By: C. William Hanson Jr.

In our September 1st issue one month ago, we reported that the Grand Ballet Kyiv, touring in the USA this season, has encountered hostile criticism for including in its repertory ballets composed by Pyotr Ilyich Tchaikovsky, a nineteenth century Russian. We might  sympathetically understand the impulse among some Ukrainians currently to distance themselves from Russian art, on the grounds that Putin and his cronies have denied the existence of distinctive Ukrainian culture. Yet a wave of cancel culture regarding Russian masterworks and artists has swept across Europe and into North America.  

In Katowice, Poland, American Lawrence Foster was banned from conducting Tchaikovsky’s Third Symphony, and the Prague State Opera canceled Tchaikovsky’s fairy-tale opera “The Little Slipper.” The rector of the University of Milan-Bicocca even forbade the lecture of a Dostoevsky expert to avoid “polemics” and only withdrew this order under public pressure.   

In the USA the most notorious instance of such cancel culture involved a Russian soprano, the somewhat nationalistic Anna Netrebko. Anthony Tommasini of The New York Times once remarked that “in the world of opera, few can exhibit the same level of artistry, charisma, and vocal prowess as Netrebko does.” 

 

Netrebko performing “O Mio Babbino Caro” (For an English translation, click the title of the song).

The sequence of events between Anna Netrebko and the Metropolitan Opera began in early 2022 when the opera singer faced backlash for her public support of the Russian government. Initially, the Met stood by Netrebko, reaffirming the commitment to her artistry despite the rising political tensions. However, as public pressure grew, the Met announced her removal from upcoming productions in late March 2022 and declined to honor her existing contract. The Met’s decisions drew rapid denouncements from some other leading opera companies both in the USA and in Europe. 

Francesca Zambello, Artistic Director of the Washington National Opera, pointed out the potential harm of sidelining artists based solely on their political affiliations and emphasized that restricting access to talented individuals raises questions about freedom in the arts. The Los Angeles Opera maintained its programming featuring Netrebko, emphasizing artistic expression and diversity in casting. In Europe several of the most highly rated opera houses initially shared with the Met an unwillingness to program Netrebko, however a number of these houses have resumed hiring her.  She has recently been scheduled to perform at the Royal Opera House in London, the Bayerische Staatsoper in Munich, and the Wiener Staatsoper in Vienna.

With regard to other Russian performing artists, I have enjoyed a friendship with several Russian ballet dancers who a decade or more ago received fellowships from the WISE Foundation, which I headed.  WISE had already provided fellowships to a number of European music students, including three from Ukraine (one of these, Artem Belogurov, provided some links to his performances in our November 1, 2024, issue, which also briefly contained his story). As fans of the Boston Ballet, we discussed with their leadership ways in which we might be helpful, and they encouraged us to develop an exchange program with the Vaganova Ballet Academy in Saint Petersburg, Russia, a dance academy said to be the best in the world. Our outreach to the academy’s leadership is a story in itself, bringing to mind the 1931 song by Jerome Kern and Otto Harbach, for which the opening words were, “She didn’t say yes, she didn’t say no.” Actually, in response to our repeated emails the academy’s leadership made no reply whatsoever. Unsure as to whether they had read or even received our emails, in 2009 we simply decided to go to the academy in person, accompanied by our friend, the economist Evgeny Ryzhenko, to serve as a translator. The response which the administration expressed upon our arrival was not, “We are sorry but we are too busy,” a civilized brushoff. No, they expressed a boorish outrage. We felt, however, that the ballet students might feel differently and might consider our program to be a valuable opportunity. Therefore we hung around on the sidewalk outside the school building. Pretty soon a ballet student emerged.  We introduced ourselves, and he told us that he is Misha Egrafov.

We happened to have a couple of tickets with us for a ballet performance on the following evening, and he gratefully accepted these, while agreeing to bring a schoolmate. After the performance we all went to dinner together and planned the launch of the WISE program in dance.

The schoolmate he brought with him is Irina Tolchischkova,  now living in Ontario as Irina Lerman. With the help of WISE, she first came to the USA in 2010, and immediately upon arrival connected with a slightly older schoolmate who had been with the Boston Ballet for a couple of years.

After her stay with us in Massachusetts, Irina returned to the Vaganova Academy, and completed a master’s degree program.  Immediately after graduating, she joined the corps of the renowned Mariinsky Ballet. Rising quickly through the ranks, she garnered attention for her performances in both classical and contemporary ballets. Known for her versatility, she has danced leading roles in classical works such as Swan Lake, Giselle, and The Nutcracker, showcasing her ability to embody both technical precision and emotional depth. At the same time she also embraced modern choreography, participating in contemporary ballet productions that demonstrate her range as a dancer. Awards and Recognition: Critics have often praised her for her “poise, fluidity, and ability to connect with the audience,” marking her as a captivating presence on stage.  Outside of her dancing career, Irina is known for her commitment to dance education and frequently conducts masterclasses for aspiring ballet dancers. She emphasizes the importance of technique and artistry, and aims to nurture the next generation of performers.  In short, Irina has become an influential figure in the ballet world, inspiring many through her dedication and accomplishment.

In welcoming artists like Anna Netrebko, Artem Belogurov, and Irina Tolchischkova to North America, regardless of their nationality, everyone gains.  We believe that personnel decisions of opera companies, dance companies, and other artistic organizations should be based on artistic merit without attention to an artist’s nationality or political persuasions. To make political demands on artists pleases totalitarian dictators, but such requirements benefit neither freedom nor art. The rise of cancel culture can create climates of fear and self-censorship, leading to homogenized artistic expression that lacks the depth and complexity. Artists thrive in environments that encourage varied perspectives and risk-taking. When organizations prioritize conformity over creativity, the rich tapestry of cultural expression suffers. Next month we shall explore these issues further.

Reader Comment:

Hi Charlie —

Seeing your postings… with interest and appreciation for what you’re doing… including your connections with Ukraine..

Are you perhaps aware of a documentary film that’s on a cross-country tour of screenings?  Possible interest for you.

“Match in a Haystack”  https://www.imdb.com/title/tt35638436/

Story about Ukrainian dancers’ creative response in wartime.

I learned about it after the first screening in NYC; it’s now in LA and on the Pacific Coast… coming to my SF in 5 days.

It’s filmed by my grand-nephew, a young ambitious award-winning film-maker, Joe Hill.  His mother, my niece, grew up in Glencoe.

The link above gives an overview… this is an update sent to a listserv, with a couple good links, especially the descriptive story in the Denver Gazette.

Sending you good wishes,

Herb

Alameda, CA