press release

costume exhibition from december 12, 2009 to may 16, 2010

PRESS RELATIONS: HEYMANN, RENOULT ASSOCIÉES Tel. 00 33 (0)1 44 61 76 76 Fax 00 33 (0)1 44 61 74 40 [email protected] www.heymann-renoult.com (downloadable documents and images) CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

CONTENTS

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The exhibition “Russian operas, at the dawn of the Ballets Russes”. 3 About Diaghilev (1872-1929). 5 The costumes in the exhibition. 6 The works and the costume designers. 8 Some chronological guidelines. 12 The curators and scenographer of the exhibition. 13 The exhibition catalogue. 13 The partners of the exhibition. 13 Related activities. 14 The Centre national du costume de scène et de la scénographie. 15 Presentation of the CNCS by Delphine Pinasa, Delegate Director. 16 Visiting the CNCS. 18 Graphics available for the press. 19 FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 3

EXHIBITION AT THE CNCS, DECEMBER 12, 2009 - MAY 16, 2010. “RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES. 1901 - 1913. ”

On the occasion of the centenary of the Ballets Russes (1909-1929), Siberia, opera by Giordano was created in 1911 at the Palais Gar- the CNCS has chosen to participate in the commemorations with the nier, with costumes from the by Golovin, using the presentation of an exhibition of costumes for operas by Russian com- archaeological expertise of V. Sizov, for the 1901 creation of Ivan the posers, mounted by Diaghilev or by Parisian theatres during the first Terrible by Rimsky-Korsakov in Moscow. quarter of the 20th century. In 1913, the year of Le Sacre du Printemps (The Rite of Spring), At the same time, in (BNF, Bibliothèque - Musée de l’Opéra), Diaghilev came back to opera, this time with a new production of Monte Carlo (Nouveau Musée National de Monaco), Stockholm and Kovantchina, another historic Russian opera, also (Dansmuseet), Munich (Theatermuseum), and soon in London (Victoria by Mussorgsky, and with costumes by Fedorovsky. and Albert Museum), numerous exhibitions are commemorating the The vicissitudes of stage history made it that these four productions centenary and highlight the action of Serge Diaghilev in all realms of are actually within the CNCS collections, via the patrimonial collec- artistic creation. tion of the Opéra national de Paris. The sumptuous, shining, golden and embroidered aesthetic of Bilibine In 1908, the year before the arrival of Nijinsky and Pavlova, Russian and Bakst for Snegourotchka () and Boris Godunov, opera, thanks to Diaghilev, had already conquered the public with contrast with the one, very modern, of the costumes painted with Boris Godunov by Mussorgsky at the Palais Garnier, with Chaliapin bright colours and geometrical patterns of Fedorovsky for Kovantchina, in the title role, and with costumes by Bilibin. Albert Carré, director and also with the quasi ethnographic costumes of Ivan the Terrible. of the Opéra Comique mounted Snegourotchka (The Snow Maiden) by Rimsky-Korsakov in a sumptuous production inspired by illustrations This exhibition presents 130 costumes of these four productions, for by Bilibin, and created under the aegis of Princess Tenichev. the first time for most of them, together with costume sketches, work documents, iconographic sources of inspiration and photographs. A program of films in the CNCS auditorium complements the exhibition.

THE BALLETS RUSSES.

Serge Diaghilev (1872-1929) sets up the Ballets Russes in 1909. Their Le Sacre du Printemps (The Rite of Spring). fist season starts in France, at the Théâtre du Chatelet. The compa- Passionately found of creating, Diaghilev trusts choreographers like ny will give, until the death of its founder, brilliant performances in Bronislava Nijinska, Léonide Massine, Georges Balanchine… compos- Europe, first with Russian artists, including the stars Anna Pavlova, ers like Stravinsky, Ravel, Poulenc, Milhaud… painters like Picasso, Tamara Karsavina and Vaslav Nijinsky. In 1913, Igor Stavinski and Matisse, Derain, Miró… Nijinsky cause a scandal at the Théâtre des Champs-Élysées with The influence of Diaghilev on modern art, in all domains, is huge. CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

The exhibition “Russian operas, at the dawn of the Ballets Russes” Over time, events obliged him to reduce the place of opera in his pro- presents 130 costumes made for the masterpieces of Russian opera grams. Important and minor historical events, financial difficulties, the (Boris Godunov, Kovantchina, Ivan the Terrible, Snegourotchka) pre- loss of support from the Imperial theatres, the closing of the borders sented in Paris between 1908 and 1913, for the most part by Diaghilev, during World War I and the events leading up to the Russian Revol- then reused until the middle of the 20th century at the Opéra de Paris. ution led him to concentrate on ballet. This became his main activity Costume sketches, work documents, iconographic sources of inspira- until his death in 1929. His continuing celebrity in our times is linked tion and photographs are also included. most often to the area of dance. However, the scores which he commissioned during a twenty-year period These costumes, ranging from historic magnificence to an unequalled occupy a place of major importance in the history of 20th century music. modernity, all come from the Opéra National de Paris, where they arri- It would be unfair and incomplete to reduce the extraordinary develo- ved through the flukes of history, the successes of productions and the pment of Russian operatic music in Western Europe in the first quarter failures of businesses, thanks to purchases from theatre houses (such of the 20th century to Diaghilev’s actions alone. At the dawn of the as the Bolchoi) or from companies (such as those of Serge Diaghilev Ballets Russes, many others - impresarios, theatre directors and lyric and Sir Thomas Beecham). They are preserved today either in the col- artists played a large role. lections of the Bibliothèque-Musée de l’Opéra, BNF, or at the CNCS or Politics also played a role, with the development of excellent relations also at the Nouveau Musée National de Monaco. between France and Russia, coming to its apotheosis with the trium- The entire range of opera characters, historical or from legends, of phant visit of Tsar Nicholas II to Paris. Mussorgsky and Rimsky-Korsakov are represented in this collection: This aspect of Diaghilev’s work and influence in the field of operatic tsars, boyars, guards, and above all the common people of Russia, the productions has never been fully treated, at least in the aspect which great protagonists of Russian opera. interests us here, that of theatrical aesthetics. The exhibition presented by the CNCS can be seen as a base for this Diaghilev’s passion for music “which saturated his being”, started in research, since practically none of the costumes have been exhibited childhood, and is found in all his projects, whether in his first, failed before. adventure in the service of the Imperial Theatres, or in the editorial This first exploration shows the extent to which Russian music and range of the art magazine, World of Art (Mir Iskusstva) which he then aesthetics, as revealed by Diaghilev, were alive on the Paris stages at launched. the beginning of the 20th century, largely extending beyond the unique His actions crystallised, starting in 1907 with the series of histo- container of ballet to which they are often restricted. ric Russian concerts, then with the sumptuous production of Boris Godunov, the first seasons of Russian operas and ballets. In his initial Some examples of patterns on Fedorovsky costumes for Kovantchina, project, Diaghilev wanted to present mainly operatic performances. 1913. Coll. CNCS/ONP Performances devoted only to ballet, supposedly having little appeal for the Paris public, came as adjuncts to the operas. FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 5

