sergei Danilyan, who actually introduced Kekhman and Duato, has been appointed to the theater’s artistic council). At the same time, “the concept for the development of the ballet troupe will be created within a year.” That is, it was important to grab the star, and what to do with it and how the troupe will live with this star, the theater will figure it out along the way.
Duato is a wonderful choreographer, no doubt about it, but still this story still smacks of adventurism. Both from Duato himself and from the theater director. Is Duato ready to be responsible for all performances, including old classical ones (and Kekhman assured that they will remain in the repertoire)? Does the theater director have any idea of the degree of conservatism of his native audience (Forsythe’s evenings at the Mariinsky Theater, as is known, attracted a third of the audience)? Not to mention the weather, transport, and the unsettled life of the theater (the artists complained to your observer that they couldn’t fix the only shower). That is, if the new Duato Theater succeeds and is a success both in St. Petersburg and in the world, this, of course, will be very great. It's still hard to believe. With all the best wishes.