Stravinsky

On the evening of May 30 1918, opera lovers in Petrograd gathered at the Mariinsky Theatre to attend the Russian premiere of Igor Stravinsky’s “The Nightingale” (Le Rossignol/Solovei').[1] The audience dodged gunfire in the streets to make their way into this jewel box of Russia’s former Imperial Theatres, and what they witnessed on its stage that night was a painful reminder of their own collapsing social world: a satiric fairytale about a dying emperor, surrounded by fawning, buffoonish courtiers and an agitated populace. That Stravinsky’s emperor is saved, at the eleventh hour, by the healing power of art - metaphorized as the song of a nightingale - must have served only to underscore the destabilizing dread of their own recently deposed emperor’s uncertain future: imprisoned at the time of the opera’s Russian premiere, the Imperial family would be executed just six weeks later. It wasn’t merely an unfortunate play of resemblances that jarred. The highly experimental production, directed by Vsevolod Meyerhold and designed by Alexander Golovin, featuring an enormous cast which included the 14-year-old dancer Georgi Balanchivadze (George Balanchine), seemed to play deliberately on tensions between a fading past and an uncertain future, and between fiction and reality.

Of all the Picasso shows held in Russia during at least the last 50 years, the 2010 exhibition is the biggest and most representative. Other features, too, lend to this event a certain "Russian touch": the assortment of pictures on display includes several pieces from the Pushkin Museum; the show also has a whole section devoted to Sergei Diaghilev's "Ballets Russes", and presents archival documents relating to the friendship between Picasso and Ilya Ehrenburg. This article provides only highlights of the long history of the relationship between Picasso and Russia.

NATALIA GONCHAROVAS SUBTLE, DISTINGUISHED, HIGHLY MUSICAL AND LEARNED DESIGNS FOR THE THEATRE ELUCIDATE A FUNDAMENTAL SHIFT FROM THE EMPHASIS ON THE BOMBASTIC, GLORY-OBSESSED CELEBRATIONS FOR DIAGHILEV'S SPECTACLES TO PERFORMANCES THAT STRESSED THE VIRTUES OF INDIVIDUALITY, FANTASY AND HISTORY. DIAGHILEV'S ABSOLUTE POWER WITHIN THE RUSSIAN WORLD OF THEATRE, SIMILAR TO THAT OF LOUIS XIV, RESIDED IN ITS REPRESENTATION AND CONTROL OF THAT REPRESENTATION, WHICH RESIDED NOT ONLY WITH DIAGHILEV BUT ALSO WITH HIS ARTISTS, WHO, LIKE THE KING'S HISTORIOGRAPHERS, CREATED THEATRICAL IMAGES ON WHICH THE OPINION OF POSTERITY DEPENDED.