On 15^th of May Perm State Art Gallery saw exhibition opening of avant-garde painter Pyotr Subbotin-Permjak (1886 - 1923) - famous Russian professor of decorative painting, teacher, and founder of Komi-Permjatsky Regional Museum of Local Lore; and exhibition of Georg Baselitz - German painter, graphic artist and sculptor (In association with Goethe Center Moscow). Georg Baselitz (true name Hans-Georg Kern) was born in Deutschbaselitz on 23^rd of January 1938. In 1961 he changed his name to Georg Baselitz in memory of his native city. At present he is one of the most expensive modern painters, Chevalier of Arts and Literature (1989), Japan Imperial Prize laureate (2006).

On the 17^th of May Perm Museum of Modern Art demonstrated authors performance by the name «Psoj Korolenko & Tretja Meshanskaja». Famous author and singer, philologist and journalist Psoj Kotolenko (his true name is Pavel Lyon), who performed on stage of Ekaterinburg Actor's Center scene not long ago was inspired by interest of Urals public and decided to take part in Perm Festival.

Author's performance «Psoj Korolenko & Tretja Meshanskaja» was presented to visitors of Ekaterinburg Music Centre in April 2009. The idea of the performance is «live» execution by Psoj Korolenko of a sound-track composed to masterpiece of black-and-white silent film shot in 1927 by Abram Room (scenario authors - Abram Room and Viktor Shklovsky, film «Tretja Meshanskaja («Love of three»). Musical composition of Psoj Korolenko is dedicated to «erotic Utopia» of 19-20th centuries connected to new models of family life. Plotlines of film heroes - Vladimir, Nikolay and Ludmila - are interwined in Psoj's texts with lives of Nickolay Shelgunov and Ludmila Shelgunova, Nikolay Chernyshevsky, Vladimir Mayakovsky, Lily and Osyp Brick and other representatives of «erotic Utopia» in Russian culture. During performance Psoj Korolenko makes comments on the film in the form of Russian city song, modern sound-poetry, rap and academic presentation. With the help of modern styles and techniques the author is trying to create atmosphere and spirit of early Soviet society. For the first time the performance «Psoj Korolenko & Tretja Meshanskaja» was presented at Moscow Book festival in Central Artist Center within the project «Silent film - Live music» of Moscow Cinema Museum. Pavel Lyon was born on 26 April, 1967. He is the author and performer of his songs, philologist (candidate of philologist science, journalist, graduate of philological faculty of Moscow State University, Russian department; defended a thesis «Literature position of V.Korolenko»). He started to perform his own songs and songs of other people in 1997 using the name Psoj Korolenko. The idea of his pseudonym came from a joke of Vladimir Korolenko. He wrote letter to his brother Illarion and spoke ironically about family tradition to name children using church calendar: «You are Illarion, father is Galaktyon. If I were born on the day of Saint Psoj I would be named Psoj Korolenko».

On the 17^th of May on the scene of The Organ Hall a concert «Two Tchaikovskys» was held. This is a chamber music concert featuring composer Alexander Tchaikovsky. It contains «Four songs-ballades» using ancient French texts in translation of I.Erenburg; «To the wife...», song cycle on the words of O. Grygoryev for bass and piano; «From the life of St.Petersburg actress», song cycle on poems of Russian poets for mezzosoprano and piano.

Performers: Yana Ivanilova (soprano) - Laureate of international contests;
Tatuana Kuindzhi (soprano) - Honored artist of Russia, soloist of Moscow Musical Theatre «Gelikon-Opera», soloist of Perm State Opera and Ballet Theatre, Laureate of national dramatic award «Gold mask»; Larisa Kostyuk (mezzosoprano) - People's artist of Russia, soloist of Moscow Musical Theatre «Gelikon-Opera»; Pyotr Migunov (bass) - Honored artist of Russia, soloist of the Bolshoi Theatre and St. Petersburg Academic Capella; Sergey Vlasov (tenor) - soloist of Perm State Opera and Ballet Theatre; Musical director of the program - Alexei Gorybol (piano), Honored artist of Russia, Laureate of international contests.
Perm State Opera and Ballet Theatre women chorus take part in the concert.
Comments to the program: Alexander Tchaikovsky, Alexei Gorybol.
Alexander Tchaikovsky (born on 19 February 1946 in Moscow) is modern Russian composer, pianist, teacher and public figure, People's artist of Russia, professor of Moscow music conservatory, in 2004-2008 - rector of St.Petersburg conservatory. He is a nephew of composer Boris Tchaikovsky but he is not connected with Pyotr Tchaikovsky.

On the 17^th of May on the scene of Perm State Opera and Ballet Theatre two premieres were presented, in particular, «Medea», ballet on music of Moris Ravel's concert for piano with orchestra. Choreographer Yuri Posohov was invited from San-Francisco to stage the ballet. Besides, unusual ballet «Ring» on music of hip-hop-group «2H Company» took place. For the first time the ballet was staged in the Mariinsky theatre in 2007. The ballet «Ring» itself is futuristic. Authors of the performance are Pavel Gershezon (assistant of the Mariinsky Theatre ballet troupe director), Alexei Miroshnichenko (choreographer, creative director and producer), Alexander Zaicev and Ilya Baramya (musicians that together with Mikhail Fenichev make up 2H Company Group), Mikhail Fenichev, copywriter for 2H Company. Pavel Gershezon: «When the ballet «Ring» was just started it was clear that it had to go with special music, that we had to turn to club culture that never had access to academic stage. My friend, music journalist Dmitry Pervushin brought 2H Company CD, we listened to their music with choreographer Alexei Miroshnichenko and understood that it was just what we needed. A week later we met 2H Company and they looked at us like we were crazy. I remember that Alexander Zaicev said that we were laughing at them because no one would let them to the Mariinsky Theatre. So, boys went on rehearsals, tried to understand the nature of a ballet, and you know, this is such a ghetto. Human mincing machine: tired bodies, frowning glances at unknown non-ballet people, etc. I guess 2H Company were shocked but after some time started to show metric and rhythmical techniques to choreographer who was trying to understand if it was possible to unite dance combinations with this rhythm. It turned out that it was possible. And then Mikhail Fenichev rap appeared... You know, musicians are used to record CDs that consist of 3-minutes tracks and that can be changed in places. And that time they had to record complete 40-minutes composition based on certain choreographer's scheme. And choreographer had to plan a ballet not hearing the music. This was really complicated. But it was normal in the 19th century, when at first libretto appeared, then choreographer made scenario, gave it to composer who wrote music and they had to combine all these parts to one performance. For example, «The Nutcracker», «Sleeping Beauty», «Raymonda» were made this way. Gershezon: Text reveals oppositions: stage and audience, ballet and city, art and life. What Mikhail wrote was really impressive: despite intonational hardness common for rap music everything is really touching and transparent. Miroshnichenko: Two pairs are in a space limited by dance bar - this is the ring. They conflict with each other: one dancer pushes another when he is in unstable position, a girl comes to protect him, and there is almost a fight. And in this moment a Referee appears and dances his mysterious solo. Then comes a word. Text is about ballet integration to the world. Zaicev: It was clear that we would not be able to write music better than Desjatnikov. It was provocative... Stravinsky, then Tom Williams who wrote for Forsyth, then 2H Company. Miroshnichenko: I don't think that it was provocative. This is simple development. We just cannot be preserved. Many choreographers were working on transformation of classical ballet, but only Balanchine defined its further trend. Then same thing happened to Forsyth. And now choreographers all over the world are trying to invent something new. We are like scientists, work on one problem, let's say, invention of thermonuclear bomb, and compete who will be the first to do it. We need new idea; where can we take it? Of course, from modern art as it is alive. And it would be great to integrate it to our academism, and we will see what happens next.»

