The Mariinsky Theatre Trust is grateful to BP for its ten-year support of the Mariinsky UK touring programme. This partnership builds on the strong relationship already established between BP Russia and the Mariinsky Theatre in St Petersburg and forms part of BP's cultural programme in the UK.


Privacy Policy


This policy is designed to inform you about our privacy policy – how the Mariinsky Theatre Trust (“the Trust”) collects, stores and uses your personal information.

The privacy policy applies to all personal data collected and used by the Trust and its subsidiary company, both online and offline. The Trust reserves the right to modify this policy at any time.

On 25th May 2018 new legislation on Data Protection entered into force (The General Data Protection Regulation – “GDPR”). GDPR replaces previous legislation and consists of obligations which the Mariinsky Theatre Trust (“the Trust”) must fulfil.

Many of the Rules are the same as under previous legislation. GDPR is an EU Directive directly applicable in all member states without the need for local legislation and with effect from 25 th May 2018. However, the UK has decided that it wants the content of GDPR to apply after the UK leaves the EU.

GDPR already allows the Trust (“Controller” in GDPR-speak) to introduce operational rules and policies compliant with the new Directive. If you spot an error please let us know by email.

GDPR changes the relationship between the Trust and its members and those for which it holds data in relation to the information (data) which the Trust collects and then processes and stores.

Some data is necessarily provided to or accessed by a third party such as the accountant appointed by the Trust. Most of the law is mandatory but where there are options this notice will identify and explain the option the Trust is using. Many of the terms are rather technical but we need to use specific terms in order to say exactly what GDPR stipulates. The Trust’s first task is to be a lawful processor of your data.


The legal basis for processing your personal information is that it is necessary for the purposes of our legitimate interests in carrying out our work. We will not process any personal data about you that we do not need in order to carry out this purpose.

All information supplied and retained is used solely for publicising of Trust events or membership related communications.

Membership of the Trust involves a subscription in return for which members receive information about the Mariinsky Theatre and Trust activities related to the Mariinsky Theatre. The Trust also may send information to those that the Trust believes have legitimate interests in the work of the Trust.

The Trust asserts that it is a lawful processor by virtue of these relationships and does not need to obtain specific consent to process data. The Trust also considers it is exempted from any obligation to appoint a Data Protection Officer but it does accept the obligation to carry out processing in ways which are lawful, fair and transparent.


We collect data of our members, but we also retain data of patrons who have supported and/or attended our events in the past and those the Trust feels have a legitimate interest. We also gather data from donors and individuals who have contacted us for information about the work of the Trust and the Mariinsky Theatre in St Petersburg, Russia.

Information collected includes but is not restricted to:

– data of our members that we retain, being names and addresses and category of membership.

– the names and addresses of our supporters, including the event supported and the amount of the support. We retain the names and addresses of attendees of our events and which event they attended.

– The Trust retains the names of artists the Trust has supported along with the amount of the support and the reason for the support, along with the names of the artists that the Trust has presented in Trust projects and core activities.

The Trust is committed to recording accurate personal data which primarily consists of the information on the membership, event application form or those with a legitimate interest (name, address, telephone numbers, email addresses). The Trust may also record whether an individual or individuals have attended an event in the form of application forms for events. Any documents recording a date of birth to establish eligibility for a concessionary rate will be destroyed once the eligibility has been established.

The Trust does not collect sensitive personal data such as genetic, biometric or health data nor information on race, ethnicity, religion, political persuasion, or sexual orientation. Such sensitive data is known in GDPR as special category data. The Trust may use your data to enhance your experience of Trust events with reference to your any personal preferences, interests and geographical location.

