This video is part of our Analog Archive which means it isn’t stored on our website, accessing the content may take some time and may be subject to additional fees. Approvals and clearances are based on the intended use.
Please contact us to tell us about your project or request a preview. REQUEST PREVIEW The following assets contain unreleased and/or restricted content.
Test Samples Composites Layouts Rough cuts Preliminary edits It overrides the standard online composite license for still images and video on the Getty Images website.
Because collections are continually updated, Getty Images cannot guarantee that any particular item will be available until time of licensing. Please carefully review any restrictions accompanying the Licensed Material on the Getty Images website, and contact your Getty Images representative if you have a question about them.
By clicking the Download button, you accept the responsibility for using unreleased content (including obtaining any clearances required for your use) and agree to abide by any restrictions. Mix and match royalty-free images, videos, and editorial with packs that never expire.
With Market-freeze, you can rest easy knowing we'll remove this image from our site for as long as you need it, with custom durations and total buyouts available. To learn more, contact us or call to talk to a representative. All limited use licenses come in the largest size available.
Content marked “Editorial use only” may not be used for any commercial or promotional purposes. A feast for the eyes, for the ears, but above all a balm for the morale in this gloomy period which deprives the public of the performing arts, when it sorely needs it.
I waited months praying for the ballet to come back, and when the theaters reopened I came running Kira said, taking the tickets out of her purse. We met her in the cloakroom of the Margins Theater, where she came to see The Bayadère, one of the favorites of the classical ballet repertoire and one of the cornerstones of this cultural institution in Saint Petersburg.
Russians have been deprived of their arts for five long months, this spring and last summer, as theaters have had to close due to the first wave of COVID-19. Obviously it’s risky, but our life is a big risk these days, said ballerina Renata Shakira with a smile.
The week we were at the Margins, in early December, at least eight dancers were in isolation and had to be replaced at the last minute. It’s hard to believe that she has just overcome the virus when we see her at the top of her form in what is one of the most beautiful scenes of the show.
Renata Shakira, dancers From the top of his majestic golden balcony, the director of the Margins ballet company observes the third act of The Bayadère. With folded arms, Yuri Father moves his head to the rhythm of the music.
When I ask him, once the curtain falls, what the pandemic has changed for ballet, he responds without hesitation that his dancers are more dedicated. They know that their situation is unique, that theaters are closing all over the world and that only in Russia are they still performing.
It is the same passion that animates the maestro Christian Knapp, an American who since 2011 has directed the greatest operas of the Margins. He respects and understands the decision of theaters around the world that have canceled their seasons, although he admits that there is no ideal solution to an unprecedented epidemic.
Christian Knapp has also had to give up sacred repertoire pieces that require too many instruments, such as Richard Strauss’s grand opera. And if you look at the orchestra today, for an opera by Verdi, you see that there is only one musician per section, explains Christian Knapp.
But he considers it a very small price to pay for having the luxury of playing in the midst of a pandemic, while his colleagues in New York, Rome or London have been performing on the Internet for months. Theaters continued to entertain the people even during the siege of Leningrad in 1943.
He is the artistic director of the Mikhailovsky Theater, another St. Petersburg institution that survived a revolution and two world wars. He told us that if it weren’t for the pressure exerted on President Vladimir Putin by big names in the arts, the theaters would probably still be closed.
The famous conductor and musical director Alexander Vedernikov died of it on October 30, at the age of 51. However, getting back on stage is a consolation and a source of comfort, explains lead dancer IvanZaytsev.
I think it’s fate that drives us to come back on stage, it’s what we do best, give ourselves to the audience and sow joy. Our team was invited backstage hours before The Sleeping Beauty by Tchaikovsky, where he rehearsed with his partner.
He says the months he spent in isolation last summer were a nightmare, both for his body and for his morale. It’s an antidote to the general depression Lila said during intermission, holding her six-year-old’s hand.
It is a tradition to come and see a ballet with her daughter and even more important, according to her, to continue her in these uncertain times to encourage artists. Because the more the pandemic progresses, the more the threat of containment hangs over the theaters of Saint Petersburg, which had to reduce the number of tickets sold to 25%, at the request of the city authorities.
It is a shock for me to see a theater as prestigious as ours half empty, when all the shows are normally full. Cayuse came back to Series A1 and joined Sir Safety Conan Persia, the overall dominating Team of the 2017/2018 season in Italy.
Despite failing to reach Champions League final, after losing to Zenith Kazan again, the team managed to take the bronze medal. Zaytzsev moves the following season to Modena Volley as Persia announced that Wilfredo Leon would join the team, taking his spot.
Cayuse was the main scorer and team leader during World League 2014 and Italy achieved bronze medal. In the World League, he and his teammates won two consecutive bronze in the 2013 and 2014 editions, the latter played in Italy in Florence.
Access to the Mikhailovsky Theater Site shall be provided free of charge. In obtaining access to the Site, the User shall be deemed to have opted in to this Agreement.
Use of the materials and services on the Site shall be governed by the provisions of current Russian Federation legislation. Changes to usage rules shall enter into force from the moment the new version of the Agreement is published on the Site.
User registration on the Mikhailovsky Theater Site shall be for the purpose of identifying the User in order to provide Site services, distribute information and news (by email, post, telephone, text message, or other means), and to obtain feedback and a record of the provision of concessions, discounts, special offers, and promotions. To ask any questions relating to the information presented on the Mikhailovsky Theater Site.
To use the Site solely for the purposes and in the manner provided for by this Agreement and not prohibited by Russian Federation legislation. Take no action which may be considered to be in breach of the normal functioning of the Site.
Avoid any actions which may result in a breach of confidentiality with regard to information protected by Russian Federation legislation. Use any device, program, procedure, algorithm or method, automated devices, or similar manual processes in order to access, acquire, copy, or track the Content of the Site.
Circumvent in any way the navigational structure of the Site in order to obtain or attempt to obtain any information, documents, or material by any means which are expressly not provided by the Site services; The Content of the Site may not be published, reproduced, transferred, or distributed by any means, nor posted on the worldwide networks of the Internet without the written consent of the Site Administrators.
The User shall be personally responsible for the confidentiality of the information in his/her account, including his/her password, and for all activity, without exception, which is carried out on behalf of the User of the account. The User must immediately notify the Site Administrators of any unauthorized use of his/her account or password, or of any other breach of the security system.
Losses which the User may suffer in the event of a deliberate or negligent breach of any provision of this Agreement, or as a consequence of unauthorized access to the communications of any other User, shall not be reimbursed by the Mikhailovsky Theater Site Administrators. Delays or malfunctions in the process of carrying out operations arising as a result of force majeure circumstances, nor for any faults in the telecommunications, computer, electronic, or other related systems.
The actions of banking, transfer, and payment systems, nor for delays connected with their operation. Improper functioning of the Site in cases where the User does not have the technical equipment required for its use, nor do the Administrators accept any obligation to provide Users with such equipment.
The Site Administrators shall have the right to disclose any information about the User as may be necessary for the execution of the provisions of current legislation or judicial rulings. In the event of any disagreements or disputes arising between the Parties to this Agreement, a mandatory condition before resorting to the courts is that a claim should be submitted (a written proposal for voluntary resolution of the dispute).
152-FZ dated 27.07.2006 ‘On Personal Information’, solely for the purposes of performing the obligations accepted by the Mikhailovsky Theater Site Administrators under this Agreement with respect to the User, including those indicated in clause 3.1.1 of this Agreement. The User accepts and confirms that all the provisions of this Agreement and the terms of processing his/her personal information are understood by him/her, and expresses his/her consent with the terms of processing his/her personal information without reservation or limitation.