Makhar Vaziev The Taming of the Shrew - Lincoln Centerimages.lincolncenter.org/image/upload/v1500660673/fiuff1immyeefsmgv0rb.pdfboyish charm in Bianca’s. As a token of his love,

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Lincoln Center Festival lead support is provided by American Express

This performance is made possible in part by the Josie Robertson Fund for Lincoln Center.

Made possible in part by The Harkness Foundation for Dance.

Endowment support for the Lincoln Center Festival 2017 presentation of The Taming of the Shrew isprovided by Blavatnik Family Foundation Fund for Dance.

Public support for Festival 2017 is provided by the New York City Department of Cultural Affairs and New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

The Bolshoi Theatre gratefully acknowledges the support of its General Sponsor, Credit Suisse.

July 26–30 David H. Koch Theater

The Taming of the Shrew

Approximate running time: 1 hours and 55 minutes, with one intermission

Bolshoi BalletBallet Director Makhar Vaziev

Ballet in two acts

Choreography Jean-Christophe Maillot

Music Dmitri Shostakovich

Set Design Ernest Pignon-Ernest

Costume Design Augustin Maillot

Lighting and Video Projection Design Dominique Drillot

New York City Ballet OrchestraConductor Igor Dronov

07-26 Taming Shrew v9.qxp_Gp 3.qxt 7/14/17 2:07 PM Page 1

Wednesday, July 26, 2017, at 7:30 p.m.


Katharina: Ekaterina Krysanova Petruchio: Vladislav Lantratov Bianca: Olga Smirnova Lucentio: Semyon Chudin Hortensio: Igor Tsvirko Gremio: Vyacheslav Lopatin The Widow: Yulia Grebenshchikova Baptista: Artemy Belyakov The Housekeeper: Yanina Parienko Grumio: Georgy Gusev

MAIDSERVANTSAna Turazashvili, Daria Bochkova, Anastasia Gubanova, Victoria Litvinova, Angelina Karpova, Daria Khokhlova

SERVANTSAlexei Matrakhov, Dmitry Dorokhov, Batyr Annadurdyev, Dmitri Zhuk, Maxim Surov, Anton Savichev

There will be one intermission. Casting is subject to change.

LINCOLN CENTER FESTIVAL 2017 THE TAMING OF THE SHREW

07-26 Taming Shrew.qxp_Gp 3.qxt 7/18/17 12:10 PM Page 2

Thursday, July 27, 2017, at 7:30 p.m.


Katharina: Kristina KretovaPetruchio: Denis SavinBianca: Anastasia StashkevichLucentio: Artem OvcharenkoHortensio: Alexander SmoliyaninovGremio: Denis MedvedevThe Widow: Anna BalukovaBaptista: Karim AbdullinThe Housekeeper: Victoria LitvinovaGrumio: Evgeny Truposkiadi

MAIDSERVANTSAnastasia Denisova, Xenia Averina, Yanina Parienko, Daria Bochkova, Diana Kosyreva, Daria Khokhlova, Elvina Ibraimova

SERVANTSBatyr Annadurdyev, Sergei Kuzmin, Vladislav Kozlov, Ivan Alexeyev, Mikhail Kochan, Alexander Vodopetov




Friday, July 28, 2017, at 7:30 p.m.








Saturday, July 29, 2017, at 2:30 p.m.


Katharina: Kristina KretovaPetruchio: Denis SavinBianca: Anastasia StashkevichLucentio: Artem OvcharenkoHortensio: Alexander SmoliyaninovGremio: Denis MedvedevThe Widow: Anna BalukovaBaptista: Karim AbdullinThe Housekeeper: Victoria LitvinovaGrumio: Alexei Matrakhov

MAIDSERVANTSAnastasia Denisova, Xenia Averina, Yanina Parienko, Daria Bochkova, Diana Kosyreva, Daria Khokhlova, Elvina Ibraimova

SERVANTSBatyr Annadurdyev, Sergei Kuzmin, Vladislav Kozlov, Ivan Alexeyev, Mikhail Kochan, Alexander Vodopetov




Saturday, July 29, 2017, at 7:30 p.m.








Sunday, July 30, 2017, at 2:30 p.m.









Synopsis

Act IIn the spacious house of the wealthy Baptista, the servants are mocking the mas-

ters in their absence: they mimic Baptista, the father, who is struggling to marry

his elder daughter—Katharina, a fury—and denying the suitors of the younger

one—Bianca, a goody two-shoes—who are required to wait. Baptista returns unex-

pectedly, putting an abrupt end to the servants’ comedy. Bianca, the object of

everyone’s attention, is as gracious as her sister Katharina is difficult; no one

seems to find grace in her eyes, except perhaps her father.

Attracted by Bianca’s beauty, three suitors show up at Baptista’s house: the libidi-

nous Gremio, the conceited Hortensio, and the charming Lucentio. They parade in

front of Bianca and attempt to get her attention. Quite logically, Bianca prefers the

charming Lucentio. Carried away by her budding feelings, she dances as if in a

dream. However, her father is intent on doing things according to custom.

Daughters are to be married in the right order, starting with the eldest, and he

won’t approve a proposal for Bianca as long as Katharina isn’t wed. Accordingly, he

brings her in and introduces her to the suitors in the hope that one of them will be

interested in her, but she is hardly encouraging.

How can the suitors get rid of her? Hortensio remembers a friend who is unlikely

to be too demanding if the wedding brings a nice dowry, and who would marry

Katharina: Petruchio, as boorish as she is ill-tempered.

When he arrives, challenged to seduce Katharina, he “woos” her and takes every

rebuff as encouragement to continue. They begin a duel where Petruchio pretends

to be impervious to Katharina’s attitude, while she tries to make herself even less

attractive. At one point, however, she slips into a daydream—perhaps love can be

sweet after all? Lost in her thoughts, Katharina briefly lets herself go—and imme-

diately denounces it as a moment of weakness. It’s too late: She has shown her

sensitive side, and there is a glimmer of hope in her. She accepts Petruchio’s pro-

posal, opening the way for the suitors, who are finally allowed to woo Bianca.

First is Gremio, who brings a magnificent necklace as a gift for Bianca, but she isn’t

interested; not even the finest jewelry could make Gremio attractive. The

Housekeeper, who might soon be out of a job, sees an opportunity with Gremio:

She won’t let him escape.