Information security is a major national and international concern. The way the Trust has set up password access and protocols is believed to be at an appropriate level but the Trust does not claim it is hacker-proof. The Trust also uses the latest versions of anti-virus and firewall software. This aspect of processing is being reviewed at least annually as well as whenever there is a high-profile report of data breach. In the event of there being a data breach the Trust undertakes to inform you (as well as any relevant authority) not later than one month of the Trust becoming aware of the breach. The Trust does not believe that the data it holds give rise to any need to report a breach to the Information Commissioner’s Office within 72 hours but it is conscious of the possible need to do so. Paper records are also held securely.


Your personal information will not be shared with or sold to any other organisation.

Our website sometimes contains links to other websites that are not owned or controlled by the Trust. The Trust is not responsible for the content or the privacy policies of these sites.

The Executive of the Trust (employees of the Trust) is the principal processor of your data. Book-keeping is done by an independent sub-contractor on whom required legal obligations have been imposed in relation to processing data. The Trust’s IT consultant also needs to access data from time to time but always under supervision. The Trust’s Trustees may also wish to look at data from time to time.

The Trust will not be able to release personal data about data records held to another party, not even a telephone number or email address.

When you attend functions or events organised by the Trust the venue will normally, for security and practical reasons, want a list of names.

The Trust does not knowingly transfer your data outside the EU and requires all its suppliers not to make such transfers. The ultimate location of computer servers or information stored on ‘cloud servers’ can make this apparently simple commitment difficult to enforce.


The Trust intends to hold your data throughout the period of your membership. In the case of resignation, for up to 6 years for archival purposes. Information held on paper is kept for six years.


Your information is stored and processed electronically and in manual filing systems. We protect all personal data to the best of our abilities and we employ robust computer security measures and office premise security to ensure that your data remains safe.


The Trust will be what is known as the ‘Controller’ of the personal data you provide to us and hence responsible to you for the processing of that data. We can be contacted at

If at any point you believe the information we process on you is incorrect or you object to our processing of that information, you can request to see this information and have it corrected or deleted. If you wish to raise a complaint on how we have handled your personal data, you can contact us by email at or by post at the Trust’s registered address (as given on the contact page of our website) to have the matter investigated.

If you are not satisfied with our response, or believe we are processing your personal data not in accordance with the law, you can complain to the Information Commissioner’s Office by email at Complaints can also be made via the helpline +44 (0)303 123 1113 or in writing to the Customer Contact, ICO, Wycliffe House, Water Lane, Wilmslow, Cheshire SK9 5AF.

Whenever this policy is updated an updated version will posted on the Trust website and a notification sent to members. This policy will be reviewed annually.

Protected: Mariinsky Ballet and Orchestra

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Tchaikovsky Competition

15TH JUNE – 3RD JULY 2015


Piano: Dmitry Masleev
Violin: Yu-Chien Tseng (Second Prize – no first awarded)
Cello: Andrei Ionuț Ioniță
Female Voice: Yulia Matochkina
Male Voice: Ariunbaatar Ganbaatar (also winner of the Grand Prix)

The International Tchaikovsky Competition, first held more than 50 years ago, is not only a valuable asset of Russian musical culture but is also one of the major events in the international music community. The International Tchaikovsky Competition is held once every four years. Valery Gergiev has been Co-Chair of the Organizing Committee since 2011.

The first, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which was held before the main competition.

This year there are over 600 applicants from 45 countries.

Past competitions have produced such renowned musicians as:
Pianists: Van Cliburn, Vladimir Ashkenazy, Mikhail Pletnev, Peter Donohoe, Barry Douglas, Grigory Sokolov, Denis Matsuev, Daniil Trifonov
Violinists: Viktor Tretiakov, Gidon Kremer, Victoria Mullova
Cellists: David Geringas, Nathaniel Rosen, Antonio Meneses, Mario Brunello
Singers: Evgeny Nesterenko, Elena Obraztsova, Deborah Voigt

The competition will be streamed live on the internet by Medici

Full details of the competition, repertoire, timings of rounds, results, awards etc. are available at:


On the Jury:

Voice: Olga Borodina, Larisa Gergieva, Mikhail Petrenko


The young singers below, competing in this year’s competition, have all appeared in past Mariinsky Theatre Trust “Gala Recitals by Young Singers of the Mariinsky Theatre” at Drapers’ Hall:

Irina Shishkova Soprano 2010
Gelena Gaskarova Soprano 2012
Grigory Chernetsov Baritone 2012
Yulia Matochkina Mezzo-soprano 2013
Roman Lyulkin Bass 2014
Antonina Vesenina Soprano 2014
Ilya Selivanov Tenor 2015

Xander Parish

  • Recipient of the Young British Dancer of the Year award (2nd prize, London, 2004).
  • Prize-winner at the Adeline Genée International Ballet Competition (Silver Medal, Athens, 2004).
  • Recipient of Ursula Moreton Choreographic Award (Royal Ballet School, 1st prize, 2003).

Born in Yorkshire (Great Britain).
Graduated from the Royal Ballet School in 2005.
Joined the Royal Ballet Company in 2005.
Between 2006 and 2009 he toured with the company to Spain, Mexico, the USA, Turkey, China, Japan and Cuba.

Joined the Mariinsky Ballet in January 2010.
He made his Mariinsky Theatre debut as Béranger in the ballet Raymonda.

Repertoire includes:
Giselle (Count Albrecht); choreography by Jean Coralli, Jules Perrot and Marius Petipa,
Swan Lake (Prince Siegfried, the Prince’s Friends); choreography by Marius Petipa and Lev Ivanov, revised version by Konstantin Sergeyev,
La Sylphide (Youths); choreography by August Bournonville, revised version by Elsa-Marianne von Rosen,
Raymonda (Béranger); choreography by Marius Petipa, revised version by Konstantin Sergeyev,
Chopiniana (Youth); choreography by Michel Fokine,
The Fountain of Bakhchisarai (Polish Youths); choreography by Rostislav Zakharov,
The Nutcracker (Elegant Cavaliers); choreography by Vasily Vainonen,
Spartacus (Satyr); choreography by Leonid Yakobson,
Romeo and Juliet (Romeo, Paris, Troubadour); choreography by Leonid Lavrovsky,
Études; choreography by Harald Lander,
Apollo (Apollo), Serenade, Symphony in C, Jewels (Emeralds, Diamonds) and Piano Concerto No 2 (Ballet Imperial), A Midsummer Night’s Dream (Demetrius); choreography by George Balanchine,
Sylvia (Aminta); choreography by Frederick Ashton,
Anna Karenina (Tushkevich); choreography by Alexei Ratmansky,
Without; choreography by Benjamin Millepied,
Le Parc; choreography by Angelin Preljocaj
Intensio; choreography by Yuri Smekalov.

Repertoire also includes:
Schéhérazade (the Slave); choreography by Michel Fokine.

Has toured with the Mariinsky Ballet to Germany, the USA, Canada, Great Britain, Italy and the United Arab Emirates.

Xander Parish is supported by the Mariinsky Theatre Trust.

Read about Xander in The Telegraph

Xander’s upcoming performances at the Mariinsky

Les Troyens

Les Troyens

Music: Hector Berlioz
Libretto: Hector Berlioz after Virgil

Mariinsky Opera

28-30 August 2014
Festival Theatre
13-29 Nicolson Street
Edinburgh, EH8 9FT


Photo: Marie-Noëlle Robert/Théâtre du Châtelet
Cassandre: Mlada Khudolei

Didon: Ekaterina Semenchuk (28 & 30 August); Yulia Matochkina (29 August)

Enée: Sergei Semishkur (28 & 30 August)

Chorèbe: Alexei Markov (28 & 30 August); Vladislav Sulimsky (29 August)

Narbal: Yuri Vorobiev

Valery Gergiev Conductor
Yannis Kokkos Director

Love and war; obedience and loyalty; fate and freedom. Berlioz’s visionary Les Troyens is opera on an epic scale and deals with some of mankind’s profoundest questions in a work of exceptional power and sensual lyricism.