Today VIII Symposium «Diaghilevskye Chtenia» that was integral part of «The Diaghilev Seasons» Festival came to the end. Traditionally symposium is held to concentrate fine art, philosophical, historical idea on Diaghilev's phenomenon. «Diaghilevskie Chtenia» is another reason to think of modern art problems, creative search and future of culture. Twenty years of Diaghilev's ballet entrepreneurship meant a lot for world art of choreography. «The Russian Seasons» spread glory of the Russian art all over the world, contributed to ballet prosperity in those countries where this genre of art was not presented at all. Ballets created by Diaghilev are still regarded as finery of major world scenes. When the First World War began first ballet impresario of the 20^th century left Russia for all. Living abroad Sergey Diaghilev created constantly acting troupe «The Russian ballet» that performed until his death in 1929. The troupe played more than 20 ballets including Stravinsky ballets thus revealing his music to audience from the West; contributed to ballet revival in Europe where it was presented only at stages of music-halls, and in America where classical ballet did not exist at all. Innovative opera and ballet decorations executed by A. Benoit, L.Baxt, A. Golovin, N. Rerikh, N.Goncharova and other painters greatly influenced on further development of world scenography. «The Russian Ballet» has been extremely popular for may years. The troupe director S. Grygoriev wrote: «It was difficult to conquer Paris. But to hold influence for 20 seasons was a true achievement». Diaghilev's creative genius - impresario gift - was in his ability to combine art with entrepreneurship. Most dancers of the troupe were children of senior generation of the Bolshoi and the Mariinsky Theatres dancers. At that time artists of imperial theatres were not highly paid but it was extremely prestigious to hold this position. To attract professional artists Diaghilev introduced system of really high salaries, especially when it concerned such stars as Shalyapin, Pavlova, Karsavina. It was necessary to pay a lot due to competition with commercial theatres and music-halls who hunted for ballet dancers from Russia. He also invited dancers from private Moscow school of L.Nelidova, from St. Petersburg school of E. Sokolova, from London theatre schools, from Warsaw theatre «Wielki». Diaghilev offered his dancers contacts for one year securing a holiday and rehearsal period. Flexibility of Diaghilev's financial policy became the reason of successful troupe work for many years. Diaghilev's success as entrepreneur led to musical art development and financial prosperity.

Diaghilev's phenomenon has no limits. In addition to other talents he was a great archive maker and collector. In 1927 he became enthusiastic about book organization and creation of biggest Russian book depository in Europe. He collected autographs of M.Lermontov, V.Zhukovsky, M.Glinka, 11 Pushkin letters, more than 2 000 rear books including unique editions. According to contemporaries, he was planning to divide ballet troupe into two: small, experimental, and big, main, that would provide resources to keep small one and to continue collection. But he did not manage to finish his last project. He left Russia for world glory of Russia. Diaghilev died on 19^th of August 1929. Great impresario was buried in Venice, in island-graveyard Saint-Michele near Stravinsky's grave.

PERM CINEMATHEQIE on the 18^th of May presented the program «Dance on DVD» telling about Evgeny Panfilov's choreography.

PERM MUSEUM OF MODERN ART - «Anthology of modern art» project - documentary film «Oleg Kulik: challenge and provocation» (2008), duration 70 minutes. Production - Plan2Art, director: Evgeny Mitta, producer: Alexander Shein. Chronicle of artist performances is used. This is the first film of director and gallery owner E. Mitta as part of the big project «Anthology of modern art» telling about painters of 80s-90s. Quotation: «Naked painter is the symbol of sincerity». (Oleg Kulik in the film).

Film-story of Oleg Kulik, a dog and a human, told by himself. Story of one of the most famous Russian painters on world art-scene, participant of international projects: Venetian Biennale of 1997, 2001, 2003, Biennale in Valencia and San-Paulo, exhibitions in Gent Museum of Modern art, Tate Modern Gallery, Lehmbruk Museum of Duisburg, Freud Museum in London, Museum of Modern Art in Rome and Antwerp, Guggenheim Museum in New York and Balboa. The main idea is the story of the painter. The film reveals artist inner world, his creative motives, philosophy of his career development.

Oleg Kulik performances are always in collision with society when audience feedback is unprodictable. Most famous painter project is «Dog» series that was presented at major European exhibitions. Practically all of them shocked public and ended with arrests.
The film provides chronicle of artist performances and overview of his works at retrospective exhibition in Central House of Artists that became the result of his 20-years of work. Documentary film of Oleg Kulik is based on genius cinematographic technique - one places camera in front of Kulik and presses «Rec» button. Film makers believe that audience will take great interest in the story of modest provincial young man who suddenly becomes great and peculiar painter («... it seems that it happens unconsciously, like he is carried by some invisible wave»).

THE ORGAN HALL - musical project «MUSIC OF MACHINES» featuring «RЕUTOFF» group (Moscow)
Festival musical program as usual is aimed at most «advanced» music lovers. For the Organ Hall it was very unusual to witness «Music of Machines» - «industrial» style music of Moscow trio «Reutoff». IN THE PROGRAM: compositions of different years in «dark ambient» style, ebest tracks from early albums, rhythmical works from last album «Deprivatio» and also some brand new compositions. Visual support of musical performance is provided by exclusive work of leading Russian video art expert VJ EPS.

INDUSTRIAL SYMPHONY of «Reutoff» group is the project that can be surely named unique for Russian postindustrial music. For years the group has formed certain style where complex symphonic dark ambient is combined with allied musical trends.

Officially 1998 can be considered as date of «Reutoff» birth when first cassette album «Das Absterben» was produced. Three project participants WoWa [bt], Arnold pR and Mitya N had their first joint musical work in spring of 1991. At that time they played in different groups - Mitya N played death/doom, and WoWa [bt] and Arnold pR experimented in post-punk and new wave. In the beginning of 1996 the trio under the name «Last Blirt» recorded album «Armageddon is Over. Thanks Everybody». Working on album in darkwave style they collected some musical material that was such peculiar that it needed creation of a different project. It was named «Reutoff» in honor of the city Reutov where group participants were born and grew up.

According to members of the group, Reutov city and its suburbs are full of strange, frightening and really mystical places. Together they form common sacral space that stimulates creative activity like no other. This live connection between geography and harmony that can be easily felt in regard to philosophy of neoeurasianism, is clearly found in works of trio - even untrained listener will hear «music of soil», monumental melody of tectonic fault.
At present the project has 5 program albums, several disks and more than ten tracks featuring such world-rate postindustrial stars as Les Joyaux De La Princesse, Blood Axis, Der Blutharsch, Novy Svet, Inade, Troum and many others. Project releases are produced by best postindustrial world labels, including Drone Records, Eibon, Blade and Hau Ruck! «Reutoff» has become the only Russian group that twice participated in leading Russian festival of industrial music - Helige Feuer, in 2000 and 2004.

«Reutoff» unique style, combining delicate work with sound and unusual techniques is fully represented in Unseen Rituals (2002) and Gute Nacht, Berlin! (2003) albums, and it still continues to develop. Well-thought audio structures are accompanied by provocative vocal samples, alarming sounds, heavy ritual percussion and sliding beating. Hypnotically rhythmical compositions are mixed with atmospheric vibrations where melody is lightly defined. To feel these fine threads in dense texture of sound waves is like to find feeble pulse on warm hand - the pulse is slightly felt but still encouraging. This is the music of single concentrated confrontation of desperate, and that is why paradoxically promising, soul. It will be close to everyone who does not think that modern world is the best of other possible. «Reutoff» is playing for those who have love to dear land in their hearts, who are fascinated by mysterious nature of things and melancholy for present time turned to future.

Interview of «REUTOFF» group to observer of «Zvuki RU»:
WoWa_BT: We don't have certain practical goals, no t trying to change music in order to please some instantaneous tendencies - we get what we get. Where are we now? I hope that finish is still far. Folk and sacred music have always been interesting for us as source of inspiration, as source of sound material for our own creative work. But we have to be very careful because it is easy to cross the line and come to profanation. That is why we always have serious approach. As for the music that I prefer to listen, I can say that industrial music in not my favorite. I listen to pop-music, not RnB, of course, - synthpop, dance electronic music, down-tempo, trip-hop, heavy music and academic music as well. It is easier to say what music I don't like - jazz except for some compositions and black music - rap, etc.
Zvuki.RU. Who comes to your concerts - does this type of music have its own audience?
Arnold_pR: Well, people of different age and social status. They have one thing in common - they are alive and active, striving to overcome border of ordinary life. People that are ready to learn their inner world and surround world however painful it may be.

