Even at the height of the Cold War, Russian artists performed regularly in the West. But with the war in Ukraine, America or Europe are not close to seeing companies like the Bolshoi or a collection of the size of the Morozov exhibition. In less than a week, cascading deprogramming of Russian artists and companies in Western theatres has resurfaced the spectre of cultural isolation.
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"even at the height of the Cold War, cultural exchanges between Russian, American and European artists continued. Of course, there were always tensions, but it was possible, "Peter Gelb, director of Metropolitan Opera House in New York, told AFP. "what is happening today is different, it goes beyond the Cold War, it is a real war," says Peter Gelb, who was in Moscow discussing a co-production with the Bolshoi a few days before the invasion of Ukraine. Peter Gelb, 69, knows what he's talking about. In the 1980s, this American, then young agent of the legendary pianist Vladimir Horowitz, had organized his great return to Russia and filmed the concert of the cellist Mstislav Rostropovich, also back during the perestroika.
In the current context of brutality against innocent citizens, there is no opportunity for exchanges such as those during the Cold War.
Nureev's defection
The touring of Soviet artists in the West began in the 1950s, including those of ballet companies, an eminently Russian art and Soviet soft power par excellence. Journeys-during which the artists were under surveillance-entered the annals: the Bolshoi tour in London in 1956 with Galina Oulanova or the first Kirov tour (renamed Mariinsky) in Paris in 1961, during which a certain Rudolph Nureev defected. The Americans were not left behind: the American Ballet Theatre first performed in Moscow in 1960, followed two years later by the New York City Ballet, in the midst of the Cuban missile crisis. Despite the tensions, the company completed its tour.
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After the collapse of the USSR, exchanges intensified, with Russian dancers becoming "stars" in other companies, such as Svetlana Zakharova, the "tsarin" of dance both at the Bolshoi and the Ballet de la Scala in Milan. Previously unimaginable nominations had become possible, such as that of David Hallberg, the first American star dancer of the Bolshoi in 2011.
Gergiev thanked by his artistic agent
«In the current context of brutality against innocent citizens, there is no opportunity for exchanges such as those during the Cold War.», juge cependant Peter Gelb. Le Met a ainsi cessé sa collaboration avec le Bolchoï. L'institution boycottera également tous les artistes pro-Poutine, une décision prise aussi par l'Opéra de Paris et d'autres salles. Le Ballet du Bolchoï a vu sa venue à Londres cet été annulée. Le chorégraphe russe Alexei Ratmansky, un temps directeur de ce Ballet avant de faire carrière à l'étranger, a abandonné deux nouvelles productions pour cette compagnie et celle du Mariinsky. Et le Français Laurent Hilaire a claqué la porte du Ballet du Stanislavski de Moscou, qu'il dirige depuis cinq ans.
Lightning struck two superstars deemed close to the regime: conductor Valery Gergiev, dismissed by the Munich Philharmonic Orchestra, and soprano Anna Netrebko, the international queen of lyrical art. Gergiev was declared persona non grata in many rooms and by his own agent, and "Netrebko" cancelled several of his engagements, including at the Met.
We cannot detach the Bolshoi and the Mariinsky from the authorities; they have public funding and, in the eyes of the citizens of the world, talking about the Bolshoi and talking about the Russian state is the same thing.
"what will be, in the coming months, the territory that will remain for Russian artists who are not invited to the American and European continents? China has yet to show signs of recovery (because of the Covid). They will remain their own country, "Laurent Bayle, former director general of the Philharmonie de Paris, told AFP. "three-quarters of their activity is being called into question," he added. If this war "ends with the occupation of a country, it is certain that no one will risk an invitation from Russian artists" having not distanced themselves, continues Laurent Bayle.
Si tous les artistes ne sont pas mis dans un même panier -certains comme le chef d'orchestre Vasily Petrenko basé en Grande-Bretagne ayant annoncé suspendre leurs activités en Russie- la situation est plus complexe pour des institutions subventionnées. «We cannot detach the Bolshoi and the Mariinsky from the authorities; they have public funding and, in the eyes of the citizens of the world, talking about the Bolshoi and talking about the Russian state is the same thing.», selon Laurent Bayle.
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