ABOUT DIAGHILEV (1872-1929) “MUSIC SATURATED HIS BEING…”

For Serge Diaghilev, music was first of all a family affair, with many quickly came to the defence of the most avant-garde positions, to the generations and relatives uniting around the piano. great displeasure of the traditionalists. Two patrons supported him in Quite naturally, the child studied piano. He grew up with music and this adventure, Savva Mamontov and Princess Tenichev. soon found the group of adolescents who would remain his friends From 1897 to 1906 he organized a series of exhibitions in Saint- and collaborators for life. In addition to his cousin Dima (Dimitri Petersburg and then in Paris, thus introducing his fellow artists of Filosofov) there were also Shura (Alexander Benois), Valetchka World of Art group. (Walter Nouvel) and Levushka (Leon Bakst). All were passionate Starting in 1906, Diaghilev created and mounted his projects exclusi- about the fine arts and music - that of the Group of Five of course vely in Western Europe, and first of all in Paris. (Balakirev, Rimsky-Korsakov, Borodin, Mussorgsky and Cui) who wor- In 1907 the five concerts of Russian music which he presented were ked with traditional popular Russian themes and resonated with the met with great enthusiasm. The next year, the performances of Boris Russophile movement found in the Peredvijnicki (Itinerants) School. Godunov at the Opéra de Paris, in Russian, starring Chaliapin, were a Like all well-born youths, Serge Diaghilev travelled to Europe, to do revelation: “It was not only a success, but a triumph…” the Grand Tour - Berlin, Paris, Venice, Rome, Florence and Vienna. He In1909 the first season of the Ballets Russes was a combination of was curious about everything, took in museums, concerts and perfor- opera and ballet works. The sudden, dazzling glory of the dance trou- mances with extraordinary facility, knew what had to be seen and pe and of Nijinsky, Pavlova and Karsavina enflamed Paris; the Ballet heard and who to get to know, and thus forged his culture and taste. Russes were in fashion. Soon the little provincial from Perm surpassed his elegant Saint- Historical events made it impossible after this time for Diaghilev to Petersburg comrades and took his place at the head of their set. bring orchestras, choruses and soloists from Russia. Ballet became Even during his law studies, which were supposed to lead to a career his work and weapon. as a high level civil servant, he studied music seriously - composition But Diaghilev never completely abandoned his first passion. In com- classes with Rimsky-Korsakov and singing lessons with the baritone missioning works by Stravinsky, Prokofiev, Ravel, Poulenc, Satie, Cotogni. Milhaud… he wrote a new page in the history of music. Bringing mo- Young Diaghilev had great ambitions, and his nomination as special dernity into the dance world, he exercised influence on all aspects councillor to the director of the Imperial Theatres filled him with pride of the performance, renewing ballet to the point where it became a and joy. Power struggles quickly put an end to this brilliant career. major art form encompassing the elements of music, choreography, His pride hurt, Diaghilev undertook an adventure in the service of sets and costumes. artistic creation which would bring him great fame in Europe, fame which is just as strong, one century later. Printed cards, costumes sketches by Ivan Bilibine for Boris Godunov, From 1898 to 1904 he launched and edited World of Art (Mir Iskusstva) opera by Mussorgski, 1908 (BNF/BMO). which dealt with all the art trends in Russia and Western Europe, and CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

THE COSTUMES IN THE EXHIBITION.

Costumes designed by Félix Fournery from plates by Bilibin, executed Opéra Comique, then reused for various productions at this theatre under the aegis of Princess Tenichev, for Snegourotchka (The Snow and at the Palais Garnier. Maiden) by Rimsky-Korsakov, for the creation in France in 1908 at the

Costumes designed by Alexander Golovin, based on advice from the de Paris, were reused for the production of Siberia by Giordano in archaeologist V. Sizov for The Maid of Pskov, or Ivan the Terrible by 1911, then for Boris Godunov in 1923 and until the middle of the 20th Rimsky-Korsakov, for the creation of the work at the Bolchoi Theatre century. in Moscow in 1901. These costumes, apparently bought by the Opéra FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 7

Costumes designed by Fedor Fedorovsky for the production of Opera Company of Thomas Beecham were sold to Jacques Rouché, Kovantchina by Mussorgsky, for the performances presented by director of the Opéra de Paris. They were reused in this theatre, nota- Diaghilev in Paris at the Théâtre des Champs-Élysées, then in London bly in productions of Boris Godunov and Kovantchina until the middle at the Drury Lane Theatre. These costumes, belonging to the Beecham of the 20th century.