PERM STATE OPERA AND BALLET THEATRE «Orpheus», Claudio Monteverdi opera.
Opera consists of 5 acts with prologue, libretto of A. Stridzho, 1607.
The opera was first shown to public on the 24^th of February 1607 in Mantua. The plot - antique myth of Orpheus and Eurydice.
Manteverdi opera is the first dramatic opera in modern interpretation of this genre.
Georgy Isaakyan, Director of Perm State Opera and Ballet Theatre, devoted to his innovative strategy took the risk of staging one of the first operas in the world history. The essence of Isaakyan's project is exclusive production concept telling that Orpheus loves not Eurydice but arrogant and guileful Music. The audience hall is carried to the stage and boarded by a curtain. Audience rows are placed transversely to the audience hall. The opera is performed in Italian, translation is shown on big monitors. Authors innovation: Kharon does not transport Orpheus on boat but he opens the curtain, in other words the audience hall representsTartar. Specially constructed podium leads this way and Orpheus uses it to walk away and come back. Monteverdi turned pastoral play for royal holidays to real drama of Orpheus sufferings and tragic destiny, of eternal beauty of his art. (Monteverdi and Striggo keep tragic final - Orpheus walking out of Kingdom of Dead breaks the rule, turns back to Eurydice and loses her forever). «Orpheus» is remarkable for variety of techniques. Creative works of opera composer K. Monteverdi are unique for musical culture of 17^th century. Showing interest to a person, to his passions and sufferings Monteverdi is a true Renaissance painter. No other composer of that time managed to depict in music tragic perception of life, approach to its understanding, revelation of human nature. «Orpheus», first opera of Monteverdi, was staged for the first time and had great success in February 1607 in Mantua. In 2007 «Orpheus» opera of Monteverdi and «Candide» opera of Bernstein were presented in Edinburgh (Scotland) on Musical Festival.

In Perm cinema salon «Premyer» citizens and guests of the Festival had chance to visit the exhibition of silhouette animation «Prince Ahmet adventures». This day saw film of Lotte Reiniger, silhouette animation creator, (Reiniger, Lotte, 02 June 1899 - 19 June 1981). When creative art of Lotte Reiniger is discussed, if it is mentioned at all, it often includes one phrase «In 1926 she made full-length silhouette film «Die Abenteuer des Prinzen Achmed» («Prince Ahmet adventures»). However, as it happened in Germany and silhouettes were not regarded as «true» animation, Walt Disney with «Snow White» was considered founder of full-length animation film. Everyone who saw «Prince Ahmet» won't agree with this, but only some people who watched «Snow White» are familiar with any film of Reiniger. Few of her 70 films are available and practically all of them are of bad quality. Lotte Reiniger - creator of silhouette animation, author of first full-length animation film and one of greatest animation painter of 20^th century - for long time was not noticed by public and films experts. Her name became widely spread only in recent years.

This unpopularity of a great director and painter was partly connected with «man» character of cinema history and partly with the fact that individual style of Reiniger did not fit models and schemes that were used to describe art. Reiniger working in epoque of modernism was not progressive in literal sense. Despite her colleagues who made abstract and incomprehensible films Lotte worked with traditional material - fairy tales, mythological themes - adopting it to animation what gave them new representation. At the same time Reiniger films can not be regarded as traditional or archaic. Her avant-gardism was expressed in approach to material, in scene composition, in use of unusual and unexpected methods of narration even for the present times.

Reiniger made her films in the style of shadow show (this technique was called «silhouette animation»). Reiniger cut details of paper using thread and wire what turned to paper marionettes. Sometimes paper doll that left only silhouette on screen, consisted of 40-50 flexible parts. Thus using scissors she made most parts of delicate and complex decorations.

Most famous work of director was animation film «Prince Ahmet adventures», first of remaining full-length animation films. Showed in 1926 for the first time it made contemporaries speak of Lotte as of most remarkable director of animation films, creator of new trend in cinematography. And Hungarian poet and cinema expert Bela Balash called «Prince Ahmet» «the absolute film». In addition to «Prince Ahmed adventures» Reiniger made one more full-length and about 60 short films where works of 1920s-1930s are most impressive.

What we have today are copies made from copies that lost many small details, especially on background. «Prince Ahmed», started in 1923 and finished in 1926, became the pioneer of full-length animation films; it is unique, beautiful film with charming humor, touching romance, exciting battles, witchcraft and really frightening evil.

Lotte also animated many short films for children and several fine advertisements. In 1969 she gave interview to Walter Shubert (German Museu, of Cinema, Frankfurt) where Reiniger admitted: «I like to work for children because they are demanding and thankful». She rewarded young audience with non-standard interpretations of classical and modern fairy tales, with some opera ideas. At that time they had great success in cinemas and television (before commercialization of TV channels for children and their conversion to toy industry advertisers). Lotte also performed in England where she presented live shadows shows and wrote exclusive books about silhouette techniques.

Lotte Rainiger is the main genius of all her films. She had amazing talent to cut figures. She fixed scissors in the right hand and quickly moved paper in left hand, thus a cut was always done in proper direction. She made shooting sheets, developed screenplay and characters, combining them. If a figure was supposed to make some complicated or gentle move she could compose it of 25 or 50 separate pieces joint with thin thread. Thus, famous hawk was made animated by Walter Ruttman in «Krimhilda dream» of Fritz Lang «Die Niebelungeg» film (1924). If a figure was intended for close shot special scale-up picture was made often with scaled-up background. However Lotte always worked with her husband Karl Koch who was in charge of a camera. Big projects like «Prince Ahmet» needed group of 5 people: Karl - camera, Alexander Kardin - imaging, Walter Turk - background and two special effects specialists - Walter Ruttman and Bertolt Bartosh. Two last-mentioned specialists later became independent animators mainly due to Lotte support and participation in her projects. Despite bad quality of copies Lotte's films are worth seeing as she depicted charming traces of her talent and social messages.

In addition to sketches the exhibition contains photos showing Lotte Rainiger delicate work during creation of her famous silhouette films.

PERM MUSEUM OF MODERN ART - presented Israeli video-art. The program included videos of Israeli artists created for the last 2 years. The aim of the program is to define and depict problems of modern video-art in Israel. «Who I am and what my name is» («Mi Ani UMa Shmi») continues the program «Zoom in - Zoom Out. Reality, media and myth in Israeli videoart», that were demonstrated by Centre of Modern Art in 2002-2004 and was concentrated on critical aspects of history and political atmosphere in the first years of Second Palestinian intifada.
New collection emphasizes problems of identity - artistic, historic, social, economic, geographic or political - its search and loss.

The program consists of 2 parts and takes place during two days. First one was shown on 19^th of May.

Israeli video-art appeared on world stage in the middle of 1990s when artistic environment had to react to political situation after First intifada. At the same time systems of Israeli mass media were under transformation: in addition to one state television a lot of other commercial and cable channels appeared. Painters turned to video-art to identified formal and thematic aspects of mass media where they depicted uncertainty of political and social reality in Israel.

Curator - Sergio Edelshtein,Director of Modern Art Centre, Tel-Aviv

THEATRE-THEATRE (small hall)
One-man production «Salamander dream. Image» performed by Lora Juodkajte (Vilnius, Lithuania)
Arts Printing House / Lithuanian Dance Information Centre (Lithuania)
Production: Valentinas Masakskis Валентинас Масалскис
Choreography and dance: Lora Juodkajte
Music: Marius Baranauskas
Decorations and costumes: Renata Walchik
The performance was staged for the first time on 15^th of December, 2006 in Vilnius
Duration: 45 minutes

The main hero of dance diptych is salamander - amphibian that in middle ages was associated with Hell Ambassador and was the symbol of alchemistry due to amazing ability to regenerate lost parts of its body and produce strong poison.

The subject of the play is philosophic concept - ability of alive organisms for transformation and renewal.

Performance is extremely interesting result of theatre director Valentinas Masalskis joint work with young talented ballet dancer and choreographer Lora Juodkajte.

In 2006 the play was awarded by Golden Stage Crosse, one of the most prestigious awards in the sphere of theatrical art in Lithuania in two nominations: for best year debut and for best music to theatrical performance.