Next is Hortensio. He feels he doesn’t need to bring a gift: He is the gift. ButBianca remains impervious to his self-assurance, and The Widow—a friend of thefamily yearning to be loved again—sets her sights on him.

Last is Lucentio. From an affluent family, he is worthy in Baptista’s eyes, and allboyish charm in Bianca’s. As a token of his love, he presents her with a collectionof poems. If all goes well, this will be the next wedding.

Katharina, however, waits for her fiancé’s arrival, torn between rage, melancholy,and despair. The wedding celebration has started, and Baptista tries to help hercope with Petruchio’s absence. Petruchio’s servant Grumio appears, and it’s clearthat his master has more urgent matters to attend to than his wedding; he willcome when he wants, and has drunk to his heart’s content.

When Petruchio at last shows up, he makes his bride wait yet again, clearly in nohurry to get married. Finally he deigns to address his future wife. As everyonewaits to see what gift he has brought for Katharina, he snatches the necklacemeant for Bianca and puts it around Katharina’s neck, a cruel humiliation forKatharina, who slaps him. The assembly freezes in astonishment. The groomraises his hand to her, and considers slapping her back and leaving on the spot, butchanges his mind. This woman and her temper, he thinks, could have been madefor him. But she will need to learn a few things—first, no one treats him like this.He drags her out like a rag doll as the guests look on, aghast. Still, it’s over anddone with: So they dance.

Intermission

Act IIA strange honeymoon begins that takes the newlyweds through a menacing forestto Petruchio’s home. The exhausted Katharina can barely stand up and begs formercy; she struggles, yearning to stop and rest, but her husband is adamant thathe will leave her in the middle of nowhere if she doesn’t keep up. Katharina, whoknows only the comfort of her father’s home, is so scared that she stands up, butsoon implores him again. Her husband doesn’t yield. Suddenly, the little group(inevitably, the couple is accompanied by Grumio, who has just disappeared) isattacked by bandits, who brutalize Katharina and steal her necklace. Petruchioremains impervious to his wife’s cries for help. He finally intervenes and scares offthe attackers, among whom we see Grumio, who takes off his mask. A servantscheming is hardly surprising, but could his master be an accomplice? Did he stagethe attack to put Katharina further on edge? The answer remains unclear.


They finally make it to Petruchio’s abode, which is far less opulent than Baptista’s.Katharina, alone and exhausted, gives in to despair and ultimately faints. Petruchio,who was watching her, rushes to her side and carries her tenderly to the bed.Marveling at her courage and austere beauty, he lets his affection and desire showas she sleeps. When she regains consciousness, he promptly goes to sit on abench and curiously begins warming himself at an imaginary fire. Intrigued,Katherina gets up and comes closer; when she sees that there is no fireplace, shewonders if her husband is mad. Then she understands that it is a game. She blowson the embers to rekindle the flames. Then she offers imaginary tea to her hus-band. As the game continues, they discover each other. Their public masks comeoff. The war ends. Bewilderment of love.

In the morning, as the sun invades their bedroom, the lovers wake up peacefullyfor the first time in their lives. However, they barely have time to enjoy themoment: Grumio brings an invitation to return to Baptista’s house for Bianca andLucentio’s wedding. Before they leave, Grumio returns the stolen necklace to hismistress. Petruchio acts surprised and lectures his servant. Is it just an act?Katharina grows suspicious and loses her temper again. Petruchio pretends to beoffended, which leads to another confrontation—and reconciliation.

At Baptista’s home, preparations are under way for the wedding of Bianca andLucentio. Hortensio and the Widow and Gremio and the Housekeeper take theopportunity to make their relationships public. Everyone remembers the hasty exitof the Shrew with her husband, hence their utter surprise when Petruchio andKatharina show up elegantly dressed, affable, Petruchio almost friendly, Katharinaseemingly submissive. The party rejoices and concludes they are an excellent influ-ence on each other. They look every inch the well-heeled couple, and as a result,are invited to the tea ceremony.




About the Bolshoi Ballet

Bolshoi Ballet last appeared at LincolnCenter Festival in 2014, dancing Swan Lake,Don Quixote, and Spartacus. One of theworld’s oldest and largest ballet companiesand celebrating its 241st season, theBolshoi is renowned for a style character-ized by virtuosity, stage presence, and com-bining classical tradition with a freshapproach. Known throughout its history forchampioning new work, the Bolshoi wasthe first company to stage Tchaikovsky’sSwan Lake and Minkus’s Don Quixote andcontinues to expand its repertory with newworks that include The Taming of theShrew, Hamlet, and A Hero of Our Time.The hallmark of the company is its dancers,whose range and artistic virtuosity hark backto legends Galina Ulanova, Vladimir Vasiliev,Maya Plisetskaya, and Ekaterina Maximova.Much of the Bolshoi’s legacy can beattributed to Yuri Grigorovich, artistic direc-tor for more than 30 years, who celebratedhis 90th birthday this season. Today’sartists, including Svetlana Zakharova, OlgaSmirnova, Ekaterina Krysanova, VladislavLantratov, Artem Ovcharenko, SemyonChudin, and Denis Rodkin—coached byLyudmila Semenyaka, Marina Kondratieva,Svetlana Adyrkhayeva, Nikolai Fadeyechev,Boris Akimov, Alexander Vetrov, and oth-ers—ensure that the Bolshoi’s standardsremain high. This is the company’s first U.S.appearance since Makhar Vaziev, formerdirector of the Mariinsky Ballet and La ScalaBallet, was appointed ballet director in 2016.