Costumes designed by Ivan Bilibin and Leon Bakst for Boris Godunov Drury Lane Theatre in London in 1913. These costumes, bought by by Mussorgsky for the productions presented by Diaghilev at the Opé- the Opéra de Paris, were reused in productions of Boris Godunov and ra de Paris in 1908, then at the Théâtre des Champs-Élysées and the Kovantchina at the Palais Garnier until the middle of the 20th century.

All these costumes are remarkable - for their history, the artists who the interpretation of the peasant costume - modern, joyous and co- designed them, their fabrics, their workmanship, decoration and their lourful - by Fedorovsky for Kovantchina, gives primordial importance inspiration. to motifs and colours. The forms are simple - kaftans, sarafans, Russian-style shirts. All is in The history of these costumes, documented by archives and graphic the decoration and colour. Their aesthetics are those that would define supports (sketches, illustrations, programs, photographs…) can also the entire adventure of the Ballets Russes. be read thanks to the stamps which were put on the linings over the As always in the theatre, all is true, but all is false! If historical period of their use in different performances and reuses, and thanks and ethnographical verity reigns thanks to the studies of Princess to the names of the performers which are embroidered or written on Tenichev, the archaeologist Sizov and the artists Bakst and Roerich them. on the rich fabric and heavy ornaments of Boris Godunov for example, Reutilisation was, and still is an economic imperative of the theatre. CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

THE WORKS AND THE COSTUME DESIGNERS.

THE MAID OF PSKOV, OR IVAN THE TERRIBLE, OPERA BY RIMSKY-KORSAKOV / SIBERIA, OPERA BY GIORDANO.

These costumes, dresses of Russian peasant women, contain stamps before definitively leaving the repertory. The costumes were preser- printed in Russian: “The Maid of Pskov, women’s wardrobe, 1901” and ved, and mixed into the wardrobe of the 1923 Palais Garnier produc- the names of the artists written in ink, in Russian. tion of Boris Godunov, signed by Bakst and Fedorovski. This addition The Maid of Pskov, opera by Rimsky-Korsakov, renamed Ivan the gives additional credit, if needed, to the thesis of reutilisation and Terrible, created at the Mariinsky Theatre in St. Petersburg, was pro- mixing of productions of the same type for the Russian operas. duced for the first time in Moscow at the Bolchoi Theatre in 1901. Thirteen costumes designed by Alexander Golovin based on archaeo- Alexander Golovine, 1863 – 1930. logical expertise of V. Sizov come from this production. Artist of multiple talents, trained as architect, set and costume Sold to the Opéra de Paris, they were then used for Siberia, opera designer, furniture designer and illustrator, Golovin designed the by Giordano, performed only seven times at the Palais Garnier in sets and costumes of works mounted by Diaghilev, Meyerhold and 1911 and 1912 (with soloists’ costumes by Joseph Porphyre Pinchon) Stanislavsky.

SNEGOUROTCHKA (THE SNOW MAIDEN), OPERA BY RIMSKY-KORSAKOV.

The subject of this opera comes from a Russian tale. Snegourotchka, Stravinsky and Roerich came up with their first project for The Rite of the snow maiden is the child of winter. After falling in love, she asks Spring there. for a woman’s heart and melts in the rays of the sun, the god Yarilo. At the dawn of the Ballets Russes, the creation of Snegourotchka at The costumes for Snegourotchka, inspired by plates by Bilibin for the the Opéra Comique on May 22, 1908 followed that of Boris Godunov, illustration of tales, designed by Félix Fournery and produced under organized by Diaghilev at the Palais Garnier on May 19, 1908, and the aegis of Princess Tenichev, are richly decorated, making use of came one year before the first ballet season. motifs typical of the Old Russia style. This production is evidence of the vitality of the links forged between Princess Tenichev was one of Diaghilev’s first patrons, notably for the Russia and France in the world of music, and in the artistic exchanges magazine World of Art. She was initiator of the Talachkino workshops, which followed. where many artists who collaborated with the Ballets Russes worked. FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 9

Ivan Bilibin, 1876 – 1942. Félix Fournery, 1865 – 1938. Painter, theatre decorator, art historian, specialist in popular art, French painter and illustrator, Félix Fournery was also a poster and Bilibin worked with Diaghilev from the first issues of World of Art. fashion designer. His activity for the theatre is not well known. His He was an active member of the avant-garde circles which participa- costume sketches for Snegourotchka (certain of which were used for ted in the launching of the Ballets Russes. He illustrated the program Chantecler, the play by Edmond Rostand) are the only ones found at and designed the costumes for Boris Godunov in 1908 and the ballet this date. Le Festin in 1909. But it is in the illustrations of popular Russian tales, the vignettes and borders, that his style is most clearly representative. Sketches by Félix Fournery from the collections of Princess Tenichev, and After the Revolution he emigrated to Cairo and then moved to Paris plates by Bilibine, costumes and details for Snegourotchka, Opéra Comique, where he remained until 1935, working for a private Russian opera 1908. Coll BNF/BMO. company. He then returned to Leningrad where he died of hunger during the siege of the city by the Nazis. CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

BORIS GODUNOV, OPERA BY MUSSORGSKY.