In 2001 Lora Juodkajte got bachelor's degree in the sphere of decoration design in Vilnius Academy of Arts.

In 2005 she graduated Salzburg Experimental Academy of Dance (SEAD). At present Lora Juodkajte teaches technique of dance in Academy of Arts in Vilnius where she heads dance theatre.

For almost two years work as a performer and choreographer Lora managed to create her own style and audience.

In 2006 she represented improvisational performance «Here and No» in cooperation with two jazz musicians and a vocalist. Some time later premiere of «Salamander dream. Image» at the scene of cultural centre of Arts Printing House in Vilnius took place. The play was highly estimated and got Golden Stage Crosse (Gold Cross) award in two nominations: for best year debut and for the best music to theatrical performance. The performance was also awarded with special prize of «Philip Morris Baltic» company for best dance production of the year.

THE ORGAN HALL
- Concert of the organ music played by Ludmila Golub (organ), Tatyana Kuindzhi (soprano) and organist from Estonia Aare-Paule Lattik.

Honored artist of Russia Ludmila GOLUB - organ player, soloist of Moscow philharmonic who worked for a long time with many orchestras and chamber music ensembles. She finished Music Conservatory where Professor L. Roizman taught her to play piano, organ and clavecin. She attended master-classes of M. Shapuit, А. Isoir. High professionalism and delicate style, musical feeling and artistic talent were noticed by many musicians Ludmila worked with. According to E.Svetlanov she is a wonderful organ player who knows «mysteries» (that are not accessible to others) hidden in this instrument from ancient days. Ludmila Golub plays organ, clavecin and piano in virtuosic manner. She has recitals in Russia and abroad, plays with many orchestras and chamber music ensembles. Honored artist of Russia, organist and pianist Ludmila Golub is famous in Russia and abroad. She played in Moscow, St.Petersburg, in London's Saint Paul's Cathedral and Notre-Damme de Paris. L. Golub performs works of different epoques starting with I.Bah to E.Denisov and also all compositions of Brams, Mozart, Frank and French romantic composers, plays for organ with orchestra written by Handel, Salieri, Hindmith, Poulenc. She has special interest in music of the 20^th century being the first performer of many compositions of Messiaen, Liggetti, Jolyvette. Plays of Russian composers - Shnitke, Gubaidulina, Denisova, Slonymsky, Shedryn, Knaifel, Ekimovsky, Raskatov, Vustyn, Krivicky, Mansuryan and others also form her repertoire. The organ player has a lot of records on CDs (Chandos, Le Chant du Monde, Hyperion companies) and also radio and television records. In 2002 L.Golub became Honored Artist of Russia.

«L. Golub is a great interpreter of modern music. As many other composers I owe her brilliant execution of organ and clavecin melodies», said A.Shnitke. He was supported by E. Denisov: «When L.Golub takes my composition I am always confident in the performance quality». Within the Festival Ludmila Golub played rear for Russia adolescent chants, chants of Iogan Bah and of Cesare Frank.

Aare-Paule Lattik - organ player, laureate of different international contests is already famous and loved by Perm citizens. He regularly participates in different musical festivals, concerts all over Europe, Russia and Scandinavia. He performs practically all styles - from Renaissance to modern music, however French music and different musical treatment for organ are most treasured for him.

Honored artist of Russia Tatyana Kuindzhi is laureate of Russian national theatre award «Gold Mask», soloist of Moscow State Theatre «Gelikon-Opera» and Perm State Opera and Ballet Theatre. In 1986 she graduated Moscow Humanitarian Pedagogic Institute named after the Gnesins. Since 1991 she has been taking part in vocal class of G. Troyanova (including her master-classes in Salzburg). From 1986 to 1991 she was acting in Moscow musical theatre «Tretye napravlenye»; toured with the theatre in Germany and Poland. In addition she visited France, Germany, Austria, China, Spain and the USA with concerts.

In the program: I. Bah, Charles Tournemir, Louis Vierne, Sergey Rakhmaninov, Symphonic prose "Island of dead", opus № 29 (transcription for Louis Robinair organ).

PERM STATE OPERA AND BALLET THEATRE
In 21.00 ballet «Rejection» was performed by «Evgeny Panfilov's Ballet» theatre artists (idea, choreography, production of Larisa Alexandrova (Moscow) on music of Vladimir Martynov, «Les Reines Prochaines», Alexander Vertinsky. Performers: Maria Tikhonova, Ksenia Shatilova, Yulia Kozlova, Marina Kuznecova, Anna Bogdanova, Sergey Rainik, Alexei Kolbin, Alexei Rastorguev, Sergey Klochkov, Vladimir Galkin, Andrey Yashinin. Dance troupe «Leine&Roebana» from the Netherlands in association with the Embassy of the Netherlands in Russia performed the ballet «Ascent». In the work of Leine & Roebana the most amazing transformations take place at lightning speed, with horrifying ease. Bodies resemble fluid suits of armout: sometimes angular and pointed, other times smooth and strokable, and often, both at the same time. The dancers move as if in a force field whose influences are forever pushing and pulling at their bodies.

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«Silver age» and the 21^st century are combined in all genres of art: ballet presented by S.Diaghilev in 1909 in «The Russian seasons» that today is considered classical was very progressive at that time. And in 2009, 100 years later, progressive choreography takes special place. The Festival program will certainly surprise the audience by its diversity and untraditional approach. Contemporary dance soloists as well as troupes from Russia, Estonia, Spain, Lithuania will show the audience different trends of modern ballet.

Excursion to Cherdyn
Open-air City-Museum, the centre of which consists only of historical and architectural monuments. Cherdyn is the first Russian city on the territory of Perm Region, where Christianity in the region started from. Historical name is Perm the Great Cherdyn and only later «Perm» was used to name the central city of the region.

The centre of the city has not been changed from the 18^th century. Each house is unique. It seems that the city exists in individual civilization. The city situated on several hills turned to the valley of left bank of the river Kolva opens picturesque view on mountain Polyud that remains the basement of the monument "Medny Vsadnik" in St. Petersburg. By the way, this fact was mentioned by author Mamin-Sibirjak who once visited Cherdyn, and poet Osyp Mandelshtam, who was exiled to its mental hospital. This view as well as style of buildings (pre-revolutionary merchant stone houses plastered in white color, several churches turned to Kolva) create indescribable and unforgettable feeling of old days and nature splendor of West Urals.

The city has interesting museum telling about its history and citizen's activities from old times (one can find first record of Cherdyn in Arabian literature of 8th century A.D.) to present days.

It is hard to believe that just in 100 km from Berezniki, industrial «chemical capital», and Solykamsk, also old city which however suffered of the Soviet regime, can be found the place completely undisturbed by the Soviet times that still keeps its image like it was 100, 200, 500 years ago.

First people came to settle here in 8th-9th century A.D. In the 12^th century site of ancient settlement created by komi-permyaks, native citizens, was situated on the hill that was named Troitsky. Ancient komi people named the settlement «cherdyn» what meant «at brook mouth». At that time citizens already traded through Bulgary with Persia, Byzantine, Horezm even before Russians came to Ural region.

In 15^th-17^th centuries Cherdyn was administrative, military, commercial and religious centre of Perm the Great. At that time «Perm the Great Cherdyn» was already mentioned in official business correspondence and spoken language.

When first Siberian way - Babinovskaya road - appeared, the city stopped being a transfer point situated near Ural mountains and this role was given to Solikamsk, Kungur and later to Perm.

It is better to start city excursion with Troitsky hill which is the main point of interest in Cherdyn. The mountain still keeps earth mound - remainder of the Kremlin wall. Historical view on the city centre, Kolva river and over the river territories can be seen from the hill.

As other Russian cities, Cherdyn survived several fires. However there are a lot of buildings of 17^th-19^th centuries. Magnificent bell tower of Voskresenky cathedral (18^th-19^th centuries) acts as high-altitude dominant of city panorama. In architectural image of Cherdyn early traditions of Russian north are combined with techniques of Ural architecture school of the second half of 18^th century and they are depicted in cathedrals, public buildings, merchant shops and houses.

