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These books will be helpful for all who are interested in the history, culture, and art of Russia yet besides being useful, they are enthralling.
 

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SAINT PETERSBURG TOPONYMY ENCYCLOPEDIA.
City. Suburbs and outskirts: Ten thousand city names.

Hard cover, 808 pages, 150 schemes.

The comprehensive history of Saint-Petersburg avenues, squares, alleyways, rivers, canals, islands and bridges at its modern territorial division borders including main suburbs and outskirts. All present, existed at any time and even designed and designing streets are included into encyclopedia. Each name interpretation is given; the street location, its naming and renaming dates are shown. For the first time full bridge data collection is presented, about 300 titles. It comprises more than 60 plans, territorial arrangement schemes, six indexes. The book is winner of publishing projects competition for Saint-Petersburg 300-th anniversary.

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SAINT PETERSBURG – MOSCOW. In space and time journey by railway.
Cover, 160 pages, with illustrations.

At the end of 2001 Saint Petersburg – Moscow trunk-railway is 150 years of age. The original guidebook is dedicated to this date; it has explicit information with interesting details from pre-revolutionary guidebooks about railway projecting and building history, about its founders, about two major terminuses in Saint Petersburg and Moscow, about each railway station (while in all it's 51). It is a great deal of present real things in the book. Particularly modern high-speed expresses servicing the railway today are mentioned. Unique photos from history funds and archives successfully complete the guidebook content. The modern design, quality foreign printing trades make this book an excellent unforgettable gift for everyone who at least once used Saint Petersburg - Moscow trunk-railway.


 
: XVIII . [Russkaya Starina: Putevoditel po XVIII veku].

RUSSIAN ANTIQUITY (Russia in days of yore): a Guide through the 18th Century
Hard cover, 384 pages, 100 unique illustrations.

A colourful picture of events, reflected in authentic documents and accompanied by the author's appraisal and commentary, along with excerpts from memoirs and anecdotes of the time, offers the reader suprising and captivating insight into different aspects of Russian society of the time - from St. Petersburg to Moscow and the distant provinces.
The work is abundantly illustrated through portraits, official pictures of coronations and events, scenes of city life and relevant sketches. The illustrations form an important part of the work; organised chronologically, they help place I the reader in the events described.
The book is based on a famous periodical of the same name that was first published in Russia in 1870. The publication was extremely popular and was well subscribed to throughout the world; it was respected as a periodical because it gave a true and interesting portrayal of life in the previous century. The same may be said about the present work's depletion of Russia. Topics include the Imperial Court, conspiracies and intrigue, politics, social etiquette, culture, social relationships, fashion, terminology, current events in Europe and much more.
The magazine was abolished in 1918, its pages ignored for over seventy years. Approximately five hundred individual issues have been preserved at the Russian Academy of Sciences and in some of the largest libraries in Europe and America. In the book Russkaya Starina the nineteenth century publication of the same name returns to life in the form of an original anthology of Russian life in the eighteenth century.
The book's author/compiler is the respected St. Petersburg scholar and writer Alexander Kurgatnikov, who has authored a number of works on the history of Russia - each written in original documentary style. The author presents authentic documents in full and combines them with his own fresh, incisive commentary, thus giving the reader a comprehensive depiction of the historical period under review.

RUSSKAYA STARINA is, in every respect, a guide to historical Russia, whose past helps us better understand her present.


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220 ., ., 215290,
LOMO. Through a prism of time.
Author team.
Cover, 220 p., with illustrations.

Every new day of each coming year will add new passages to the kaleidoscopic history presented in this book.
With the same enthusiasm and resoluteness that LOMO has lived its history up to the present day, so too will the lines added to the company's future chronicles become an essential part of the history of the Russian optical industry, part of the destiny of our glorious city on the River Neva.
And, as well, part of the destiny of future generations.
For they are after all the ones who will look back through a prism of time and evaluate, the wisdom of the path chosen today for the LOMO of the twenty-first century.

