Customer Reviews

Valery Gergiev and the Kirov: A Story of Survival

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This summer, Valery Gergiev, chief conductor, director, and self-proclaimed "family" head of the Mariinsky theatre (known from about 1930-1992 as the Kirov) took a beating from London critics. Gergiev has of course earned accolades world round with his own orchestra and opera company, and with several others he conducts. Since he was first elected Kirov chief conductor in 1988, then appointed by President Yeltsin to the Whatever-He-Is-Now post in 1996, he has unarguably been the catalyst for changes that saved not only the Mariinsky, but perhaps the Russian classical music scene as a whole. Now,however, Gergiev has encountered not only flak from the press, but from the music field itself. For example, for a venue, he has had to play second fiddle to, of all companies, the Bolshoi, which looked to have been way back in second place all these years. Covent Garden has always been his for the taking, but when Gergiev stubbornly insisted on an all Shostakovich program, CG's management, ever in-tune with public taste, politely told him he could take his business elsewhere. They then brought in the Bolshoi's Swan Lake and other tried and true favorites.

I don't think John Ardoin would be surprised at this. And of course I, along with Ardoin's hypothetical ghost, can expect it to blow over with the next Gergiev triumph, just as we can see how he might get himself in such a spot. And therein lies one of the strengths of this book: it eventually paints a relatively balanced picture of a man who tends to get either demonized or adored by whomever discusses him.

John Ardoin wrote this book ten years ago, spending an entire year in St. Petersburg. He was there at Gergiev's request, to write not only about the Mariinsky, its history, and its day-to-day workings, but about the charismatic, non-stop conductor as well. And in the first pages the reader may squirm, fearing a Gergiev Love-Fest as Ardoin compares him to Peter the Great. Thankfully, the author does not shy away from painting a somewhat tarnished, and on one occasion, even bullying picture of the famous conductor, alongside the chronology of his demonstrable achievements and devotion to those he works with at the 146 year old theatre. He quotes Gergiev as finding criticism helpful, ("It [makes] me work harder,") but also wonders aloud if Gergiev is on the take when a wealthy friend (not a musician) who has donated to the Mariinsky is allowed to conduct during a concert. In short, Mr. Gergiev comes across as a great man, in the sense that he excels because he works hard. But we learn his fatal flaws have cost him some of the diamonds at which he's grasped; as well as a few friends.

On the Mariinsky, itself, this book also fascinates. Of course the Mariinsky was where Pavlova, Nureyev and Barishnikov danced as neophytes. Here many of Tchaikovsky's works debuted, as did Prokofiev's and Rimsky-Korsakoff's. Ardoin's research allows us to explore some of the drama that went on behind the scenes, even before the symphonies and operas hit the stage. Choreographer Marius Petipa, impressario Sergei Diaghilev (to whom Gergiev, with his eye for new talent, is often compared), and dancers Vaslav Nijinski and Mathilde Kshessinskaya come to life. The pictures of composers, conductors, singers and dancers from days gone by are precious; I particularly like those of the young Baryshnikov.

My one complaint about the book is that the history of the Mariinsky is separated into different chapters than those on Gergiev himself. A book threading Mariinsky history throughout the current and biographical parts might be less jarring; although I can appreciate it would have been more difficult to write. Mr. Ardoin sadly passed away shortly after this was written, and may have planned a more consolidated volume.

Regardless, I found this book very helpful in getting to know Gergiev (whom I do adore unconditionally...but appreciate that in real life he has made a mistake or two!) and in getting to know a very important part of the culture of St. Petersburg and Russia.

A smart, well-written, middlingly edited book on Valery Gergiev and the Mariinsky Theatre. A welcomed and useful historical perspective of the Mariinsky, and the theatre tradition of Petersburg in general, comes on strong the first third of the book. The book is surprisingly substantive given the quasi-coffeetable book guise. Interesting to read what's there on Gergiev, one of a handful of great living musicians, but nothing compares to experiencing his art live. I've been fortunate to hear him conduct around the world, each musical occasion nothing less than transfixing. He is as great an opera conductor as we have, fearlessly and justly serving as prophet to the West concerning Prokofiev's operas - experience Gergiev's War and Peace in the opera house and you'll know the ground he stands. Brilliant guy, always visionary, and always musically worth pursuing. Likewise this book, a valuable contribution blissfully abstemious with fluff photos. Another reviewer's note re the layout of the book is an estimable criticism, but some people will never see the forest. Overall, this is a book well worth your time and money.