The citizens of Cherdyn kept a lot of relics what are known all over the world, in particular, Perm animal style, Perm wooden gods and unique icons. Visiting Cherdyn Museum of Local Lore named after Alexander Pushkin it is easy to learn a lot about history and nature of the region.

Cherdyn's suburbs are also rich in curiosities. Different settlements with unique history and architectural monuments are located on the Pechorsky route that once was used by merchants.

Trip to Cherdyn is a meeting with one of the historical places of Perm Region which is also connected with Diaghilev's name.

PERM CINEMATHEQUE - «Dancing Germany» motion-picture films. Films of Christianne Hartter, dance archive of Cologne city. In association with Goethe Center Moscow. 11:00

German dance archive of Cologne city presented program of films that reflects visual artistic explanation of dance and movement, gives possibility to unite choreographers with film makers, modern dance and cinematographic art.

Interest to a dance continued growing together with development of modern technologies that let realize other forms of artistic explanation of dance and movement. In addition to the archive, library and museum, German dance archive of Cologne city includes video-library. This is the films collection about dance what is unique source of information for researches, television programs and documentary films. The collection includes more that 3500 items that can be referred to different film categories. These are documentary films about dance, studio records and concert records, theatrical performances and experimental films.

The program was presented by Christianne Hartter, theatre and cinema expert, director of dance video-archive in Cologne. She studied a lot about television, Slavonian philology and ethnology. She visited countries of West Europe several times as research assistant.

She is a partner of Sasha Waltz in the project «On earth». In 1999 Christianne organized Siberial tour of «Sasha Waltz & Guests» troupe. Christianne is a curator of many films about dance demonstrations in Germany and abroad within the framework of Goethe Institute projects and Goethe museum attached to dance video-archive. She took part in creation of the festival «Let's dance? Amazing world of dance in documentary films» in Cologne city.

PERM MUSEUM OF MODERN ART - SECOND PART of Israeli artists videoprogram «Who I am and what my name is» («Mi Ani UMa Shmi») continuing the program «Zoom in - Zoom Out. Reality, media and myth in Israeli videoart», that was demonstrated by Centre of modern art in 2002-2004. Artists turned to videoart to emphasize formal and thematic aspects of mass media which reflected ambiguous character of political and social reality in Israel.

Curator - Sergio Edelshtein, Director of Modern Art Centre, Tel-Aviv

PERM COLLEGE OF ART AND CULTURE - «Russia-Finland. Musical dialog 1».
Yuri Kasparov and Moscow ensemble of contemporary music (МАСМ)

Moscow ensemble of contemporary music is one of the best professional soloist's ensemble in Russia that specialize only on music of 20^th and 21^st centuries. The repertoire of the group includes compositions of more than 600 Russian and foreign composers who present different conceptual trends. Edison Denisov, great teacher, composer and public figure, was one of ensemble's founders. MACM was organized in March 1990. The group biography is connected with all changes of social and political situation in Russia and also to attitude toward Russia in the West that was also changing. Period from 1990 to 1993 saw common euphoria when it became possible to travel abroad and share cultural information. One fact was important to avant-garde musicians - on the West no one heard of latest Russian music. Of course such names as Shnitke, Denisova and Gubaydulina were known but as for the rest - it was a complete vacuum. Exactly in that period MACM started to receive invitations to take part in prestigious international festivals; and musicians themselves popularized latest west music in Russia. For the first time in Russia the ensemble presented portraits of 20^th century classics - Edgare Varese, Yanis Ksenakis, Anatole Vierra and others. At that time their music was not known even among professionals. By the way this fact is reflected on our present composer education which still remains quite conservative. On the whole, as before people do not pay much attention to modern techniques, do not learn even such classics as Pierre Bouless, Karlheinz Stockhausen, Luigi Nono, Luciano Berio, Yanis Ksenakis, Gyorgy Ligeti. At present MACM tours twice a year with contemporary repertoire in regions of Russia. Y. Kasparov in recent interview shared his opinion about modern art: «Modern culture is becoming more popular, we can see it in the example of Moscow. Not long ago I took part in a meeting organized by M.Shvydkoy with representatives of literature, painting, music, theater and cinema devoted to problems of modern art in Russia. In particular he said that since 2000 this sphere has started to develop and now it is more popular. Indeed, at present there are several different contemporary art centers (State Center of Contemporary Art, «Dom» Center, "Devotio Moderna", Termen-center), specialized festivals («Moskovskaya osen», «Muzika druzey», «Alternativa») and groups (MACM, "Opus Posth", Percussions ensemble of Mark Pekarsky, "The Pocket Symphony" etc.). In addition «Dom» Center has become the place of Vladimir Martynov, Sergey Kuryokhin, Kasimir Malevich festivals and also of modern art exhibitions, new books presentations, demonstration of experimental films. «Dom» also witnesses such elitist actions as concerts of electronic and electro-acoustical music; Andrei Smirnov regularly gathers termenvox ensemble... For me «Dom» is particularly interesting because it unites a lot of young people creating non-formal atmosphere. In regions many festivals are also held devoted to contemporary art and music. For example, Bryansk Festival named after Nickolay Roslavetz and Naum Gabo, Kazan Festival «Europe-Asia», St. Petersburg «Zvukovye Puti» and «Peterburgskaya vesna». I can say that often regions show most important world premieres. For example many compositions of Roslavetz including recently found Second chamber symphony were presented in Bryansk for the first time. Recent years saw other, very interesting festivals in Nizhni Novgorod, Tomsk, St. Petersburg, Rostov-on Don... Besides, Alexander Tchaikovsky has been holding festival «Youth Academies of Russia» for several years in different cities where music of young Russian composers can be heard not only in chamber music but also in symphonic orchestras.

For fifteen years the group performed more than 500 world and Russian premieres, recorded 40 CDs for leading record labels, including Olympia (Great Britain), Harmonia Mundi (France), Meldac and Triton (Japan), Donemus (the Netherlands). МАСМ has many concerts in Moscow and regions of Russia. Lately the group performed with different programs and projects in 45 cities of Russia. It took part in major festivals in Austria, Great Britain, Germany, Denmark, Spain, Italy, the Netherlands, Poland, Rumania, Slovakia, Turkey, Finland, France, Czech Republic, Japan, CIS countries.

МАСМ Art director - Kasparov (1955) - Russian composer. In 1978 he graduated Moscow energetic institute, in 1991 - Moscow conservatory (was aspirant of E. Denisov). He got award on Russian composers contest in 1984 for his first major work - «Gernika» symphony. Then he wrote Second symphony - «Kreicerova», «Lincos» for ensemble, Ave Maria for 12 soloists with instrumental accompaniment (reward on composers contest named after Guido D'Arrecco in Italy), «Shenberg-space» for ensemble.

THE ORGAN HALL «Jazz + ethno».
One of the most unusual concerts of all Diaghilev festival united jazz and ethnical music at the stage of The Organ Hall. Two concerts of «fusion» style combined melodies of world nations in jazz arrangements in the concert featuring Mike del Ferro (the Netherlands), Andrei Mongush (Tyva Republic, Russia), jazz-ensemble «Katuner» under the leadership of Vaagn Airapetjan (Armenia).

Mike del Ferro is legendary jazz musician, pianist, composer and arranger of the present times. He started playing the piano when he was 9 years old, in 17 he discovered the world of jazz. In 1989 Mike del Ferro won contest of jazz music pianists in Brussels and became the winner of jazz contest in Karlovy Vary.

Jazz-trio concert of Mike del Ferro (the Netherlands) with program «Russian opera meets jazz». In association with the Embassy of the Netherlands in Russia. Pianist, composer and arranger Mike del Ferro was born on 23 August 1965 in Amsterdam. His father - opera singer Leonardo Del Ferro (1921-1992) performed in joint program and worked with legendary Maria Kallas in 1958. When Mike was 9 years old, he started playing the piano and in 17 he fell in love with jazz. In 1990 he graduated Hilversum Conservatory in the Netherlands where he got master's degree in the field of jazz piano. In the beginning of his career Mike Del Ferro won his first prize in Jazz contest in Rotterdam, got the prize «Best soloist» in European Jazz Contest in Brussels and became the winner of jazz contest in Karlovy Vary. In 1993 he met Bob Brookmeyer who was impressed by Mike's composer talent and helped him to win scholarship for three years to study composition and arrangement in Cologne University.