Makhar Vaziev (Ballet Director) graduatedfrom the Agrippina Vaganova Academy inSaint Petersburg (class of Yury Umrikin) in1981. In 1979 he started to dance for theKirov Ballet, where he was officially hiredafter graduation. He was promoted tosoloist in 1986 and to principal dancer in1989. From 1995 to 2008, he was director

of the Kirov Ballet of the Mariinsky Theatrein Saint Petersburg. During that time, therepertory of the company—“the home ofMarius Petipa”—grew to include works bymajor 20th-century choreographers:George Balanchine, Hans van Manen, JohnNeumeier, William Forsythe, KennethMacMillan, Pierre Lacotte, and DavidDawson. During Vaziev’s directorship, bal-lets by Petipa were reconstructed after theoriginals in Stepanov notation, preserved inthe Sergeiev Collection of HarvardUniversity: The Sleeping Beauty (1999), LaBayadère (2002) in Petipa’s 1900 version,and Le Réveil de Flore (2007). Vaziev alsosupported the rising generation of Russianchoreographers: Alexei Ratmansky, AlexeiMiroshnichenko, and Kirill Simonov. From2008 to 2016, he was director of La ScalaBallet in Milan. In 2016 he was appointedBolshoi Ballet director, embracing a set ofartistic standards that aim to reinvigoratethe 20th century’s most influential reper-toire as a “tradition of the new,” revivingthe classics, and providing young choreog-raphers with creative opportunities.

Galina Stepanenko (Managing Director)graduated from Moscow College of Chore -ography (Sophia Golovkina’s graduates’class). She danced with the MoscowClassical Ballet from 1984–88, Stanislavskiand Nemirovich-Danchenko Moscow Balletfrom 1988–90, and in 1990 joined theBolshoi Ballet. She has danced the majorparts of classical repertoire, as well as theleading parts in ballets by Grigorovich,Lavrosky, and Balanchine. Her numerousawards include a gold medal at the 1989Moscow International Ballet Competition,the title of People’s Artist of the RussianFederation, and the 1996 State Prize ofRussia. In 2012 she retired from her per-forming career to become a ballet mistressof the Bolshoi Ballet. In 2013 she wasappointed the Bolshoi Ballet’s managingdirector.



Igor Dronov (Conductor) graduated fromthe Moscow Tchaikovsky Conservatory,where he studied choral conducting withprofessor Boris Tevlin and orchestral con-ducting with professor Dmitry Kitaenko.From 1991 to 1996, he was a conductorwith the Bolshoi Theatre, conducting per-formances of La Traviata, Il Trovatore,Faust, Eugene Onegin, and SergeiRachmaninov’s Aleko and Miserly Knight.He also conducted symphony programswith the Bolshoi Theatre Orchestra. In1992 he was invited to become professorof conducting at the Moscow Conserva -tory, a position he still holds today. He isprincipal conductor of the Studio for NewMusic ensemble, with which he hasrecorded several CDs, and of the MoscowForum Festival, organized by the Centre forContemporary Music (Moscow). He is alsoconductor of the Russian Philharmonia andthe Premiere Youth Ensemble, and hasguest conducted many Russian orchestras,including the Russian National Orchestra.He has also been a guest conductor inAustria, Belgium, the Czech Republic,France, Germany, Italy, the Netherlands,Romania, Switzerland, Spain, Taiwan,Finland, and the United States.

About the Creative Team

Jean-Christophe Maillot (Choreography)has created some 80 works in a 30-yearcareer, 40 of them for the Ballets deMonte-Carlo where he has served aschoreographer-director since his appoint-ment by H.R.H. the Princess of Hanover in1993. Born in 1960, he studied dance andpiano at the Conservatoire National deRégion de Tours, before joining the RosellaHightower International School of Dance inCannes. After winning the Prix deLausanne in 1977, he joined the HamburgBallet, where he danced in principal rolesas a soloist for five years before an acci-

dent ended his dance career. In 1983 hewas appointed choreographer and directorof the Ballet du Grand Théâtre de Tours,which later became a National Centre ofChoreography. He created 20 ballets forthe company. His first work for the Balletsde Monte-Carlo, in 1987, Le MandarinMerveilleux, met with great success.Under his guidance for the past 25 years,the company of 50 dancers has reachednew levels of excellence. Works createdfor the company are currently in the reper-toires of major international companiesincluding Grands Ballets Canadiens, PacificNorthwest Ballet, Royal Swedish Ballet,Stuttgart Ballet, and American BalletTheatre. In 2011 in a major developmentfor dance in Monaco, a single organizationdesignated the Ballets de Monte-Carlo wascreated to incorporate the Ballets deMonte-Carlo Company, the Monaco DanceForum Festival, and the Princess GraceAcademy. He has also staged operas(Faust in 2007 and Norma in 2009) anddirected and choreographed the dancefilms Cinderella (2007) and Le Songe(2008). He is the recipient of numerousawards and commendations includingFrance’s Chevalier de la Légion d’Honneurand Monaco’s Commandeur de l’Ordre duMérite Culturel. In 2015 The Taming of theShrew received Russia’s prestigiousGolden Mask Award.

Ernest Pignon-Ernest (Set Design) regu-larly works with Jean-Christophe Maillotand the Ballets de Monte-Carlo. In 1995 he designed a stage curtain for the Monte-Carlo Opera to commemorate thecompany’s 10th anniversary. For Jean-Christophe Maillot, he designed the stag-ing for Romeo and Juliet in 1996,Cinderella in 1999, La Belle in 2001, LeSonge in 2005, and Daphnis et Chloé in2009. For Parcours Jean Genet (2006), hedeveloped his characters with the assis-


tance of dancers from the Ballets deMonte-Carlo. He also produced a workinspired by the texts of Christian mystics inassociation with Monte-Carlo principaldancer Bernice Coppieters, whom he toldabout his desire to create a project aroundseven mystical women. She wouldbecome his model for a decade. In July2008 he took over the Chapel of SaintCharles d’Avignon (and the Grimaldi Forumthe following year) to exhibit the results oftheir collaboration. The exhibition was thesubject of a book, Extases.

Augustin Maillot (Costume Design) wasbrought up backstage, surrounded by the-ater costumes. At age 16 he crossed pathswith Karl Lagerfeld, who permitted him forseveral summers to attend, in the capacityof assistant, Chanel’s studio de creation.Two years later, he started work atChanel’s sport studio while also enrolling inParis’s Institut Supérieur des ArtsAppliqués, from which he graduated in2011. He then worked as art director at theParis division of the Neville Brody designeragency’s Research Studios network. Fortwo years he devised logos, scenogra-phies, illustrations, and mock-ups for theagency’s prestigious customers, whichincluded Dior, Chloé, Kenzo, Who’s Next,Première Class, and J. M. Weston. At thesame time, as a stylist, he developed hisown brand of clothes and accessories,Géométrick, which combines a sportingstyle with exquisite materials. Since 2015he is stylist for the Studio Chanel.