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" " [Rokovye Gody Rossii]
The Fateful Years of Russia Series

The series is intended to bring to you the documental and artistically original history of Russia, her development, ups and downs - the whole life of the country in its fateful years - through centuries.
The first cycle of the series represents the "St. Petersburg period" in Russian history, which now is especially appropriate, the city nearing its 300th anniversary in 2003.
Of course, "the fateful years" does not mean that only tragic events are described in the books. The authors, while leading their readers through the events of any particular year, present the widest panorama of life in its characteristic everyday details and all its multicolored variety. The events of great significance mingled with and contrasted to everyday occurrences become full-bodied and are far more emotionally remembered.
What makes this series different from great many other historical books is that it is enriched with a large number of authentic and rare documents and other illustrations, which, as a rule, are unique.
The authors of the series include well-known writers and historians whose profound knowledge is well supplemented with great narrating ability.
 


 
THE YEAR 1740. A Documentary Chronicle.
Hard cover, 176 pages, 30 illustrations.

Many tragic and significant events occurred within this "quiet" year. Among these were one of the most awful political trials, that of Artemy Volunsky and his confidants; the death of the cruel sovereign, the empress Anna Ioannovna, and her mysterious will; the coronation of two months old Ivan Antonovich; the first regency in Russia, that of Ernest Byron, and the following attempts at overthrowing him; finally the midnight rebellion of the field marshal Minikh, his downfall, and the reign of Anna Leopldovna followed by the first in Russia period of liberalization, a still mostly obscure time in history.


 
THE YEAR 1762. A Documentary Chronicle.
Hard cover, 288 pages, 35 illustrations.

The year was full of especially significant events: the death of the empress Elisabeth; the ascension to the throne of Peter II; a number of the emperor's little known yet significant reforms; the successful plot to dethrone and kill Peter III; the first moves of the new empress, Catherine II, and the rise of her adherents; the new policies of Russia in her relations with Europe; the preparation of reforms; finally the gradually established "soft" personality cult of the empress.

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[Imperatorsky Mikhailovsky Teatr]. , .
THE IMPERIAL MIKHAILOVSKY THEATER. The book is in Russian, English, and French; album size, hard cover, 216 pages, 75 illustrations.
Described in the book is the complete history of the famous Mikhailovsky Theater (1833-1918) where French and German dramatic troupes performed. Its history is represented in the wide context of public movements and events, changes in the country and in the emperor's palace, the love and hate of the public, and conflicts both on the stage and behind the scene, all the colorful and multisided variety of life.
When talking about the soul of St. Petersburg and the city's special culture combining Russian and European traditions, we immediately think of the Hermitage or the baroque architecture by Rastrelli, yet we should just as well remember the Mikhailovsky Theater, which has been so little known-until now
Alexander Kurgatnikov, a well-known St. Petersburg playwright and prose writer, authored the book.

From the Publisher
The St. Petersburg Moussorgsky State Academic Opera and Ballet Theatre and the LIC Information & Publishing Agency proudly present this unique book, dedicated to one of the most interesting theatres in Russia. This book is the first half of an original "dilogy" dedicated to the Mikhailovsky Theatre. (The second half tells the story of the Moussorgsky Theatre, from its formation in the 1918 right up to the present day.)
The album conjures up the magical atmosphere of the theatrical and artistic life of St. Petersburg in the nineteenth and early twentieth centuries. The Mikhailovsky Theatre made a special contribution to this atmosphere, recreated here in the fresh and vivid archive materials that constitute the heart of the narrative - excerpts from theatrical journals, books, newspapers, memoirs and personal notes. Combining with the author's text and the unique illustrations, these materials impart a sense of dynamism to each chapter and individual episode.
Realising that the publication will be of interest to Russian and foreign readers alike, the publishers have included abridged versions of the text in a separate section in English and in French. The legends to the illustrations are grouped separately in English and in Russian.

