Corona Daily 350: Pas De Deux: Part III

The news that Mariinsky theatre will start performing from 7 July brought cheer to the world of ballets and operas. It was announced Mariinsky’s orchestra would go on a Russia-wide tour. Valery Gergiev, the head of Mariinsky, was considered valiant or foolhardy depending on whom you spoke to.  

One of the fears mentioned by Gergiev in his meeting with Putin was about opera singers. Opera singers sing in four or five languages, from memory. They sing even in languages they can’t speak. Unlike the instrumental players, singers can’t keep notes in front of them, they must rote learn. The top opera singers may memorize fifty different operas. If they don’t sing for five months, is it possible for them to recall the lyrics?

(Sometimes, opera stars invited from abroad can sing in their own language. Once I went for Pushkin’s Eugene Onegin at Bolshoi. I was perplexed to note I could understand some languages, and didn’t understand others. Though Italian was historically the default language of the opera, it is now possible for an opera production to be multilingual.)

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Mariinsky’s online ticket chart followed a chessboard design. Meaning next to every white square (spectator), there was a black square (empty seat). The audience would be provided with free masks and gloves, when they arrived at the theatre. Their temperature would be measured. Bags would be screened superficially, only as a formality, with minimum contact. The theatre café would serve pre-packed food with disposable plastic cutlery.

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Inspired by the Mariinsky news, John Neumeier, the legendary choreographer of the Hamburg ballet announced an opening in September of the new pandemic special ballet called The Ghostly Light. All sixty dancers of the troupe will perform, but never more than eight dancers on the stage. They have been rehearsing maintaining required distance during the rehearsals.

Moscow local government has been more charitable. In its regulations, it allows up to 70 people on the stage at a time. Bolshoi theatre has taken that as a basis in planning. It is set to open on 6 September with the production of “Don Carlo”.

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Russian theatres are asking the ballerinas, opera singers, instrument players and supporting staff to sign contracts waiving the responsibility of the theatre. If artistes employed by the company, or under contract, get infected with coronavirus or something worse happens to them, the theatre company is not responsible. Not only that, they must agree to abide by all the rules- masks, handwashing, social distancing, quarantine and bubbles when necessary and not going anywhere except home and theatre. People must sing, play, dance, conduct, and choreograph at their own risk. Many artistes were so desperate by now, they signed the contracts. Make-up staff was very unhappy. Ballerinas were growing alarmed with the use of bare hands by make-up women. But they could neither use gloves nor maintain social distance.

The online booking said in bold letters: The theatre reserves the right to change any artiste without prior notice.

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On 7 and 8 August, Mariinsky accomplished what was thought improbable. It staged on both days a full-length Romantic classic “La Sylphide”. Simply as a matter of precaution, Sylphide and James were played by two different pairs on the two days. Spectators wearing gloves and masks, sat between empty chairs, applauded.

Alas, that would be Mariinsky’s last ballet performance. Something happened that caused the postponement of all ballets from 13 August.

(To be continued)

Ravi