Dominique Drillot (Lighting and VideoProjection Design) created his first setdesign (Thème et 4 Variations) in 1987 forJean-Christophe Maillot, with whom hehas since collaborated regularly, co-creat-ing the productions of Le Jardin Jeuxd’Amour, Lueur d’Amour, Bêtes Noires,Home Sweet Home, Dov’è la Luna,

Ubuhuha, Vers un Pays Sage, Duod’Anges, Concert d’Anges, Roméo etJuliette, Recto Verso, L’Île, Cendrillon,Casse-Noisette Circus, Opus 40, Entrelacs,Oeil pour Oeil, La Belle, Men’s Dance,D’une Rive à l’Autre, Les Noces,Miniatures, and Le Songe. He was alsolighting designer for Maillot’s Le FilsProdigue, Scheherazade, and Daphnis etChloé. In addition to working with theBallets de Monte-Carlo, he has been astage director and lighting designer for theBallet du Nord, Grand Théâtre deBordeaux, Ballet British Columbia, and bal-let companies in Rome, Lyon, andStuttgart. He has collaborated with chore-ographers Ramon Oller, Bruno Jacquin,Graham Lustig, Conny Janssen, TedBrandsen, Josette Baïz, Serge Bennathan,Itzik Galili, Lucinda Childs, Ed Wubbe,Gianfranco Paoluzzi, Ginette Laurin, KirstenDebrock, and Miriam Dietrich. In 2009,with Matjash Mrozewski and Nicolo Fonte,he designed the sets and lighting for theNuits de la Danse project of the Ballets deMonte-Carlo.

About the Dancers

Ekaterina Krysanova (Principal Dancer)began her professional training at theLavrovsky School of Ballet. After winning agold medal at the 2001 Prix de LuxembourgInternational Ballet Competition, she wasinvited to finish her studies at the BolshoiBallet Academy. In 2003 she joined theBolshoi Ballet where she has danced prin-cipal roles in Swan Lake, La Bayadère, TheSleeping Beauty, Don Quixote, Raymonda,Giselle, La Sylphide, Le Corsaire, Coppélia,Romeo and Juliet, Spartacus, A Legend ofLove, The Nutcracker, The Golden Age,The Flames of Paris, The Bright Stream,Lost Illusions, Onegin, Jewels (Rubies andDiamonds sections), and leading parts inworks by George Balanchine, Léonide



Massine, Twyla Tharp, ChristopherWheeldon, and Nacho Duato. She receiveda silver medal at the 2005 MoscowInternational Ballet Competition, the GoldenMask National Theatre prize of Best FemaleDancer in 2015, and Premio Benois-Massine Mosca-Positano in 2016. She wasawarded the title of People’s Artist of theNorthern Osetia-Alania Republic in 2013.

Kristina Kretova (Leading Soloist)graduated from the Moscow Choreo -graphic Academy in 2002 and joined theKremlin Ballet Theater that year. In 2010she joined the Stanislavsky andNemirovich-Danchenko Moscow MusicTheatre as a principal dancer, and joined theBolshoi Ballet during the 2011–12 season.Since then, her Bolshoi repertoire includesOdette/Odile, Kitri, Giselle, Swanilda,Gamzatti, and Gulnare. She has also dancedMarie in The Nutcracker; The ClassicalBallerina in The Bright Stream and Mireillede Poitiers and Jeanne in The Flames ofParis, both by Alexei Ratmansky; Angelaand Marchesa Sampietri in Marco Spadaand Ramze in La Fille du Pharaon, both byPierre Lacotte; Tatiana and Olga in Onegin;Prudence Duvernoy and Manon Lescaut inJohn Neumeier’s Lady of the Camellias;Vera in A Hero of Our Time; and leadingparts in George Balanchine’s ApollonMusagète and Jewels (Emeralds andRubies sections); and Mats Ek’s Kvartira.

Vladislav Lantratov (Principal Dancer)joined the Bolshoi Ballet in 2006 after com-pleting his studies at the MoscowChoreographic Academy. His Bolshoirepertory includes Albrecht; Solor; Basilio;Jean de Brienne in Raymonda; Conrad inLe Corsaire; The Evil Genius and PrinceSiegfried in Swan Lake; The Flames ofParis (Philippe), The Bright Stream (theBallet Dancer), Lost Illusions (Lucien),Russian Seasons, and Jeu de Cartes (all by

Alexei Ratmansky); the title role in Onegin;George Balanchine’s Serenade and Jewels(Emeralds section); Wayne McGregor’sChroma; and Pechorin in A Hero of OurTime. He was awarded the 2010 TriumphYouth Grant Prize, and in 2014 was namedBest Male Dancer by Danza&Danza maga-zine. In 2015 he was awarded the GoldenMask National Theatre prize for Best MaleDancer, and was voted Best Dancer of theYear by Tanz magazine.

Denis Savin (Leading Soloist) studied atthe Bolshoi Ballet Academy and joined theBolshoi Theatre in 2002. The following sea-son he danced the role of Romeo in Romeoand Juliet by Declan Donnelan and RaduPoklitaru. His Bolshoi repertoire includesthe title role in Hamlet; Jerome in TheFlames of Paris; Birbanto in Le Corsaire;Gringoire in La Esmeralda; Abderakhman inRaymonda; Vizier in A Legend of Love;Drosselmeyer in The Nutcracker; Pyotr inThe Bright Stream; Pepinelli in MarcoSpada; Moor in Petrushka; and Grushnitskyin A Hero of Our Time. In 2012 he wasawarded the Golden Mask National Theatreaward for Best Male Dancer, and in 2015was awarded the title of Merited Artist ofthe Russian Federation.

Olga Smirnova (Principal Dancer) gradu-ated from Vaganova Academy of RussianBallet, Saint Petersburg in 2011, thenjoined the Bolshoi Ballet, where MarinaKondra tieva became her teacher-répétiteur.Her repertory includes principal roles inGiselle, Swan Lake, La Bayadère, TheSleeping Beauty, Don Quixote, Raymonda,The Pharaoh’s Daughter, Ivan the Terrible,Onegin, Lady of the Camellias, Jewels(Emeralds and Diamonds sections), andEtudes; as well as Bela in A Hero of OurTime, Bianca in The Taming of the Shrew,and Marchesa Sampietri in Marco Spada.She was awarded the Benois de la Danse



prize in 2013, Positano Premia la Danza–Léonide Massine in 2014, and Grand Prixof the Dance Open Festival in 2016.