Introduction
In the nineteenth and early twentieth centuries, the panorama of the cultural life of St. Petersburg was largely that of its theatres. This book is dedicated to just one of them, the Mikhailovsky, or, as it was otherwise known, the French Theatre (1833-1918), of which today the residents of St. Petersburg know very little, if anything at all. Their pre-revolutionary predecessors, however, could not have imagined their city without it.
The Mikhailovsky Theatre had two official troupes, both under the authority of the Imperial Theatres Company.
A French troupe performed three days a week, while a German company performed twice a week. Their languages were, correspondingly, French and German.
Le Theatre Michel, as it was affectionately called in the French manner by Peterburgians, was the smallest and, according to contemporaries, the most charming of all the Imperial theatres. Its interiors were marked by a special elegance and perfection of form; its performances were stylistically expressive and original. There were many outstanding masters among the French actors who gave their best years to St. Petersburg and who, at other times in their careers, adorned the stages of the Comedie-Francaise and the other finest theatres of Paris. The Michael Theater, as it was called on those days when the German company performed, also boasted many outstanding artists from top German companies.
It was the Mikhailovsky Theatre where touring foreigners came to perform, including the most celebrated European stage lions and lionesses. Among them were many names, the subjects of numerous legends, known to all those interested in theatrical art. From its early days, the Mikhailovsky Theatre often lent its stage out to the actors of its closest neighbour, the Imperial Alexandrinsky Theatre. All the classic artists of the Alexandrinsky company and, not infrequently, Russian operatic and ballet stars from the third Imperial Theatre in St. Petersburg, the Mariinsky, performed on the Mikhailovsky stage at one time or another. Visitors from Moscow, the actors of the Imperial Maly Theatre, also came here. Later, from 1906 to 1915, the Mikhailovsky also played host to the annual St. Petersburg residencies of the Moscow Arts Theatre.
For many decades, the Mikhailovsky Theatre was the embodiment of a unique experience as the place where three great schools of theatrical aesthetics - French, German and Russian - came together. The only way for us to learn anything about that life and that culture would be to resurrect the experience in the artistic lives of all these countries and all Europe

 


 
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[Sankt-Peterburgskiy Gosudarstvennyi akademicheskiy teatr opery i baleta imeni Musorgskogo]. , .

THE ST. PETERSBURG MOUSSORGSKY STATE ACADEMIC OPERA AND BALLET THEATER. The book is in Russian, French and English, album size, hard cover, 228 pages, 82 black and white and color illustrations.
The second book of a dilogy, if we allow ourselves such a term, tells of the further history of the theater in the Arts Square, from 1918 through 2000.
The readers of the book will learn about the creation of the operatic and ballet troupes and will encounter on its pages such masters of Russian culture as Meyerhold, Mayakovsky, Shostakovich, and Prokofiev who cooperated with the theater. The most attention is paid to the years, which were landmarks in its history while out of a "Soviet operatic laboratory" it grew to become a full-fledged artistic team with its own inimitable style.
The authors of the book are well-known St. Petersburg drama and music masters, members of the Academy of Theatrical Art, the Russian Institute of the History of Arts, and the N. A. Rimsky-Korsakov conservatoire.

From the Publisher
This book tells the story of one of Russia's leading musical theatres - the Moussorgsky Theatre in St. Petersburg. Part of the city's inimitable culture, the Moussorgsky brings together the finest traditions of Russian and European culture. Its biography is indelibly linked to the history of its predecessor - the Imperial Mikhailovsky Theatre, where French and German dramatic companies performed for more than eighty years before the revolution. This publication is the second half of an original "dilogy" dedicated to the Mikhailovsky Theatre, where the history of the Moussorgsky began on 6 March 1918.
The album chronicles more than eighty years in the life of the theatre, from its formation in 1918 right up to the present day. It traces the creation of the opera and ballet companies, the theatre's quest for its own unique face, and the performances of acclaimed artists. The narrative is accompanied by unique documental and illustrative materials, including excerpts from theatrical journals, newspaper reviews, memoirs and photographs of various years.
The book has been compiled by a team of leading theatrical experts, critics and research assistants of the St. Petersburg State Academy of Theatrical Art, the Russian Institute of the History of the Arts and the St. Petersburg Rimsky-Korsakov State Conservatoire. The professional knowledge of the authors is embellished by personal accounts of past performances, lending a special flavour to the narrative.
As the information contained within the book is likely to be of interest to Russian and foreign readers alike, an abridged version of the text and a full list of illustrations are given in English.
The album contains a list of all premieres, from the first show in March 1918 right up to the last new production of the twentieth century in November 2000. The performers of all premieres and the total number of productions mounted over the years are also given.