This grand historic fresco recounts the coming to power of Boris they produced their chef d’oeuvre […]” (Pierre Lalo in Le Temps, Godunov, who, to mount the throne has the Tsarevitch Dimitri assassi- April 5, 1922) nated. Soon a false Dimitri makes his appearance, and rallies discon- In 1913, Diaghilev remounted Boris at the Théâtre des Champs- tented boyars and Polishmen around him. As the false Dimitri invades Élysées and at the Drury Lane Theatre, in a production, also with Russia at the head of the Polish troops, Boris, tortured by remorse and Chaliapin, similar to the first, but less brilliant, with costumes by hallucinations, dies tragically. Bilibin and Bakst for the Polish Act. First opera mounted by Diaghilev in 1908 at the Palais Garnier, Boris Godunov is the archetype of historic Russian opera. Presented in gran- Leon Bakst, 1866 – 1924. diose fashion, in sets by Golovin and costumes by Bilibine, sung by Leon Bakst was one of the creators of the Ballets Russes. As a mem- the soloists and the choruses of the Imperial Theatres, the production ber of the first circle of friends from Diaghilev’s youth, he exercised enthralled the public and insured Chaliapin’s fame. considerable influence on the aesthetics of the Ballets Russes, espe- This production remains unequalled: “[…] None of those who saw cially during its first period before World War I:Sheherazade, Firebird, the first Boris could forget some of the sets which were shown. Jeux, Daphnis et Chloé, Le Spectre de la Rose, Afternoon of a faun. One of them, the coronation scene, remains fixed in our memories: His joyous, colourful style, orientalist, or with references to antiquity, the enormous church wall, rising from the ground up to the top frie- inspired fashion and interior decoration. As did many others, Bakst zes of the theatre; the violent medley of colours of the clothing of fell out with Diaghilev, and went on to work with many other theatres the commoners, massed upstage; and against this backdrop, the slow and companies, that of Ida Rubinstein among them. Bakst was also a progression of the cortege, the sumptuously harmonized costumes, portraitist of great talent, and it is thanks to him that we have a sort of the display of splendour and oriental opulence of Old Russia; all this portrait gallery of the principal collaborators of the Ballets Russes. formed a production of superb style, of simple and rough grandeur, at the same time magnificent and barbaric, of which nothing known until Sketches by Leon Bakst for the costumes for the Polish Act in Boris now could have given us an idea. The Ballets Russes which since this Godunov, published in the revue Comoedia, and costumes produced from these time have brought us so many curiously refined sets and costumes sketches. Coll. CNCS/ONP. have never done better than what they did that day: on the first try, FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 11

KOVANTCHINA, OPERA BY MUSSORGSKY.

Like Boris Godunov, this opera deals with an episode from Russian for Boris Godunov by Bakst and Bilibine and those of Kovantchina by history. The Kovanski family, backed by the military force of the Strelsy Fedorovsky for the 1913 season. had taken power in Moscow. The Old Believers opposed the steps to There are more than 100 costumes for Kovantchina preserved at the modernize the church that the patriarch wanted to implement. All died CNCS, including women’s dresses and men’s pants and shirts. a violent death. In 1910, Diaghilev negotiated with Joseph Beecham, an extremely rich Fedor Fedorovsky, 1883 – 1955. owner of pharmaceutical laboratories, to organize tours of his Ballets Trained in decorative arts at the Stroganov Art School in Moscow, Russes in London. Beecham had a special interest in this contract - Fedorovsky began a brilliant career as set and costume designer. the conductor would be his son Thomas, who went on to become a Diaghilev, always on the lookout for new talent, gave him the commis- celebrated maestro. sion for the sets and costumes for the productions scheduled for the The following year saw the London premiere of the Ballets Russes at Paris and London seasons of 1913: Kovantchina and May Night. the Drury Lane Theatre. It was an aesthetic revolution and a public Fedorovsky then returned to Russia, and between 1921 and 1955 be- triumph. From then on, London seasons alternated between operas came one of the great designers for the Bolchoi Theatre in Moscow, and ballets organized by Diaghilev and Beecham. especially in the repertory of historic Russian operas. His work is The 1913 season programmed Boris Godunov, Kovantchina and Ivan still appreciated today, and in 2009 the opening production of the the Terrible. Mariinsky Theatre was a reprise of the 1952 production of Ivan the The year after, , May Night, The Nightingale and The Golden Terrible (The Maid of Pskov), with a reconstruction of Fedorovsky’s Cockerel were added to the program. sets and costumes. The Russian opera seasons were interrupted during World War I, but started again in 1919. Costumes by Fedorovsky for Kovantchina, Paris and London, 1913. Coll. In 1920, financial difficulties forced the dissolution of the Beecham CNCS/ONP. Opera Company. Some of the sets and costumes of the Russian productions were bou- ght by Jacques Rouché, director of the Opéra de Paris, including those CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

SOME CHRONOLOGICAL GUIDELINES .

1874, February 8. St. Petersburg, Mariinsky Theatre. 1913, May 22, 24, 27 31, June 3, 14. Paris, Théâtre des Champs- First complete performance of Boris Godunov, opera by Mussorgsky Élysées, 8th season of Diaghilev’s Ballets Russes. Boris Godunov, (original version). opera by Mussorgsky. In Russian, with Chalipin, conducted by Emil Cooper. 1894, October 20. Death of Alexander II. His successor is his son Nicholas II, the last tsar. 1913, June 5, 7, 9, 16, 18, 20. Paris, Théâtre des Champs Élysées, 8th season of Diaghilev’s Ballets Russes. Kovantchina, opera by 1901. Visit of Russian sovereigns to France. Mussorgsky. In Russian with Chaliapin. Revised by Igor Stravinsky and Maurice Ravel. Staging by Alexandre Sanine, sets and costumes by 1905. First Revolution in Russia then first Duma in Russia. Fedorovsky, conducted by Emil Cooper.

1906. Paris, Salon d’Automne. Exhibition of Russian art organized 1913, November 7. Paris, Théâtre des Champs-Élysées, Boris by Diaghilev. Godunov, French translation by Michel Delines, staging by Durec, conducted by Inghelbrecht. Giraldoni (Boris). One performance only. 1907, May 10. Paris, Théâtre Sarah Bernhardt. First performance in France of Snegourotchka, opera by Rimsky-Korsakov, by the Concerts 1914, July 18. The order for general mobilisation is published in Lamoureux, conducted by Camille Chevillard. Russia.