From the Trojans’ dutiful acceptance of the famous wooden horse into their beseiged city through to Enée’s flight to Carthage and beyond, the opera presents an awe-inspiring vision of the ancient world in music both monumental and intimate, glittering and solemn.

Les Troyens shows Berlioz at the height of his dramatic powers, in a work whose scale and ambition approach those of Wagner’s Ring cycle.

Valery Gergiev conducts the exceptional performers of his Mariinsky Opera, last heard at the 2011 Edinburgh International Festival in the acclaimed production of Strauss’s Die Frau ohne Schatten, in a spectacular, colourful production by the celebrated Greek-born director Yannis Kokkos.

Supported by Dunard Fund and James and Morag Anderson

Production Sponsors:
          BPlbgCC               rosneft-troyens

Supported by:

Barbican – November 2014

Modest Mussorgsky: Boris Godunov (Original version 1869)

Gergiev_orchestra_chorus (1)Web
3 November 2014 – 19:00 – Barbican Hall

Mariinsky Opera
Valery Gergiev conductor

Cast to include:
Mikhail Kazakov Boris Godunov
Mikhail Petrenko Pimen
Evgeny Akimov Prince Shuisky
Alexei Markov Shchelkalov
Andrei Popov Simpleton

‘Weep, weep, O soul; soul of poor Russia’. Mussorgsky’s Boris Godunov is Russia’s national epic: the story of a ruler and the ruled, of splendour and suffering, and the all-too human price of power. It is one of the supreme achievements in Russian opera; and this concert performance by the Mariinsky company under Valery Gergiev – surely the greatest living conductor of Russian opera – is the first of two very different operas being performed in the Mariinsky’s Barbican residency: a nation looking deeply inwards, just as Shchedrin’s The Left-Hander looks to the West.


Rodion Shchedrin Levsha (The Left-Hander) – UK premiere

V.Gergiev and R.Shchedrin at the Mariinsky Concert Hall (c) by V.Baranovsky

4 November 2014 – 19:00 – Barbican Hall

Mariinsky Opera
Valery Gergiev conductor

Andrei Popov The Left-Hander
Edward Tsanga Ataman Platov
Vladimir Moroz Tsar Alexander I / Tsar Nikolai I
Kristina Alieva The Flea
Maria Maksakova Princess Charlotte
Andrei Spekhov English Under-Skipper

After Boris Godunov, Valery Gergiev and his Mariinsky forces present a Russian opera from the opposite extreme of the Russian soul. Rodion Shchedrin’s The Left-Hander is a comic tale of Russians and Englishmen, of new technology, old traditions, and strong drink. Specially written for Gergiev and the Mariinsky – who gave its premiere in July 2013 – this is the first UK performance of this exuberant, savagely funny satire in the tradition of Gogol and Shostakovich.


Mariinsky Chorus

5 November 2014 – 19:30 – Milton Court Concert Hall

Mariinsky Chorus
Andrei Petrenko conductor

Programme to include:
Russian Orthodox Sacred Choral Music
Valery Gavrilin Perezvony (Chimes)

Like every part of the Mariinsky company, the Mariinsky Theatre Chorus is a virtuoso ensemble in its own right. Tonight, as a complement to the two operas in the Mariinsky’s Barbican residency, Chorus Director, Andrei Petrenko, explores Russian Orthodox sacred choral music and folksong, the twin traditions that inform Shchedrin’s and Mussorgsky’s operas – including Valery Gavrilin’s remarkable Perezvony, a large-scale choral fresco deeply rooted in Russian folklore, and almost never heard in the West.