Introduction
The St. Petersburg Moussorgsky State Academic Opera and Ballet Theatre occupies a special place in the cultural life of the city. Originally conceived as an experimental theatre, a "laboratory of Soviet opera", its aims and tasks were not always immediately clear. Perhaps that is why the theatre changed its name on so many occasions. From 1917 to 1920, it was known simply as the former Mikhailovsky. In 1921, it was the Maly Petrograd State Academic Theatre, renamed the Leningrad State Academic Maly Opera Theatre in October 1926. In 1939, its full title became the Leningrad State Order of Lenin Academic Maly Opera Theatre. In 1963, the theatre received the official status of not only an opera, but also a ballet theatre - the Leningrad State Order of Lenin Academic Maly Opera and Ballet Theatre. In 1989, the Maly was again renamed, this time after the famous Russian composer Modest Moussorgsky. In 1991, when the former name of St. Petersburg was restored to the city, the theatre finally became known as the St. Petersburg Moussorgsky State Academic Opera and Ballet Theatre.
The Mikhailovsky Theatre has enjoyed a happy fate in the twentieth century. The theatre of opera and ballet on the Square of Arts has occupied its own unique place in the life of the city and the nation's musical culture. Searching and experimenting, it has audaciously pointed the way forward to a new scenic tongue, seeking new forms for its musical shows. The aspiration towards a musical and stage synthesis, which lies at the very heart of traditional Russian musical theatre, the very principles that inspired that genius of Russian culture, Modest Moussorgsky, has, throughout the twentieth century, provided the impulse for the creative accomplishments that now constitute the pride and glory of the Moussorgsky State Academic Opera and Ballet Theatre in St. Petersburg.
The names of the leading masters of Russian culture are indelibly linked to the creative life of the theatre - composers Dmitry Shostakovich and Sergei Prokofiev, Dmitry Kabalevsky and Kara Karayev, Rodion Shchedrin and Sergei Slonimsky; conductors Samuil Samosud and Boris Haikin, Kirill Kondrashin and Eduard Grikurov, Alexander Dmitriyev and Yury Temirkanov; directors Vsyevolod Meyerhold and Nikolai Smolich, Alexei Kireyev and Emil Pasynkov, Emanuil Kaplan and Stanislav Gaudasinsky; choreographers Fedor Lopukhov and Leonid Lavrovsky, Boris Fenster and Leonid Jacobson, Igor Belsky and Konstantin Boyarsky, Oleg Vinogradov and Nikolai Boyarchikov; designers Alexander Golovin and Mikhail Bobyshov, Vladimir Dmitriyev and Simon Virsaladze, Valentina Khodasevich and Tatyana Bruni, Mikhail Levin and Valery Dorrer, Semyon Pastukh and Vyacheslav Okunev.
The theatre aspires towards scenically expressive action in both its opera and ballet productions. Smaller and cosier than the Mariinsky Theatre, the Mikhailovsky stage may not permit the mounting of vast pageants, yet its shows are always noted for their intense and sharp dialogue with the audience.
The main attributes of the theatre's shows are modern opera and ballet performances. The Moussorgsky State Academic Opera and Ballet Theatre does not intend to be an academy or museum of traditions; its calling is to open up new horizons, not only developing, but also forming the hallowed traditions of Russian musical and theatrical culture.

The LIC Information and Publishing Agency
4 Apraksin Lane, St. Petersburg, 191023 Russia
Telephone / Fax: +7 (812) 314-59-82, 315-35-92
E-mail: info@licpublish.ru


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