1907, May 16, 19, 23, 26, 30. Paris, Opéra. Organized by Diaghilev, 1917. Military defeats and riots in Russia; February 28 - provisory “Five historic Russian concerts, given under the patronage of the Société government in Russia; March 2 - abdication of Nicolas II; October 25 - des grandes auditions musicales de France”. Lenin takes power. Orchestra and Chorus of the Association des Concerts Lamoureux, conducted by Arthur Nikisch and Camille Chevillard, with notably on the 1918, July 16. The tsar and his family are massacred in Ekaterinburg. program, extracts from Boris Godunov, with Chaliapin, conducted by Félix Blumenfeld. 1920. The Beecham Opera Company goes bankrupt. The productions of Boris Godunov and Kovantchina (among others) are 1908, May 19 - June 4. Paris, Opéra. Gala performances at the bought by Jacques Rouché. They will be used at the Palais Garnier until Opéra, May 19, 21, 24, 26, 31 and June 4, Boris Godunov, opera in the middle of the 20th century. 3 acts and 7 tableaux by . “Chorus of the Grand Imperial Theatre of Moscow. Conducted by Félix 1922, March 8. Paris, Opéra, Boris Godunov. In French, trans- Blumenfeld. Staging by Alexander Sanin. Sets by Alexander Golovin and lation by Michel Delines revised by Louis Laloy. Vanni Marcoux (Boris), by Alexander Benois. Costumes and accessories designed by Bilibin. conducted by Serge Koussevitsky. The work will be given in this version until 1949. 1908, May 22. Paris, Opéra Comique Snegourotchka, opera by Rimsky-Korsakov. Staging by Albert Carré, sets by Lucien Jusseaume, 1923, April 13. Paris, Opéra, Kovantchina. In French, translation costumes by Félix Fournery adapted from Bilibin, with the participation of by Raoul and Marguerite d’Harcourt, conducted by Serge Koussevitsky. Princess Tenichev, conducted by François Ruhlmann. Reprise the following year with Chaliapin, conducted by Henry Defosse.

1909, May 26, 28, June 3, 5, 8, 11, 16, 18. Paris, Théâtre du Châ- 1949, August 8. Paris, Opéra, Boris Godunov. New production. telet. First season of Diaghilev’s Ballets Russes. With the following Staging by Vanni Marcoux, sets and costumes by Yves Bonnat, conducted operas: Ivan the Terrible, opera by Rimsky-Korsakov, in Russian, with by Albert Wolff. A certain number of costumes from previous Russian Chaliapin; Prince Igor, opera by Borodin, Act III; Ruslan and Ludmila, productions of Boris and Kovantchina will be again reutilised in this opera by Glinka, Act I. production, performed until 1962. FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 13

EXHIBITION’S CURATORS AND DESIGNER.

MARTINE KAHANE, CNCS’ director and exhibition curator. EXHIBITION CATALOGUE. As General Librarian, Martine Kahane spent thirty five years of her Introduction by Martine Kahane. Texts by Martine Kahane, Mathias life building up the memory of the Opéra de Paris. To start with, she Auclair, librarian at the Opera’s Museum Library (BNF), Marie Vacher, managed the Museum Library of the Opera (a branch of the Bibliothè- art historian and Claude Fauque, textile historian, cultural consultant. que nationale de France), before creating and managing the cultural Co-edition CNCS / Les Editions du Mécène, November 2009 . department of the Opéra National de Paris, at the request of Hugues 160 pages with about 100 photographs in colour and 50 in black & Gall, then director of the Opera. She is at home at the Palais Garnier, white. Bilingual text French/English. the19th century is her favourite period, Degas’ « Little fourteen-year- Size 24 cm x 29, 7 cm, portrait. old dancer » is her favourite work of art, all this leading to more than Soft filmed cover in colour. Sewn and glued binding. twenty exhibitions and as many publications on Charles Garnier’s ISBN N°: 978 2 358960 052. Public price: D 35 inclusive of tax. architecture, the costume workshops and the Paris Opera Ballet, For sale at the CNCS and on its internet site (www.cncs.fr) and in all Diaghilev’s Ballets Russes and the sculptor’s model. libraries, FNAC… Web: www.leseditionsdumecene.com

DELPHINE PINASA, CNCS’ delegate director. Art historian, Delphine Pinasa completed her university training by professional THE PARTNERS. experiences at the Musée de la Mode et du Textile in Paris, at the Victoria and Albert Museum in London, and then at the Opéra national Exhibition organised by the CNCS, as part of the events of the cente- de Paris, in charge of the museum costume collection starting in 1993, nary of Diaghilev’s Ballets Russes (1909-1929) and the France-Russia and then at the Costumes patrimonial service in 2001. Year, 2010. Since 2005, she has been working for the CNCS and was appointed delegate director in 2006. Curator of several exhibitions in France and In partnership with: Japan, she has published several articles and books in relation to cos- tume history and the Opera de Paris costume workshops. CulturesFrance

GIULIANO SPINELLI, designer of the exhibition. Born in Bologna The Louvre museum (exhibition “Holy Russia” from 5th march to 24th in 1970, Giuliano Spinelli, after artistic studies completes his training May 2010; at the auditorium: seminar on 26th and 27th March 2010; at La Brera academy in Milano, where his works are regularly selected classical and contemporary concerts from 6th January to 16th April for exhibitions and awarded, as for example the Mozart laboratorium 2010; filmed music: a season with the Bolshoi and at the Mariinsky at the lyrical Theatre in Milan. He leaves the Academia in 1994 and from 5th December 2009 to 13th June 2010; films on art and Tarkovski ci- starts working on exhibitions and TV sets, and then devotes himself nema cycle from 7th May to 9th may 2010, debate day on 7th April 2010). more and more to scenography. He builds up experience by working as production assistant on several operas productions in Italian theatres, including Rome’s Opera, the THE LENDERS. Massimo Theatre in Palermo and the new La Mirandola theatre in Modena. He has signed the design of fifteen more shows. Since 1998, With the special lends from the Bibliothèque nationale de France, and he has worked with Ezio Frigerio, for the design of 25 more show for of the Nouveau Musée National de Monaco. the most prestigious international theatre. Under the direction of Roman Calleja, in addition to La voce humana, he has signed the With the kind participation of the Pierre Bergé - Yves Saint Laurent design of Copenhagen by Michel Frayn. foundation. CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

RELATED ACTIVITIES.