At present Mike obtained recognition as soloist, accompanist, composer and arranger. He is touring a lot and making records all over the world with such musicians as Richard Galliano, Scott Hamilton, Harold Land, Benny Bailey and many others.

Mike del Ferro is not only jazz musician, he is a big fan of other musical trends. He took part in records of more than 20 albums acting as sessional musician. In 1998 Mike produced and recorded ballades album, «Make someone happy» featuring T.Tillmans who characterized his colleague as «most valuable person in musical world». In 2001 Mike del Ferro started working with nongovernmental organization «American Voices» and since then has taken part in more than ten jazz projects in Asia, Europe, Middle East. Acting as Director of jazz programs Mike was involved in organization of jazz festivals in Baku, Alma-Ata and Hanoi. At present he is working on organization of tours in Africa and Latin America.

Saxophonist Keshavan Maslak (of Ukranian origin) who recorded CD with pianist-accordionist Loek Dikker, pianist Burton Greene, brilliant Afro-American saxophonist Michael Moore are living in the Netherlands and working in Russia. They are well known here due to cooperation with Mikhail Alperin and Sergey Kuryokhin. Of course, there are a lot of artists living in the Netherlands from the countries that are historically connected with it - South African Republic pianist Sean Bergin, Island of Curacao Frankie Douglas.

Participation of Andrey Mongush (Tyva Republic, Russia) in the concert is significant for modern musical culture. Andrey Mongush is not just composer, performer and folklore expert. He often travels around the world in search of inspiration and melodies hidden in mountains and valleys. Whole series of forgotten folk songs were recalled due to his efforts.

He is playing doshpulure, domra, guitar, igyle, byzaanch, guimbard, accordion and performs all styles of guttural singing. In 2008 he was given the highest rank for performers of guttural singing in «National hoomeidgy of Tyva Republic» contest, and also named Honored Artist of Tyva Republic. He takes a lot of efforts to popularize native musical and spiritual heritage among young artists of Tyva Republic. When he was a student he started teaching Tyvian music; first school folklore ensemble in Tyva became active promoter of the national art what led to appearance of children folklore groups using his methods all over Tyva.

The musician visited a lot of countries solo and as part of famous ensembles «Alash» and «Hun-Hur-Tu» He is taking active part in annual International festival of live music and «Ustuu-Huree» faith that is held in suburbs of his native city Tchadan. «Ustuu-Huree» festival is intended to attract attention to Buddhist cathedral and to raise funds for its restoration.

In November 2007 Andrey Mongush headed a group of Tyva musicians that was honored to perform for Dalai Lama the 14^th at first Festival of Buddhist culture of Russia and Mongolia what led to unification of the Buddhist people in terms of religion and art.

«I am a man of Tyva, son of eternal snowy mountains and silver rivers...» - sang Andrey Mongush using unknown for Tibetans language of Tyva and all 5000 refugees listening him definitely understood song meaning as they are also sons of silver rivers who crossed The Himalayas to become Dalai Lamas. The song «Men tyva men» («I am Tyvinian») became unofficial hymn of Tyva as its beautiful melody reflects Tyva's soul.

Andrey brought this song from his ethnographic trips to Mongolia where ethnical people of Tyva live. He brought, arranged and made it most famous song in Tyva.

Concert of jazz ensemble «Katuner» headed by Vaagn Airapetyan (Armenia).

Vaagn Airapetyan is one of the most famous jazz musicians on modern Armenian stage.

For a long time he was famous as swing and bop styles performer and played with his trio (Vaagn Airapetjan - piano and vocal, Nikogaes Vardanjan - bas, Alexander Agamjan - percussion). Vaagn Airapetjan performed with starts of Russian and world jazz music - Igor Butman, Daniil Kramer, Barry Harris, Elvin Johns.

In 2005 Vaarg Airapetjan changed his musical image and created new group of seven musicians named «Vaagn Airapetjan and Katuner».

Despite young age of the group participants they all have great experience. In particular, Tigran Suchjan, David Nalchadjan, Tigran Sanojan and Ashot Arutyunjan are members of State jazz orchestra of Armenia and Armenian Navy Band, Artyom Manukjan is a member of Armenian Navy Band and avant-garde group «Nooz». Norair Kartashjan is invited to main jazz and pop groups of Armenia. Arman Dzhalaljan is the best drummer in Armenia, he is playing in Armenian Navy Band, ethnical and jazz sextet «Time Report» and accompanying many stars of Armenian stage.

Septet was appreciated at annual «Jazz Appreciation Month-2005» and «2006» jazz-festivals organized by State Department of the USA, performed at First and Second International festivals of avant-garde folk music in Yerevan and also at 3^rd International jazz festival «Yerevan-2006». The group gave many recitals and at present it is extremely popular in Armenia.

In 2005 the ensemble participated in South Caucasus Music Conference (Tbilisi, Georgia) where it played in «Noa-Noa» club. In 2006 the group performed in Moscow, in «Dom» club, in 2008 took part in jazz-festival in Tashkent.

In spring of 2007 the ensemble recorded its first album «NOREVAN».

«Katuner» group plays only original compositions and has its own sound. Jazz-rock techniques of the 70s, M-BASE of 80s, World Fusion, melos and rhythm of Armenian music are combined. In addition to classical music instruments «Karuner» uses national, duduk and zurna. «We play Armenian folk music that we have in blood and it lives in all Armenian people. However in 21^st century people can not perceive and play it the same way it was performed in 19^th century or earlier. This fact explains different sounding of familiar melodies. Jazz is just a form. What we play existed earlier. It's in blood - you and your roots. I am concerned that each true musician, each person has to be creator. God is creator; he made us after his image and likeness. We have to correspond to Him. Music we play lives inside us, this is the life we had yesterday, have today and will have tomorrow.»

OPERA AND BALLET THEATRE - world premiere of Anton Rubinstein «THE CHRIST» (Seven attempts to experience Divine)
Excursion to «Silver Age».

Having common esthetic program that Diaghilev used staging operas and ballets, musical goals in these genres differ.

Historical concerts of 1907 were part of probing action. The action had success: short but elegant «anthology» of Russian classical music had great interest in Paris. Russian media that jealously followed Diaghilev's experiments called him «our intendant of music». Thus the way for Russian opera to «Grand-opera» was cleared.

Diaghilev chose two operas for debut - «Boris Godunov» of Musorgsky and «Sadko» of Rimsky-Korsakov. They depicted bright national unique character and were combined using the principle of genre contract - historical, physiological drama and folk tales opera (genre unknown in the West). However there were some problems with «Sadko» performance and only «Boris Godunov» remained in the program.

For Diaghilev it was the first experience to stage musical performance. He organized whole campaign: attracted best artists of the Mariinsky theater headed by F.Shalyapin, fully booked the chorus of the Bolshoi Theatre with choirmaster U. Avranek, invited famous stage manager A.Sanin who successfully made crowd scenes in drama theatres, took care of great director F.Blumenfeld, ordered performance decorations to brilliant painters Golovin, Yon, Jaremich, Benoit. But it was just half of battle. Main Diaghilev's achievement was that he presented his vision, his concept of musical performance to this huge group. Diaghilev focused on his idea of possible presentation time for full audience perception. He carefully calculated running time of each performance and considered the time needed for decorations and pictures changeover. All his operas started in 8 p.m. and finished not later than 11.15 p.m.

Opera performance took place on 20^th of May 1908 and had great success. It was regarded as masterpiece and by its splendor was compared only to works of Shakespeare. The newspaper «Liberte» the next day after the premiere wrote: «The opera has the same (like of Shakespeare) intensity of past representation, integral universal character, realism, depth, moving mercilessness of feelings, vividness, unity of tragic and comical, superior humanity.» Russian artists were worth music. Shalyapin impressed by tragic power and amazing realism of play in the scene of death, and especially in the scene with chime that frightened the audience: some people stood from their places trying to see delusional images on the backstage that Shalyapin - Boris pointed at.