Anastasia Stashkevich (Principal Dancer)graduated in 2003 from the Moscow StateChoreographic Academy and joined theBolshoi Ballet. Her Bolshoi repertoireincludes Giselle, Sylphide, Kitri, Esmeralda,Princess Florine in The Sleeping Beauty;Gulnare in Le Corsaire; Lise in La Fille MalGardée; Marie in The Nutcracker; Shireen inA Legend of Love; Angela in Marco Spada;Olga in Onegin; Coralie in Lost Illusions;Adelina in The Flames of Paris; Zina in TheBright Stream; Ophelia in Hamlet; Mary in AHero of Our Time; Olimpia in Lady of theCamellias; Ballerina in Petrushka; Novice inThe Cage; and leading parts in Jewels(Rubies and Emeralds sections), ApollonMusagète, and Chroma. In 2013 she wasawarded the title of Merited Artist of theRepublic of North Ossetia-Alania.

Semyon Chudin (Principal Dancer) gradu-ated from Novosibirsk ChoreographicCollege in 2003 and danced with theUniversal Ballet Company in Seoul, Korea,until 2007. For two years he was with theZurich Ballet, then from 2008–11 he waswith the Stanislavsky Ballet, and in 2011 hejoined the Bolshoi Ballet. His Bolshoi reper-toire includes principal roles in Swan Lake,La Bayadère, The Sleeping Beauty, DonQuixote, Raymonda, Giselle, La Sylphide,The Nutcracker, The Pharaoh’s Daughter,Jewels (Diamonds section), ApollonMusagète, and Etudes; as well as Lenskyin Onegin, Des Grieux in Lady of theCamellias, Pyotr in The Bright Stream, andPrince Frederici in Marco Spada. In 2016 hedanced the role of the Prince in La Bellewith the Ballets de Monte Carlo. He wasawarded the Benois de la Danse prize in2011 and Grand Prix of the Dance OpenFestival in 2016.

Artem Ovcharenko (Principal Dancer) firststudied dance at Dnepropetrovsk BalletSchool, then entered the Bolshoi BalletAcademy. In 2007 he joined the BolshoiBallet, where his repertoire includes princi-pal roles in Swan Lake, The SleepingBeauty, Don Quixote, Raymonda, Giselle,La Syl phide, La Esmeralda, Coppélia, TheNut cracker, Romeo and Juliet, Lady of theCamellias, The Pharaoh’s Daughter, MarcoSpada, Hamlet, A Hero of Our Time,Symphony in C, Jewels (Diamonds andRubies sections), Apollon Musagète, andEtudes; as well as Prince Kurbsky in Ivanthe Terrible, Lensky in Onegin, AntoineMistral in The Flames of Paris, and BalletDancer in Lost Illusions. In 2011 heappeared as Phoebus in La Esmeralda withthe Berlin State Ballet, and in 2015 hedanced the role of Armand in Lady of theCamellias with Bavarian State Ballet.

Bolshoi Ballet History

The first permanent theater company inMoscow was established in 1776 by PrincePeter Urussov, a public prosecutor inCatherine II’s imperial government, andEnglishman Michael Maddox. In 1780Prince Urussov built a theater on PetrovkaStreet where the company performeddrama, opera, and ballet. The buildingburned to the ground in 1805 and perfor-mances were staged at venues through-out the city until January 1825, when the classical-style Petrovsky Theatre opened.Designed by Ossip Bovet and AndreiMikhailov, the building was fronted byeight Doric columns, its portico sur-mounted by a bronze Apollo driving hisfour-horse chariot. The drama companymoved to the newly opened Maly Theatrewhile the Bolshoi Petrovsky Theatredevoted itself to the production of operaand ballet. At that time, the ballet com-prised only 47 dancers. In 1853 fire again



destroyed the interior of the theater, whichwas restored by the Venetian architectAlberto Cavos (son of composer CaterinoCavos and grandfather of renowneddesigner and painter Alexander Benois)and reopened its doors in 1856. Today theBolshoi is considered the principal nationaltheater of the Russian Federation, andemploys nearly 3,000 people, including itsfamed opera company and a ballet com-prising more than 200 dancers.

EARLY CHOREOGRAPHERSThe first ballets produced were by thegreat French and Italian ballet mastersFilippo Beccari, the Morelli brothers, andJean Lamirat. Soon Russian choreogra-phers concentrated on ballets with Russianthemes. From 1820 to 1830 the companyexpanded to 150 dancers, developing inthe French tradition under the influence ofFélicité-Virginie Hullin-Sor and Fanny Elssler,who familiarized the Moscow public withthe ballets of Jules Perrot. During the1840s the opera company staged the firstproductions of Glinka’s Ivan Susanin andRuslan and Ludmila, which marked thefoundation of a truly national school ofopera in Russia. Of equal importance to thehistory of both ballet and opera was thelegacy of Pyotr Ilyich Tchaikovsky, many ofwhose works received their first perfor-mance at the theater, including the operasEugene Onegin and The Queen of Spadesand the ballet Swan Lake.

After the creation of Saint Petersburg’sMariinsky Theatre in 1860, there was aperiod of rivalry between the two compa-nies, with a contrast apparent between thedance styles favored by audiences inMoscow and Saint Petersburg. This wasexemplified by Petipa’s ballet DonQuixote, which premiered in Moscow onDecember 26, 1869, in a boldly conceived,colorful production which, when restaged

in Saint Petersburg, was transformed into amore classically conceived work.Alexander Gorsky, Petipa’s assistant andpupil, was appointed to the Bolshoi Theatrein 1900, and until his death in 1924 herevised stagings of the basic repertoire,making them more dramatic and realistic.Adhering to the naturalist principles ofdirector Konstantin Stanislavsky, Gorskycreated original ballets that included Notre-Dame de Paris in 1902, based on VictorHugo’s novel, and Salammbo in 1910, afterthe novel by Gustave Flaubert. Gorskyreturned Petipa’s Don Quixote to the reper-toire in 1900, La Fille Mal Gardée in 1903,Swan Lake and Giselle in 1911, Le Corsairein 1912, and La Bayadère in 1917.