VISITS. term (from Wednesday to Saturday during summer school term). Training courses are available on Monday during school term and INDIVIDUAL VISIT. some week-ends. Everyday from 10am to 6pm. Exceptional closure on 25th December 2009, 1st January and 1st may 2010. GROUP ACTIVITIES for schools from nursery to secondary school, On 24th and 31st December 2009, the CNCS will close at 4pm. recreation centres, specific groups, higher education. Upon booking every day during opening times. GUIDED VISIT WITH A CONFERENCE GUIDE. Commented visits with a conference guide, adapted upon request to themes, projects, age or participants’ knowledge. VISITING THE EXHIBITION. Artistic and cultural workshops to discover artists’ and craftsmen’s Every Saturday and Sunday and everyday during school term at 2.30pm processes of creation connected with the stage (painting, textile, and 4pm. music, drawing, composition in volume and youth literature), conduc- PATRIMONIAL VISIT. ted by CNCS’ professional workers. CNCS’ history and architecture, with a conference guide and a slide An educational file is available for teachers, educators, profes- show. First Sunday of each month at 10.30am. sional workers in order to organize, conduct and capitalize on each EXHIBITION DISCOVERY VISIT FOR CHILDREN. groups’ visit to the CNCS. Specially adapted for children as from 6 years’ old. Cultural and artistic actions can be developed according to the request During school term every Tuesday and Saturday at 2.30pm. of teachers and educational persons in charge. GROUP VISIT. The educational service staff endeavours to respond as closely as pos- With a conference guide. For groups (minimum 10 persons), upon boo- sible to each special request in the reception of groups. king. Visits in foreign language (English, Italian …) upon booking and Information and bookings: [email protected] according to availability. Information : [email protected] LE MUSÉE EN HERBE. Since thirty years, the Musée en Herbe initiates children to the world of art. Nestled in the middle of Paris, it likes to put its pedagogy based CNCS’ DOCUMENTATION CENTRE. on games and humour to the service of its big brothers, the “real mu- seums”. Today, it’s the CNCS’s guest. In two rooms devoted to them, On the second floor of the CNCS, the documentation centre is devoted the children will discover all the secrets of the marvellous world of to the general history of stage arts and crafts, stage costumes and Russian opera’s costumes: pigments, colours, patterns… In the steps fashion. It is a valuable tool and a skill centre for the study of costu- of Bilibine or Alexander Golovin, they will imagine themselves as cos- mes in their historical and artistic aspects. It is also a place of delight tumiers by imagining their own creation, by dressing up a manikin or and amusement for all lovers of theatre, opera, ballet, costumes and by platting frogging, but also as opera singer by putting on clothes fashion. similar to those of their prestigious predecessors. Information : [email protected]

EDUCATION. WORKSHOPS. Propositions for educational public and specific groups. ADULTS, TEENAGERS, CHILDREN. The CNCS wishes to build privileged ties with education and favour Conducted by professional workers. To discover the diversity of ar- partnerships with all the persons concerned with the proposition of an tistic practices connected with the stage: embroidery, dance, textile artistic and cultural education for young people. decoration, music, painting, drawing, theatre, video … A package of actions and educational resources is proposed all year Training courses of one or several days allow to study thoroughly artis- long during and outside term. Projects of cultural actions can be deve- tic and cultural techniques or to meet professionals. loped at request from the teachers and persons in charge of education. Workshops are available every Saturday and every day during school Information and booking: [email protected] FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 15

THE CENTRE NATIONAL DU COSTUME DE SCENE ET DE LA SCENOGRAPHIE.

A UNIQUE ESTABLISHMENT… dance workshops, training for future professionals); together with a documentation centre (150 m²) open to all, complete the facilities. The CNCS is the first preservation structure, in France or abroad, to be The reserves building (1,730 m²) is equipped with compactus storage entirely devoted to the material heritage of performing arts (theatre, in conformity with the strictest requirements concerning the physi- opera, ballet…) and more precisely to the set drops and costumes. cal and sanitary security of the collections. Workshops and technical Its mission is the preservation, study and enhancement of a collec- rooms allow the Centre to fulfil all its preservation missions. tion of 9,000 theatre, opera and ballet costumes, as well as painted set drops, deposits from the three founding institutions of the Centre: THE CNCS IS A GREAT SUCCESS WITH THE PUBLIC the Bibliothèque Nationale de France, the Comédie Française and the IN FRANCE AND ABROAD. Paris Opera, and numerous other donations. Situated in Moulins in the Allier department, the CNCS occupies a With more than 220 000 visitors since its opening, on 1st July 2006, part of the Quartier Villars, former cavalry quarter built during the eight exhibitions have been organised together with the publication of reign of Louis XV, which owns the name of the Maréchal Villars, great catalogues: « Bêtes de scène », « Théodore de Banville et le théâtre », man of war, born in Moulins. Many illustrious cavalrymen frequented « J’aime les militaries! », « Christian Lacroix, costumier », « Jean Paul this beautiful building with its noble architecture, nowadays classified Gaultier – Régine Chopinot : le Défilé », « Costumes des Mille et une as a historical monument. They also went to the parties in Moulins Nuits », « Au fil des fleurs, scènes de jardins ». In 2009, the CNCS has and at the grand Café, as this Etienne Balsan who at the time of the paid a tribute to Rudolf Nureyev, icon of dance, before the opening Belle Epoque helped a young dressmaker make herself a name, the of a permanent dedicated space, thanks to the donation made by the one of Coco Chanel. The restoration campaign was conducted at the Rudolf Nureyev® Foundation. same time as the building of the reserves designed by the architect The exhibitions presented at the CNCS travel through France and the Jean-Michel Wilmotte. world: the Musée de l’Armée in Paris, town of Saint-Raphaël, Singa- pore National Museum, Foundation Aramnda Alvares Penteado in Sao A RESOURCE CENTRE OPEN TO PROFESSIONALS AND Paulo, Brasil, Madrid’s Theatre… THE GENERAL PUBLIC. THE CNCS, PUBLIC CULTURAL COOPERATION The CNCS is both a museographic and a scientific tool and is also a ESTABLISHMENT. resource centre open to stage professionals and researchers as well as the general public. Place of history and place of life, the CNCS illus- An example of cultural decentralization, the Centre national du cos- trates in all domains, the splendours of stage and those who patently tume de scène et de la scénographie has become, since 1st January behind the curtains make them happen. 2009, a Public Cultural Cooperation Establishment (EPCC), a status Among the facilities offered to the public: two welcome areas, tic- adapted to the management of the structure that associates the keting, shop, cloakroom, café-restaurant and a 100-seat auditorium. State, local authorities and national public institutions. The CNCS re- Temporary exhibition areas (1,500 square metres) with 8 rooms concei- ceives support, for the management of its missions and actions, from ved as small stages and a large room equipped with stage machinery the Ministry of culture and communication, Moulins town council, allow the placing of costumes in a scenographic context. Educational Allier’s department and its three founding institutions : the Bibliothèque areas (300 square metres) divided into 4 rooms for young children, nationale de France, the Comédie-Française and the Opéra national but also for the general public (workshops in different art practices, de Paris.