The Ring

Birmingham Hippodrome, in association with the Mariinsky Theatre Trust, will present Wagner’s epic Ring Cycle conducted by Valery Gergiev with his world-famous Mariinsky Opera

DAS RHEINGOLD – Wednesday 5 November 2014
DIE WALKÜRE – Thursday 6 November 2014
SIEGFRIED – Saturday 8 November 2014
GÖTTERDÄMMERUNG – Sunday 9 November 2014


“This promises to be one of the hottest opera tickets of next year in Britain, so book as soon as you can.”
Robert Thicknesse, Opera Now


GdungFrom the world’s beginning to its cataclysmic end: in Der Ring des Nibelungen, Richard Wagner forged a myth for his own time and ours, and created a totally immersive musical and dramatic event.

The Ring is a tale of gods and heroes, dwarves and giants – yet its characters are driven by passions that are all too human. The theft of magical gold from the depths of the River Rhine and its forging into the Ring sets in train the story of a world corrupted by greed and the lust for power that may only be redeemed, finally, by an act of selfless love.

To convey this epic tale, Wagner composed music of overwhelming power and beauty. It is hardly an exaggeration to say that almost every film score ever written owes something to Wagner’s approach to The Ring. From the mysterious opening that sets the waters of the Rhine and the story in motion, to the thunderous Ride of the Valkyries, to love music that can be inexpressibly tender or shockingly erotic, to the thrilling climax of the whole cycle, when one world ends and another begins – this is the journey of a lifetime.

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Production photos © N.Razina

Protected: Ring – draft

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Milton Court

Mariinsky Chamber Series 2013-14

In 2013-14 the Mariinsky is delighted to participate in the inaugural season of London’s new chamber concert hall, Milton Court, situated next to the Barbican Centre. As part of its classical music programme, the Barbican will present 40 chamber concerts per season at Milton Court, which will also become a fantastic new facility for the Guildhall School of Music and Drama. For this opening season, Valery Gergiev has chosen to showcase a different side of the Mariinsky, presenting concerts by three Mariinsky chamber ensembles. These ensembles each comprise principal musicians from the string, wind and brass sections of the Mariinsky Orchestra. The series will be launched by Valery Gergiev, conducting the Mariinsky Stradivarius Ensemble.BP-UK-tour-logo-cropped



4 November 2013, 7.30pm – Mariinsky Stradivarius Ensemble
Conductor: Valery Gergiev

Grieg Holberg Suite
Strauss Metamorphosen
Shostakovich Chamber Symphony Op.110a

Music for strings like you’ve never heard it before: the very best string players from the Mariinsky Orchestra on some of the world’s very best instruments, at one of London’s newest concert venues.

The Mariinsky Stradivarius Ensemble has a sound like none other, thanks to the fact that they are lucky enough to play on some of the most famous and historic instruments by Stradivari, Amati, Guarneri, Gofriller and others. Valery Gergiev, their founder, conducts his renowned ensemble in music of strength, depth, beauty and brittle energy.

“Try to imagine your favourite combination of power, softness and luxury — dark chocolate and whipped cream, iron fists in velvet gloves, a sports car lined in rich leather — and you can begin to imagine the experience of hearing the Stradivarius Ensemble of the Mariinsky Orchestra.” John Terauds Musical Toronto (October 2012)


February 19, 2014 – Mariinsky Brass Ensemble

Rimsky-Korsakov – “Procession of the Nobles” from Mlada (arr. Keith Snell)
Mussorgsky – Fantasy on themes Khovanshchina (arr. Alexei Repnikov & Evgeni Petrov)
Bizet/Shchedrin – Carmen Suite


March 20, 2014 – Mariinsky Wind Quintet

Paul Taffanel Quintet in g minor
György Ligeti Six Bagatelles
Darius Milhaud Suite “La cheminée du roi René” Op.205
W. A. Mozart Fantasia in f minor for mechanical organ KV 608 (arranged for wind quintet)
Evgeny Petrov The Premiere (2002)

Protected: Goldsmiths’ Hall Gala Recital

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