The Stanislavsky and Nemirovich-Danchenko Music Theatre (MAMT), affectionately known as `Stasik` by Muscovites, has commenced its 107th season with an intriguing thematic focus: a deep and nuanced exploration of female characters through a series of ambitious premieres.
In a landscape where theatrical seasons often adhere to established favorites or broad conceptual umbrellas, MAMT has opted for a distinctly insightful approach. Its upcoming program prominently features three major productions – two operas and one ballet – each dedicated to unraveling the complex and often contradictory nature of its female protagonists. This strategic programming choice speaks volumes about the theatre’s commitment to artistic inquiry and its unique historical lineage.
A Theatre Forged by Directors, Not Just Musicians
The Stanislavsky and Nemirovich-Danchenko Music Theatre stands apart. While many opera and ballet houses are driven primarily by musical or choreographic traditions, MAMT`s foundation was laid by two legendary directors: Konstantin Stanislavsky and Vladimir Nemirovich-Danchenko. This origin story imbues the institution with a perpetual quest for innovation, a relentless battle against routine, and an inherent embrace of experimentation.
The theatre`s leadership, a formidable “quadriga” comprising Director Andrey Borisov, Chief Opera Director Alexander Titel, Chief Ballet Master Maxim Sevagin, and Chief Orchestra Conductor Felix Korobov, gathered to herald the new season. Their collective vision for MAMT is clear: to push artistic boundaries and challenge perceptions. As Andrey Borisov eloquently put it, “We seek light and joy not where light and joy already exist, but where there is darkness and chaos.” This ethos, perhaps a touch dramatic, certainly sets a powerful stage for the narratives to unfold.
Delving into the “Darkness and Chaos” of the Female Psyche
Russian culture, with its rich tapestry of history and literature, offers ample “darkness and chaos” for artistic exploration. True to its declaration of a “Russian season,” MAMT has selected works that promise to illuminate various, often contradictory, facets of female identity. These are not simple heroines; they are figures of immense complexity and moral ambiguity.
The Operatic Premieres: Valor and Moral Turpitude
The first operatic premiere, set for November, is Pyotr Ilyich Tchaikovsky`s The Maid of Orleans. Directed by Alexander Titel with stage design by Vladimir Arefyev and lighting by Damir Ismagilov, this production will bring Joan of Arc, a symbol of unwavering faith and courage, to the Moscow stage. The musical direction will be handled by American conductor Christian Knapp, who has made Russia his home and artistic base. Knapp, a protégé of the esteemed Ilya Musin at the St. Petersburg Conservatory, brings a deep understanding of Russian music, fulfilling a long-held dream of immersing himself in Tchaikovsky`s masterpiece at MAMT.
Following this in March 2026, a year marking MAMT`s centennial in its historic Bolshaya Dmitrovka building, comes another pivotal female-centric work: Dmitri Shostakovich`s Lady Macbeth of Mtsensk District. This opera holds a significant place in MAMT`s history, having been staged there in 1962 under the composer`s revised title, Katerina Izmailova.
The theatre now intends to present the opera in its controversial first edition. This preference for the original score gained traction in the 1990s, notably championed by Mstislav Rostropovich, who framed its revival with a political narrative – a defiant reclaiming of a work suppressed by “the bloody Soviet regime.” However, the artistic merit of the two editions remains a subject of ongoing debate. Shostakovich himself considered his second edition to be more mature and harmonious. One might, with a touch of irony, ponder whether true artistic evolution tends toward a “hardening of style” (perhaps a pubertal phase) or a pursuit of refined harmony. The ultimate decision on which version Alexander Titel and conductor Fedor Lednev will present adds an intriguing layer of suspense to this highly anticipated production.
A Modern Balletic Icon: Anna Karenina
To complete this compelling gallery of female portrayals, MAMT will also present a ballet premiere: a contemporary rendition of Leo Tolstoy`s Anna Karenina. Choreographed by Chief Ballet Master Maxim Sevagin, this production features new music by Ilya Demutsky, a composer recognized for his scores for ballets and productions by Kirill Serebrennikov. This contemporary take on a classic tragic heroine promises to infuse a timeless narrative with fresh artistic perspectives.
A Season of Reflection and Revelation
MAMT`s 107th season is poised to be more than just a series of performances. It is an invitation to reflect on the multifaceted nature of womanhood, seen through the lenses of some of classical music`s and literature`s most enduring figures. By choosing to spotlight these complex characters, the Stanislavsky and Nemirovich-Danchenko Music Theatre reaffirms its legacy as a vibrant center for artistic innovation, unafraid to explore the depths of human experience, even when venturing into the “darkness and chaos” of the soul.