Mr Thierry Le Roy, Councellor of the State is the chairman of the CNCS board of directors. Honorary President: Christian Lacroix. Martine Kahane, director; Delphine Pinasa, delegate director; Vincent Foray, administrator. CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

PRESENTATION OF THE CNCS BY DELPHINE PINASA, DELEGATE DIRECTOR.

THE CENTRE NATIONAL DU COSTUME DE SCÈNE No, none. No other place is dedicated to the material heritage of thea- OPENED ON 1ST JULY 2006. tres: costumes and set drops. There are generally speaking, in Eu- WHERE DID THE PROJECT COME FROM? rope and worldwide, library-museums which as a priority keep papers - for example archives, correspondences, stage notes, music scores, The Centre was inaugurated on 1st July 2006 by the Ministry of the stage or artists photographs, programs, press cuttings, etc. These li- Arts and Communication secretary, and by its President, Christian braries sometimes keep a few costumes, but they are generally only Lacroix. However, the project is much older: the Quartier Villars, the isolated items, in no way constituted collections. It’s the same for cos- set of buildings in which the CNCS is installed has been on the histo- tume and fashion museums which, worldwide, keep important collec- rical register since 1984. tions of clothes and some stage costumes. The Ministry of the Arts and Communication decided in 1994 to install The CNCS is therefore the first worldwide institution, the first and only in this place a preservation, study and exhibition establishment for museum to be entirely dedicated to the material heritage of theatres stage costumes from the Opéra National de Paris, the Comédie-Fran- and more particularly to costumes, as it keeps in its reserve building çaise and the Bibliothèque Nationale de France. more than 9 000 costumes, the oldest dating from the end of the 19th century. But, as indicated its name “National centre for stage costu- IS THERE ANOTHER INSTITUTION EQUIVALENT TO mes and stage design” it also keeps about forty painted set drops, THE CENTRE NATIONAL DU COSTUME DE SCÈNE deposited by the Opéra national de Paris. This part of the collection ABROAD? should be increased in the near future, as theatre wings are full of set drops or scenery elements which deserve, for some, to be kept. FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 17

A COSTUME IN YOUR CENTRE IS A COSTUME THAT recently, the plays were presented for several years, sometimes thirty, WILL NEVER GO BACK ON STAGE? in the same production, sceneries and costumes. These latter were, after ten or twenty years on stage, particularly worn. The end of the The costumes kept here have for the most part been deposited by the 20th century showed an excessive “consuming” of the visual, which of three founding institutions of the CNCS: the Bibliothèque Nationale de course reflects on the performing arts. One new production followed France, the Comédie-Française and the Opéra national de Paris, which another despite the few performances. Hardly created, the costumes have entrusted the Centre with their preservation and enhancement. were downgraded. After entering the Centre, they acquire a patrimonial status and can- not be worn again. HOW ARE THE COSTUMES KEPT?

IT’S THEREFORE A DEPOSIT PLACE IN FRANCE FOR The reserve building is specifically adapted to preserving and manipu- STAGE COSTUMES? lating costumes. It was built as a concrete block, with no windows, except for some openings on the ground floor in the working spaces; Not only. Agreements reached with the founding institutions were not as the natural light of the sun and the moon is very harmful to textiles. only deposit agreements. The Centre has also received donations of An air conditioning system regulates temperature and humidity; as, costumes and set drops from contemporary dance companies, thea- for preserving textiles, it is recommended to maintain the tempera- tres, academies, artists or legatees. The CNCS is particular because it ture at 18° with 55% humidity. Air filters hinder dust and insects. This does not present permanent collections to the public. Textiles are too heating/air conditioning system is powered by highly economical geo- fragile to be shown permanently and therefore, as other Fashion or thermal energy. This “thermo refrigerating pump” brings the ground Textile museums, the CNCS presents only temporary exhibitions. water up. This water being at a constant temperature, the pump uses We “permanently” program temporary exhibitions; they follow each the ground water’s calories for the needs of cool and warm, which other almost non-stop with a closing period of only three weeks represents important energy savings and limits the CO2 dumping. On between, corresponding to the time we need to dismount and mount the three floors, specific furniture called “compactus” offer optimal a new exhibition. The Centre is therefore nearly always open to the storage in terms of space, preservation and security of the works. This public, with three exhibitions a year. The name “Centre” was chosen type of furniture is available for all sorts of objects, in all preservation from the start. The term “museum” did not precisely correspond to the structures (archives, libraries, museums…), but here it was specifi- wish of the people behind the project. They wanted to make the CNCS cally adapted by a consultant for the CNCS collections. It is composed something different from other exclusive museums. However, we do, of closets joined together, set on a false floor equipped with rails, for of course, provide all the missions of a museum: preservation and en- moving the closets. When closed, the furniture is “compacted”, with hancing of the collections, their study and documentation. no space between the closets. Costumes are kept on coat hangers or for the most fragile, flat in drawers. Downstairs, you’ll find the wor- ARE COSTUME TEXTILES VERY DIFFICULT TO king spaces where the costumes are handled and treated for their pre- CONSERVE? servation or being prepared for exhibitions. These spaces have been equipped with special preservation lamps that reproduce a light very Textiles can be relatively stable in time if their environment is taken close to natural light, and much more comfortable for eyes fixed on into account. But the story of theatres and first of all the Opera, has delicate and meticulous work. been marked by several fires which have destroyed theatres and plays. In this prestigious costume and set drop collection great names of The scenery and costumes shops on the rue Richer (Paris, 9th …) bur- plastic arts (Cocteau, Derain, Utrillo…), of theatre (Bakst, Chapelain- ned down at the end of the 19th century and this fire destroyed the Midy, Erté…), and of fashion (Christian Lacroix, Jean-Paul Gaultier, set drops and costumes which were still being used. Moreover, until Franck Sorbier…) are represented. CENTRE NATIONAL DU COSTUME DE SCÈNE EXHIBITION RUSSIAN OPERAS, AT THE DAWN OF THE BALLETS RUSSES