SOVIET ERAFollowing the 1917 October Revolution,Moscow became the capital of the SovietUnion and debate raged about the functionof the arts in a Socialist society. Left-wingcritics demanded the removal from therepertoire of works by bourgeois com-posers such as Tchaikovsky and Rimsky-Korsakov in a mission to educate the publicwith new ideas. However, more moderatevoices prevailed, and during the earlySoviet period, traditional 19th-centuryoperas and ballets were performed along-side contemporary works. Gorsky was suc-ceeded in 1924 by Vassily Tikhomirov asdirector of ballet, who was instrumental indeveloping the Bolshoi style during thenext several decades.

WAR YEARS AND FIRST VISIT OUTSIDE RUSSIAWith the invasion of Russia by Germany in1941, the Bolshoi Ballet and Opera wereevacuated to Kuibyshev on the Volga untilAugust 1943. The ballet’s director LeonidLavrovsky was given the task of re-estab-lishing the company during the postwaryears of deprivation and reconstruction. In



1945 Prokofiev’s Cinderella received itsfirst performance with Olga Lepeshinskayain the title role, and nine years later his TheStone Flower was given its world pre-miere. One of Lavrovsky’s most significantachievements was to oversee the BolshoiBallet’s first appearance in the West in1956 at London’s Covent Garden, followeda year later by a tour to New York City.

POST-WAR CHOREOGRAPHERS, DANCERS, AND ORCHESTRALavrovsky continued as ballet director until1964, when he was succeeded as chiefchoreographer and artistic director by YuriGrigorovich, whose years at the Bolshoiwere characterized by a series of large-scale, spectacular productions. He trans-ferred to the Bolshoi productions he firstpresented in Saint Petersburg such as TheStone Flower and The Legend of Love; cre-ated masterpieces including Spartacus(1968) and Ivan the Terrible (1975); andstaged new versions of Swan Lake, LaBayadère, Raymonda, and Giselle. MayaPlisetskaya, Natalia Bessmertnova, MikhailLavrovsky, Ekaterina Maximova, Vladimir

Vasiliev, Nina Timofeyeva, and Maris Liepawere among the great principal dancers inhis company. Many of his productionsremain in the company’s repertoire today.

THE BOLSHOI TODAYToday’s Bolshoi Ballet combines pride in itsartistic heritage with awareness that itmust grow and develop to prosper in arapidly changing world. The Bolshoi pre-sents to its public chefs d’oeuvre ofRussian and western 19th- and 20th-century music theater as specially commis-sioned works. Today’s Bolshoi artists,Svetlana Zakharova, Ekaterina Krysanova,Olga Smirnova, Vladislav Lantratov, ArtemOvcharenko, Seymon Chudin, DenisRodkin, and others ensure that theBolshoi’s standards are held as high asever. The company last performed in NewYork in 2014 as part of Lincoln CenterFestival, dancing Swan Lake, Don Quixote,and Spartacus. This will be the company’sfirst U.S. appearance since Makhar Vaziev,former director of the Mariinsky and LaScala Ballet, was appointed ballet directorin 2016.



PRINCIPALSSemyon ChudinEkaterina KrysanovaVladislav LantratovVyacheslav LopatinArtem OvcharenkoOlga SmirnovaAnastasia Stashkevich

LEADING SOLOISTSArtemy BelyakovKristina KretovaDenis SavinIgor Tsvirko

FIRST SOLOISTSDaria KhokhlovaAlexander Vodopetov

SOLOISTSKarim AbdullinYulia GrebenshchikovaAngelina KarpovaDenis MedvedevYanina ParienkoAnton SavichevAlexander SmoliyaninovAna Turazashvili

CORPS DE BALLETIvan AlexeyevBatyr AnnadurdyevXenia AverinaAnna Balukova

Daria BochkovaAnastasia DenisovaDmitry DorokhovAnastasia GubanovaGeorgy GusevElvina IbraimovaMikhail KochanDiana KosyrevaVladislav KozlovSergei Kuzmin Victoria LitvinovaAlexei MatrakhovMaxim SurovEvgeny TruposkiadiDmitri Zhuk

Bolshoi Ballet


Members of Bolshoi Ballet listed above are participating in the 2017 Lincoln Center Festival performances of The Taming of the Shrew.



General Director of the Bolshoi Theatre Vladimir UrinMusic Director and Chief Conductor Tugan SokhievBallet Director Makhar VazievFirst Deputy Director and Tour Leader Dmitry KiyanenkoManaging Director of the Bolshoi Ballet Galina StepanenkoPublic Relations Katerina NovikovaTour Manager Ekaterina ValievaConductor Igor Dronov Ballet Administration Anna BaranovaCoaches Victor Barykin, Olga Chenchikova, Yan GodovskiyPianists Aleksandr Ivanov, Oleg KirsanovDoctor Vladimir MorozovMasseur Nadia DukhankinaStage Manager Irina ZibrovaTechnical Director Sergey TimoninDeputy Technical Director Anastasia PilnikovaStagehands Zurab Babuadze, Alexander Efimov, Konstantin Fedoseev, Evgeny Kautov, Alexander Kharitonov, Dmitry Polovinkin, Nikolay Polynkov

Props (Deputy Head) Dmitry GorbasLighting Designer Anton StikhinLighting Technicians Alexander Kozlov, Yulia Andreeva, Sergey MakarovSpecial Effects Sergey Sargin, Alexey GusevWardrobe (Deputy Head) Daniil AldoshinFemale Wardrobe Vera Maslikova, Ekaterina ShulayaMale Wardrobe Ekaterina Firsova, Ekaterina MoskovskayaMakeup Natalia Piyanova, Elena Strebkova, Irina Tarfeeva, Rimma Voropaeva

The Bolshoi Theatre is represented by IMG Artists: imgartists.com.