Crowd scenes really amazed the audience and critics. «The Russian choristers shocked us with the power of singing, intonational integrity and accuracy. They played as well as sang.» - wrote Pier Lalo in «Tamp». «Each chorister is an actor, brilliant actor» - wrote critic of «Matin». «Everyone has his own role in the whole picture that was well thought by stage manager.» This was Sanin's achievement who constantly directed the chorus, even being on stage and playing police officer (1^st part) or noble boyar (coronation). Perfectly performing and singing chorus surprised even regular visitors of the Opera theatre. The opera had striking effect and even after the first part of prologue «Grand-Opera» raised in applauses for the first time in its history.

Success of «Boris» encouraged Diaghilev to organize annual «Russian Seasons» in Paris (they were supposed to include only opera performances). In 1909 Diaghilev was going to show a king of Russian classical opera anthology: «Ruslan i Ludmila» of Glinka, «Judith» of Serov, «Prince Igor: of Borodin, «Pskovityanka» of Rimsky-Korsakov» and again «Boris Godunov». Suddenly his plans changed. Diaghilev's friends and companions persuaded him to present new Russian ballet. Thus four one-act ballets were added to operas. However the large-scaled project was too expensive and Diaghilev was refused in subsidies. For that reason he had to reduce opera repertoire. Only «Pskovityanka» was staged featuring Shalyapin playing Ivan Grozny. It had success but not that triumphant as of «Boris Godunov». Other operas included in the repertoire were presented in one act - great overture and 1 act from «Ruslan i Lumdila»; 2^nd act which is most striking from «Judith» performed by Shalyapin and Felia Litvin; 2^nd act from «Prince Igor» with «the Polovtzian dance»; «Boris Godunov» was taken out.

During next years, 1910-1912, opera was totally removed from «The Russian Seasons» repertoire.

Season of 1913, started in «Elysian Fields Theatre» and continued in London «Drury Lace», included three operas. New version of «Boris» and «Khovanshina» were staged in Paris. In London it was added with «Pskovityanka». «Boris» was accepted with great enthusiasm, but main attention was paid to «Khovanshina». It caused fierce arguments of musicians where Diaghilev's figure was the main point. At that time creative initiative of Diaghilev went beyond the limits: he presented not just his concept of the play but also his version of musical text.

Idea of «Khovanshina» appeared in 1909. In winter when Diaghilev returned to St. Petersburg he studied «Khovanshina» autograph written copy in Public library. Comparing it with edited score of Rimsky-Korsakov Diaghilev assured that it did not contain a single page without considerable changes and corrections made by Rimski-Korsakov. At that time daring plan to restore initial text of episodes that were most considerably edited and order new instrumentation appeared. In 1912 Diaghilev ordered Stravinsky to instrument opera and compose final chorus (Musorgsky did not manage to finish opera leaving just chorus sketch). Soon Ravel joined Stravinsky in this work. It was decided that Stravinsky instrumented arias of Shaklovity and composee final chorus while Ravel had to do the rest. In autumn Diaghilev ordered decoration to young painter F.Fedorovsky and in the beginning of 1913 agreed the performance with other participants - stage manager A.Sanin, choirmaster D.Pokhitonov, director E.Cooper and, of course, with Shalyapin playing the part of Dositheos.

Articles in newspapers about coming performance caused negative reaction of Rimsky-Korsakov admirers. Composer son, A.Rimsky-Korsakov, characterized it as «act of vandalism», shocking disrespect to the memory of Rimsky-Korsakov and his great work. Ravel wrote him open letter where we assured that an intention to show original work of Musorgsky to the public did not make Rimsky-Korsakov contribution less important as he is loved and respected by many people including Stravinsky and Diaghilev.

There was conflict with Shalyapin as well. He asked to keep all Dositheos part in edition of Rimsky-Korsakov. He also refused Diaghilev's idea to include in Dositheos part aria of Shalkovity that Diaghilev regarded more appropriate for Dositheos than for «arch-rogue» as Musorgsky characterized Shalkovity. As a result Shaklovity aria was cut. Diaghilev had to make concessions. Thus, new version became compromised: Rimsky-Korsakov opera with instrumented additions of Ravel and final chorus written by Stravinsky. Introduction of new episodes (Diaghilev restored some chorus parts of 1^st and 3^rd acts) changed usual timing and 5-act opera turned to 4-act as Diaghilev removed 2^nd act (debate of nobles and Marpha fortunetelling) and 2^nd scene from 4^th act (singling train of Galicin and failed soldiers punishment). The performance opponents saw in Diaghilev actions inadmissible outrage. Meantime changes made by Diaghilev were directly connected to performance concept.

Artistic sense directed Diaghilev to emphasize innovatory nature of «Khovanshina» as choral performance. Exactly this side of Musorgsky's opera remained unestimated by his contemporaries and friends. V. Strasov used to warn the composer: «Your opera contains too many choruses and lack of characters activity in present form.» Edition of Rimsky-Korsakov «eliminated» this «defect» having narrative story connecting main characters. In Diaghilev's version, on the contrary, unified chorus prevailed that dominated over «individual personalities». (Khovansky - Dosipheus).

Instead of «religious and political tragedy» that was presented in version of Rimsky-Korsakov, Diaghilev showed the audience individual chronicles of the nation using Musorgsky music having «chorus» images on the foreground tragically witnessing one of the crucial moments in the Russian history.

Dissenter's line got new scale and meaning of Diaghilev's version that fully corresponded to musical logic and was depicted in new chorus written by Stravinsky. It was different view on opera final that however was closer to original conception judging by Musorgsky's letters to Stasov. The audience of «Elysian Fields Theatre» did not see spectatular scene of dissenters self-immolation and triumphant appearance of Peter army accompanied by sounds of popular Preobrazhensky March. P. Lamm who studied Musorgsky's autographs in 20s came to the conclusion that Musorgsky probably decided to «transport self-immolation at stage and finish with descending music.» This was exactly the idea of performance that took place in Paris production of «Khovanshina». Ascetic sound of dissident melody performed first by alts a capella, then new chorus voices added to the melody and orchestra was the last to join («dissidents are coming to coffins... not all at a sudden, but in groups», - wrote Musorgsky to Stasov), crescendo increased, achieved fortissimo and diminished. Gradually chorus sounds faltered: artists slowly left the stage coming to bulkhead and the only sounds left were hardly notices violins playing in high register.

Despite serious changes, what Diaghilev was criticized for not only by A. Rimsky-Korsakov and Lunacharsky (the latter wrote of «scandalously plucked» opera) importance of Diaghilev's version was really historical as this was the first step on the way to real Musorgsky made two decades before Astafiev openly struggled for and P. Lamm created his textual work.

«Chorus opera» turned to be completely new genre for Europe and it became true benefit performance of the Russian chorus in Paris and London. «Khovanshina» had great success, recalled Fedorovsky. - Besides Shalyapin, Petrenko, Domaev and Zaporozhets, chorus of Soldiers created great impression. The chorus performed the phrase «vydi, vydi, batya» (come, come, father) so remarkably that French people raised, repeated the rhythm using their hats and made the chorus repeat it three times what was regarded as the peak of vocal performance». «First act was met with wild applause. Final choral a capella excited the audience and was repeated. I don't think that any other chorus had such enormous success», - admitted Lunacharsky. «Prayer of Soldiers from «Khovanshina» was repeated for three times during performances, and two times at concerts, - witnessed Pohitonov. «After all, the greatest impression was left of chorus that was never heard before, and created border between Diaghilev's opera troupe and all others ever heard in London.» - wrote London's «Times» critic. During last prewar season Diaghilev showed two more operas: «Zolotoi petushok» («Gold cock») of Rimsky-Korsakov and «Solovey»(«Nightingale») of Stravinsky. Both had success, though paradoxically witnessed Diaghilev's interest weakening to opera genre and dominance of ballet tendencies.

«Zolotoi petushok» was staged as a ballet and in this regard foreshadowed new way to vocal and dancing interaction in musical theatre of subsequent years («Pulnichella», «Story of a fox», «Wedding» of Stravinsky).