VISITING THE CNCS.

FACILITY RENTALS. The Centre contains, in addition to the exhibition spaces, a 100-seat auditorium, a restaurant with catering and many fully-equipped meeting rooms. Information: Philippe Jaud, [email protected]

CAFÉ RESTAURANT « LE RESTAURANT ». Open everyday for lunch or for a drink during the day. Groups are welcome. Terrace. CENTRE NATIONAL DU COSTUME DE SCÈNE. Information, booking: 00 33 (0)4 70 35 04 21. Quartier Villars, Route de Montilly, 03 000 Moulins. Tel. 00 33 (0) 4 70 20 76 20 BOOKINGS. Fax 00 33 (0) 4 70 34 23 04 All public, groups: [email protected] [email protected] Young public and educational action: [email protected] www.cncs.fr ACCESS. OPENING TIMES OF THE EXHIBITION. Access for disabled. Free parking for cars and coaches on site, « Russian operas, at the dawn of the Ballets Russes » parking facilities. 12 December 2009 - 16 May 2010. Access map on www.cncs.fr

The CNCS is open every day from 10am to 6pm. Exceptional closure on 25th December 2009, 1st January and TOURISM INFORMATION. 1st may 2010. On 24th and 31st december 2009, the CNCS will close at 4pm. OFFICE DE TOURISME DE MOULINS. Tourism in Moulins and in the Bourbon country: Moulins’ tourist ENTRANCE FEE. office proposes discovery week-ends including visit of the CNCS. Adults: D5 www.pays-bourbon.com Tel. 00 33 (0) 4 70 44 14 14 Half price: for 12-25 years old, unemployed, groups (minimum 10 persons): D2.50 COMITÉ DÉPARTEMENTAL DU TOURISME DE L’ALLIER. Free of charge: children up to 12 years old (accompanied) except www.allier-tourisme.com Tel. 00 33 (0)4 70 46 81 50. groups. COMITÉ RÉGIONAL DE DÉVELOPPEMENT. MUSEUM CARD giving permanent access to the exhibitions TOURISTIQUE D’AUVERGNE. (valid 1 year). Full rate: D15. Half price: D7.50 www.auvergne-tourisme.info Tel. 00 33 (0)4 73 29 49 46.

CNCS’ DOCUMENTATION CENTRE. More information p.14. Free admission. All public: from Tuesday to Friday, from 10am to 1pm and from 2pm to 6pm. CREDITS. Researchers, students: afternoon, no appointment. Groups: morning, on appointment. The pictures of the costumes are by Pascal François / CNCS and Information: [email protected] by Pascaline Noack / CNCS. The pictures of the sketches are by Pascaline Noack / CNCS. Page 16, picture by Jean-Marc Tessonnier / THE MUSEUM SHOP. Ville de Moulins. CNCS’ exhibition catalogues, books, educational games, DVD / CD, souvenir, posters, cards… the spirit of the CNCS in the museum shop. FROM DECEMBER 12, 2009 TO MAY 16, 2010 PRESS RELEASE PAGE 19

GRAPHICS AVAILABLE FOR THE PRESS.

DOCUMENTS AND IMAGES DOWNLOADABLE ON INTERNET: www.heymann-renoult.com

Snegourotchka Detail Snegourotchka Boris Godunov Kovantchina Boris Godunov 2

Boris Godunov 3 Snegourotchka 2 Detail Snegourotchka 2 Snegourotchka 3 Kovantchina

Kovantchina 2 Kovantchina 3 Kovantchina 4 Detail Snegourotchka 3 Detail Ivan the Terrible

Pattern Kovantchina (two-headed eagle) Pattern Kovantchina (tree of life) CNCS - reserves CNCS - the stairs

Costumes’ reserves CNCS - reserves CNCS Quartier Villars Quartier Villars, Route de Montilly, Valérie Jelger. CNCS logo, title and creation of the cover visual, Atalante. Graphic conception press release: Valérie 03 000 Moulins. Tel. 00 33 (0) 4 70 20 76 20 Fax 00 33 (0) 4 70 34 23 04 [email protected] www.cncs.fr

PRESS RELATIONS: HEYMANN, RENOULT ASSOCIÉES Tel. 00 33 (0)1 44 61 76 76 Fax 00 33 (0)1 44 61 74 40 [email protected] www.heymann-renoult.com (downloadable documents and images)

Event organised as part of the Year of France-Russia 2010 www.france-russie2010.com