General Sponsor of the Bolshoi TheatreCredit Suisse

Official Sponsor of the Bolshoi BalletNestlé

The Taming of the Shrew StaffAssistant to Choreographer Bernice CoppietersAssistant to Costume Designer Jean-Michel LaînéAssistant Stefani MatthieuDramatist Jean Rouaud Répétiteurs Yan Godovsky, Victor Barykin, Josu Zabala

Bolshoi Theatre Staff



FIRST VIOLINSArturo Delmoni

ConcertmasterNicolas DanielsonPaul PeabodyYevgenia StrengerBin LuAndrew SchawNelly KimWei Yi WangCyrus BeroukhimDerek Ratzenboeck

SECOND VIOLINSLydia Hong

PrincipalConway KuoYeojin ChoJi Ye LeeHelen StrilecNancy McAlhanyLaura Oatts Karen Karlsrud

VIOLASJoana Miranda

PrincipalAlexis SykesKathleen Ciechomski Juliet HaffnerLaurance Fader

CELLOSFrederick Zlotkin

PrincipalEugene MoyePeter SandersHannah HolmanJoseph LeeAlessandro Benetello

DOUBLE BASSESRon Wasserman

PrincipalMarji DanilowWan Hao XuGrey Fulmer

FLUTESPaul Dunkel

PrincipalLaura ConwesserRie Schmidt

OBOESRandall Wolfgang

PrincipalAlexandra KnollYouson Chung

CLARINETSSteven Hartman,

PrincipalGerhardt KochBrian Hysong

Bass Clarinet

BASSOONSHarrison Hollingsworth

PrincipalEthan Silverman

ContrabassoonHarry Searing

FRENCH HORNSStewart Rose

PrincipalMichael MartinRichard HagenH. Robert Carlisle

TRUMPETSRaymond Mase

PrincipalLowell HersheyThomas Hoyt

TROMBONESBrian Santero

PrincipalKeith GreenNicholas Schwartz

Bass Trombone

TUBADan Peck

HARPSara Cutler

PrincipalMegan Conley

CELESTEElaine Chelton

TIMPANIPablo Rieppi

PERCUSSIONJames Saporito

PrincipalSamuel BudishErik Charlston

ORCHESTRA MANAGERDavid Titcomb

MUSIC LIBRARIANRussel Allyn

PERFORMANCE LIBRARIANMichael Martin

New York City Ballet OrchestraMusic Director Andrew Litton

Associate Music Director Andrews SillResident Conductors Daniel Capps, Clotilde Otranto



Lincoln Center Festival, now in its 22ndseason, has received worldwide attentionfor presenting some of the broadest andmost original performing arts programs inLincoln Center’s history. The festival haspresented 1,465 performances of opera,music, dance, theater, and interdisciplinaryforms by internationally acclaimed artistsfrom more than 50 countries. To date, thefestival has commissioned 44 new worksand offered 145 world, U.S., and New Yorkpremieres. It places particular emphasis onshowcasing contemporary artistic view-points and multidisciplinary works thatchallenge the boundaries of traditional per-formance. For more information, visitLincolnCenterFestival.org.

Lincoln Center for the Performing Arts(LCPA) serves three primary roles: presen-ter of artistic programming, national leaderin arts and education and communityengagement, and manager of the LincolnCenter campus. A presenter of more than3,000 free and ticketed events, perfor-mances, tours, and educational activitiesannually, LCPA offers 16 series, festivals,and programs, including AmericanSongbook, Avery Fisher Career Grants andArtist program, David Rubenstein Atriumprogramming, Great Performers, LincolnCenter at the Movies, Lincoln CenterEmerging Artist Awards, Lincoln CenterFestival, Lincoln Center Out of Doors,Lincoln Center Vera List Art Project,Midsummer Night Swing, Mostly Mozart

Festival, White Light Festival, the EmmyAward–winning Live From Lincoln Center,which airs nationally on PBS, and LincolnCenter Education, which is celebrating 40years enriching the lives of students, edu-cators, and lifelong learners. As manager ofthe Lincoln Center campus, LCPA providessupport and services for the Lincoln Centercomplex and the 11 resident organizations:The Chamber Music Society of LincolnCenter, Film Society of Lincoln Center, Jazzat Lincoln Center, The Juilliard School,Lincoln Center Theater, The MetropolitanOpera, New York City Ballet, New YorkPhilharmonic, New York Public Library forthe Performing Arts, School of AmericanBallet, and Lincoln Center for thePerforming Arts. Lincoln Center hasbecome a leading force in using new mediaand technology to reach and inspire a widerand global audience. Reaching audienceswhere they are—physically and digitally—has become a cornerstone of making theperforming arts more accessible to NewYorkers and beyond. The re-imagination ofDavid Geffen Hall will play an important partin these efforts. For more information, visitLincolnCenter.org.

Acknowledgments Lighting, Sound, Video Equipment Production Resource Group

Translators Fay Greenbaum, Kat Khellblau

Dance Flooring courtesy of American Ballet Theatre


LINCOLN CENTER FOR THE PERFORMING ARTS, INC.

Board of Directors

Ronnie AckmanRobert AppelJoseph Y. BaeChristina BakerKeith T. BanksRenée BelferFrank A.

Bennack, Jr.Richard S. BraddockJeffrey C. CampbellJudith-Ann CorrenteDaniel CrownJames G. DinanBeth DozoretzHarold Ford, Jr.William E. FordBart FriedmanDavid GeffenBennett J.

GoodmanEfraim GrinbergMimi HaasRonald G.

HarringtonWilliam B.

Harrison, Jr.

Gerald L. HassellRita E. HauserJim HerbertDavid A. HuntElliot S. JaffeSteven A. KandarianSheryl Drangel

KayeSomesh KhannaDavid H. KochShelly LazarusThomas H. LeeBetty LevinRobert I. LippBryan LourdPeter W. MayWilliam R. MillerEric MindichWilliam C. MorrisAnna NikolayevskyIndra NooyiDaniel S. OchJames P.

O’ShaughnessyJoseph R. PerellaIngeborg Rennert

Julian RobertsonJim RosenthalStephen M. RossDavid M. RubensteinOscar S. SchaferRalph SchlossteinThomas

SchumacherRobert K. SteelGayfryd SteinbergSteven R. SwartzYasushi TakahashiTony TamerChandrika K.

TandonAnn TenenbaumJohn A. ThainAlair A. TownsendBarbara VogelsteinJohn E. WaldronChristopher J.