«Solovey» opera was removed from repertoire. Later at Diaghilev's instance Stravinsky made ballet score on the basis of it.

«Boris Godunov» and «Khovanshila» remained main achievements of Diaghilev's opera enterprise. In 1897 when Diaghilev just started to prepare to his future activity he wrote Benoit that he would like to «restore Russian painting» and «present it to the West, glorify it on the West». In «The Russian seasons» of 1908-1914 he managed to «glorify on the West» most particular sides of Musorgsky's genius operas and first of all their choral dramatic art.

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For great composer, famous pianist and director, author of «Demon» opera, opera «The Christ» became the result of all his life. Contemporaries of Rubinstein confirmed that spiritual operas were the best of all written by the composer... It gave more importance to «The Christ» opera in Perm Festival repertoire. The opera consists of seven pictures, seven most bright episodes of the Gospel: Christ birth and the Adoration of the Magi, Sermon of the Mount, Garden of Gethsemane, Annunciating, Christ temptation in the desert, the Last Supper and Pilate punishment. The opera's second name is «Seven attempts to experience Divine».

Stage-manager is Anton Sharoev.

Opera of A. Rubinstein «The Christ» returned to world stage after a hundred years of oblivion. The score that was considered lost for a long time was found in Berlin archives. This confirm once more famous phrase of M.Bulgakov that «Manuscripts do not burn». The opera was performed for the first time in Germany, after that «The Christ» was doomed to disappear for a century. It was composed in Germany, published in Leipzig in 1894 and performed at the stage of Stuttgart conservatory the same year. Rubinstein dreamt to show his work in Russia but he did not manage to do it as he died in half a year after this work termination; and the score was lost. It was clear that opera was missed somewhere in Germany. Georgy Isaakyan appealed to Goethe Centre for support. Anton Sharoev, famous musician and director, also took part in the search. It is interesting that according to family legend the Sharoevs are indirect relatives to Rubinstein. For several years Anton Sharoev has been working in German archives and came to Berlin national library. There he was given a microfilm with the phrase «Here are some musical notes» and it turned out that the film contained lost score of Anton Rubinstein's opera «The Christ». This fact became a surprise for the Library as well.

«We examined the score and understood that it was extraordinary and very important work for the history of Russian music, - memorize Georgy Isaakyan. - The opera was performed only once, in 19^th century, in concert version, and that can not be considered as the premiere.» Thus on 12^th of December Perm State Opera and Ballet Theatre showed this unique performance what caused shock of opera art lovers. In other words in a century the Opera world stage premiere took place. «Perm State Opera and Ballet Theatre is constantly making extraordinary things, it is always in the centre of great interest as each season everyone is expecting something new from Perm in regard to opera and ballet, - said theatre expert Larisa Barykina. - We are always waiting shock in Perm and very often we get it.» Nearly lost opera was performed in Perm in five languages at once: Russian, German, Hebrew, Armenian and Latin with Russian subtitles. Within the frame of this Festival the premiere took place on 20th of May in Perm State Opera and Ballet Theatre. And in two weeks world stage premiere will be presented in St. Petersburg State Conservatory named after N. Rimsky-Korsakov that was founded by Rubinstein.

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The aim of the present Festival as of three previous is to maintain and develop traditions of the great impresario and propagandist of the Russian culture - Sergey Diaghilev, native of Perm.

It seems that both world premieres - «One day from the life of Ivan Denisovich» and «The Christ» - are just what Diaghilev would evaluate as the person who constantly searched for something new, who initiated creation of modern and unusual performances.

In the morning leading critics and specialists in the sphere of dance gathered in a conference-hall of CJCS «Uralgazaservis» to discuss main problems of modern ballet theatre. One of the key aspects of discussion was return of interest to wrongly forgotten Russian ballet art workers, popularization of ideas needed for development and strengthening of Russian and world culture. In this aspect Diaghilev's festival is becoming more and more important because it acts as Sergey Diaghilev's mission extension. Twenty years of Diaghilev's ballet enterprise meant a lot for the world choreography. «The Russian Seasons» spread glory of the Russian art all over the world, caused ballet prosperity in those countries where this type of art wasn't presented at all. Ballets created by Diaghilev are still regarded as finery all over the world. One of expert's goals during the round-table discussion was to consider different aspects of restoration of Russians ballets spiritual heritage and interest to ballet art. According to Diaghilev's concept ballet performances in «The Russian Seasons» had to show the world new musical theatre that was unknown in Russia and Europe those days. Today this theatre is characterized by plastic delicacy, complex choreographic compositions in artistic unity with original music, variety of styles, dancing technique, unique combination of movement and musical theme and overwhelming desire of choreographers and performers to express feeling, idea and most elusive and inmost - the rhythm of life.

On the 22^nd of May Perm State Opera and Ballet Theatre presented A.Adane ballet «Zhizel» featuring soloists of French «Grand Opera» Clairemarie Osta and Nicolas Le Riche. Choreographers of performance premiere were Jean Perrault, Jean Corrali, Marius Petipa. In 2008 the ballet was restored by Honored Artist of Russia, repititeur Tatyana Legat, representative of famous ballet dynasty, former ballet dancer of Leningrad Theatre named after Kirov, teacher of Boston ballet (the USA). She tried to deliver traditions that she inherited from her great-grandfather, Marius Petipa, and grandfather, dancer of the Mariinsky Theatre Nicolas Legat who took part in Diaghilev's performances for a year. «This ballet is very special to me, - says Tatyana Legat. - I studied it thoroughly. The power of this mimic ballet that was created in the first years of ballet existence and it is in brightness that I tried to bring back to artists. It was a difficult task. Many mise en scenes are repeated, that is why all gestures has to be adjusted and dramatically expressed. If integrity and space are missing it is not performance, it is a divertissement. Classical ballet exists due to canons transmitted «from hands to hands». When you look deeper you may understand that these hands unite everyone in the ballet world like in a round dance ignoring space and time limits. «Zhizel» score, created in Paris in 1841 and restored in Perm in 2008, is one of the most conservable scores.

In 1926 «Zhizel» ballet was performed in our theatre for the first time in choreography of Boris Sherbin. The play became first production of classic ballet at Perm stage and marked creation of the first constant ballet troupe in our city. Renovated version was shown on 15^th and 16^th of November 2008 by our theatre soloists Natalia Moiseeva (Zhizel) and Sergey Mershin (Albert). «It is pleasant to note that we managed to renovate it, - says Natalia Akhmarova, theatre ballet troupe director. - Out profession is really delicate, it is transferred from one body to another and it is very important to know who possesses this information. I am very glad that Tatyana Legat appears to be such artist. Each finger, each glance, each inhalation and exhalation should be done exactly to that direction that is needed by the score, this was our main goal.»

Decoration and costumes are totally renewed by scene-designer Ernst Geidebrecht's (Germany) and painter Elena Zaiceva (Moscow).

There are four casts in the performance. «We didn't manage to work with young cast but we will try to do this in near future. Natalia Moiseeva took the major part of the work and still she didn't have enough time to be confident in all nuances, - says Natalia Akhmarova. - We planed the following pairs: Robert Gabdullin with Maria Menshilova, Maria Belousova with Rostislav Desnitsky and Julia Manzhelis with Ivan Mikhalev.

The new «Zhizel» combines classic choreographic canons and modern visual image. Participation of French dancers is not accidental: first performance of the ballet took place in Paris, in Royal Music Academy, Albert - Lucien Petipa, Mirtha - Adele Dumilatre. In addition, choice of Clairemari Osta of all other Paris Grand Opera dancers was also well-thought as she was the first French ballerina that danced in Perm. In 2003 she soloed in the ballet «Spectre of Rose» with the Perm soloist, laureate of international contests Nickolay Kalabyn. Her present partner in «Zhizel» is one of the most talented dancers and choreographers of Opera de Paris, Nicholas le Riche, V.Nizhinsky prizewinner, Knight of Art and Literature of France. Le Riche became «l'etoile» - the Star in 1993 when he performed Albert in classical version of «Zhizel» at the stage of Opera de Paris. «Zhizel» entered the history of art as the «Russian ballet». That is why it was naturally to perform new version during «The Diaghilev Seasons».

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