These concerts (each lasting an hour without intermission) became a historic event, marking the countdown of theatrical life after the lockdown. In the hall of the 500 spectators instead of 2000. Each of them was given free mask and gloves, measured the temperature. At the festival the key event was not only a stellar soloists and programs, but above all the message from the conductor, singers and orchestra of the city and the world: “We want to play!” Maestro Gergiev appealed to the President of Russia and head of Rospotrebnadzor allowed to resume performances of the Mariinsky ballet. Permission was granted, despite the most favourable epidemiological situation in St. Petersburg.
the First day of the concert devoted to Day of medical worker. The audience observed a minute of silence of physicians, who died during the pandemic. At the second concert were sold. Due to the complicated procedure of entrance to the public had to endure a 20-minute wait in a long line along the entire facade of the theater on the Kryukov canal. But nobody was complaining. On the programming content of the public did not know until the last moment, because any minute could be cancelled due to a virus, any member of the concert. Orchestral rehearsals of these important concerts were only one.
the programme of the first concert was decorated in bright, optimistic colours. Anna Denisova blithely whirled in the waltz of Juliet, Elena Stikhin “has segilola” in the Gavotte from the Opera Manon by Massenet, and Oxana Shilova – the rosalinde Czardas from the operetta “die Fledermaus”, which Gergiev has promised to deliver in the new season. The second concert, the focus has shifted to the disastrous Opera passions. One of the first rooms was Aria Gioconda Suicidio (“Suicide”) from the Opera Ponchielli performed by Irina Churilova. Bass Mikhail Petrenko sang “Elegy” by Massenet, with its nostalgia for the “spring of the old days”. And mezzo-soprano Ekaterina Semenchuk has chosen his crown Joan’s Aria “Yes, the hour has come” from “virgin of Orleans” by Tchaikovsky, performed with anguish and pain, like the last time. Outstanding soprano Tatyana Serzhan made a suicide Aria Manon from “Manon Lescaut” by Puccini, demonstrating the art of dramatic singing.
