On Saturday February 26, at the salutes ofHelp, Ukrainian soprano Liudmyla Monastyrska and Russian mezzo-soprano Ekaterina Gubanova fell into each other’s arms, while the Neapolitan audience at the Teatro di San Carlo chanted “Pace, pace, pace! “. A symbolic hug, which does not hide a less pleasing reality, that of the boycott of Russian musicians.
Witness the appeal launched on Wednesday 9 March by nine heads of Ukrainian organizations demanding, in an open letter, that Russia be immediately expelled from Opera Europa, a professional organization bringing together opera companies and festivals in Europe. “Many Ukrainian artists (…) find themselves in a situation where their well-being and even their lives are threatened on a daily basis. Our museums, theatres, philharmonies and concert halls are bombarded daily – in particular, the Kharkiv National Opera, a member of Opera Europa, which has already been damaged by Russian artillery fire”, underline the signatories, who call on Russian cultural institutions and their leaders to declare themselves publicly, under penalty of “choose the path of shame and isolation, keeping silence”.
The ultimatum and the immediate sanctions which targeted the Russian conductor Valery Gergiev, patron of the Mariinsky Theater in Saint Petersburg and proven supporter of Vladimir Putin, were not disputed by anyone. But the deprogramming of certain artists, even of works, raises questions. Thus, in Warsaw and Zagreb, Mussorgsky and Tchaikovsky were ostracized. The Wielki Theater has canceled Boris Godunov. “We are the National Opera, the Polish National Opera, said the director of the institution, Waldemar Dabrowski. Our head office is located in Warsaw, a city where the historical memory of the first bombs that fell during the Second World War is still alive. We are experiencing a war in Ukraine, as well as the suffering of the Ukrainian people. (…) Therefore, we are canceling the premiere of Boris Godunov, on April 8, as well as all other performances. »
In Croatia, two scores by Tchaikovsky were removed from a concert by the Zagreb Philharmonic Orchestra on February 24, in “solidarity with the Ukrainian people”. Ditto in Switzerland, where the Orchester du Théâtre Bienne Soleure has just interrupted the performances of Mazeppa.
Career in jeopardy?
The manifestation of indignation is, of course, legitimate. But what about the warnings given to Russian artists, on pain of seeing their careers compromised? If an orchestra in Maryland canceled the visit of violinist Vadim Repin, “out of respect for his apolitical position (…) and out of concern for his safety and that of his family.” – it would seem that threats have been received – other artists, in particular young people, have been turned away without further ado.
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