WilliamsJohn WrenClara Wu TsaiRandi Zuckerberg

Katherine Farley, Chairman Adrienne Arsht, Vice Chair Richard K. DeScherer, Vice Chair Joel S. Ehrenkranz, Vice ChairRoy Furman, Vice Chair

John B. Hess, Vice Chair Bruce Kovner, Vice Chair Philip L. Milstein, Vice Chair Laurie M. Tisch, Vice Chair Ann Ziff, Vice Chair Blair Effron, Treasurer

John D. Rockefeller 3rd (1906–1978) Honorary ChairmanAmyas Ames (1906–2000)

Frank A. Bennack, Jr. Chairman Emeritus Bruce Crawford Chairman Emeritus

Martin E. Segal (1916–2012)Beverly Sills (1929–2007)

George Weissman (1919–2009)

Mrs. James A. BlockDiane M. CoffeyDavid A. CoulterBruce CrawfordPeter FrelinghuysenHarvey GolubAudrey Butvay

Gruss

Paul B. GuentherRuth W. HoughtonPeter S. KrausJune Noble LarkinMartin J.

OppenheimerThomas A. Renyi

Mrs. Frederick P. Rose

Susan RudinWalter V. ShipleyHoward SolomonDaisy M. SorosHon. Carl SpielvogelStephen Stamas

Ex OfficioHonorable Bill de Blasio, Mayor of the City of New York

Barry H. Berke, Esq., Mayor’s DesigneeHon. Melissa Mark-Viverito, Speaker of the New York City Council

Frank Carucci, Speaker’s Designee, New York City Council Honorable Thomas Finkelpearl, Commissioner, Department

of Cultural AffairsHonorable Mitchell J. Silver, Commissioner, Department of

Parks and Recreation

Directors Emeriti CouncilHon. William H. Donaldson, Co-Chair

Peter L. Malkin, Co-Chair

Ann Unterberg, Chair, Education

Presidents EmeritiWilliam Schuman (1910–1992)

Nathan LeventhalReynold Levy

AdministrationDebora L. Spar, President

Liza Parker, Chief Operating OfficerRobert Cundall, Executive Vice President, Chief Financial Officer

Russell Granet, Executive Vice President, Lincoln Center Education, Community Engagement, and International

Tamar C. Podell, Executive Vice President, Planning & DevelopmentLesley Friedman Rosenthal, Executive Vice President,

General Counsel & SecretaryPeter Duffin, Senior Vice President, Brand & Marketing

Jane Moss, Ehrenkranz Artistic DirectorNigel Redden, Director, Lincoln Center Festival

Peter Flamm, Vice President, Concert Halls & OperationsElaine Ruiz, Vice President, Controller

Vin Cipolla, Executive Director, David Geffen Hall Campaign

Lincoln Center Development ProjectRon Austin, Executive Director

Lincoln Center CouncilKatherine E. Brown, New York City Ballet

Jacqueline Z. Davis, The New York Public Library for thePerforming Arts

Peter Gelb, Metropolitan OperaAndré Bishop, Lincoln Center Theater

Suzanne Davidson, The Chamber Music Society of Lincoln CenterLesli Klainberg, The Film Society of Lincoln Center

Debora L. Spar, Lincoln CenterBill Thomas, New York PhilharmonicJoseph W. Polisi, The Juilliard SchoolGreg Scholl, Jazz at Lincoln Center

Alair Townsend, City Center of Music and DramaMarjorie VanDercook, School of American Ballet

ABOUT THE DAVID H. KOCH THEATER

Designed by the renowned architect Philip Johnson especially for George Balanchine and the New York City Ballet, the David H. Koch Theater is widely regarded as one of the world’s greatest venues for dance. Originally named the New York State Theater, the venue opened in 1964, and was the second major theater to open at Lincoln Center.

Operated by New York City Ballet, in recent years the David H. Koch Theater has become one of this country’s premier destinations for dance performances, featuring engagements by an international roster of some of the world’s most acclaimed dance companies.

In 2008 a transformative $100 million commitment from philanthropist David H. Koch enabled major renovations to the theater, and the venue was renamed the David H. Koch Theater in his honor. The David H. Koch Theater is owned by the City of New York, which has also given funds for its refurbishment and which provides an operating subsidy through the Department of Cultural Affairs.

DAVID H. KOCH THEATER Theater Management

Katherine E. Brown, Executive DirectorDavid P. Thiele, Managing Director

Director of Operations ..................................................... Joseph Padua Technical Director ........................................................Meghan VonVettEvent Operations Manager .................................... Peter Damien LozaFront of House Coordinator .........................................Caroline Conoly Front of House Assistants ........................Erik Allen, Emma StephensTreasurer ..............................................................................Todd TangoAssistant Treasurer ......................................................... William HolzeMaster Carpenter ..............................................................Frank LavaiaMaster of Properties .......................................................Ben DancygerHead Porter ..........................................................................Jose NunezPerformance Porter ................................................... Darwin GonzalezChief Engineer ................................................................Michael BassoSecurity Supervisor................................................... Clement MitchamMail Room Supervisor ........................................................Aracely Diaz

Telephone Sales & Customer ServiceDirector .................................................................................Nadia StoneAssistant Manager .......................................................Kayvon PourazarAssistant to the Director ............................................... Shirley Koehler


New This Summer: Shop Lincoln CenterA pop-up on the plaza

T his summer, stop by our seasonal pop-up shop and

bring a piece of Lincoln Center home with you. Choose from a selection of items, including tees, hats, water bottles, mugs, keychains, umbrellas, and even batons!

Each item features graphics by Small Stuff design studio, which used Lincoln Center’s own identity and passion for centuries worth of artistic excellence as inspiration. Our

“architectural wordmark” mug turns

Lincoln Center’s iconic halls, plazas, and dancing fountain into a unique alphabet that will bring a smile to your face each morning. You’ll feel like a VIP every time you come home with a Stage Door keychain. And a Lincoln Center-themed onesie is sure to delight the new parents in your life.

Shop Lincoln Center will be open throughout the summer, roving between Damrosch Park and the Lincoln Center plaza. Look for it next time you visit.

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Documents

Makhar Vaziev The Taming of the Shrew - Lincoln Centerimages.lincolncenter.org/image/upload/v1500660673/fiuff1immyeefsmgv0rb.pdfboyish charm in Bianca’s. As a token of his love,