After scandals surrounding failed productions, the chief ballet master of the Opera and Ballet Theatre was accused of plagiarism

Igor Kolb. Photo: National Opera and Ballet Theatre of Belarus

According to Gabyshev, a year and a half ago, he proposed a concept for a ballet about Chagall to the management of the Belarusian theatre. He personally came to Minsk, met with director Ekaterina Dulova and Igor Kolb, and then presented a detailed libretto and visual sketches.

"A year and a half ago, I was told: 'The Belarusian theatre is interested in ideas. Here's the general director's number — be sure to write!' As a choreographer, I was, of course, thrilled. This is a chance! Especially since I know the guys — talented artists I wanted to collaborate with. I started thinking: what to offer?

And then, wandering through ideas, it struck me: what if I tell the story of Marc Chagall? A brilliant artist from Vitebsk, whose paintings breathe with a Belarusian soul — flights of lovers, green cows, fiddlers on rooftops. The theme of true love, creative conflict, and art — ideal for a ballet!

Imagine: "Chagall: Flight Over the City." In two acts — from his birth in fire-engulfed Vitebsk, from his search for himself in art, from love at first sight with Bella (his muse for life), where not everything is so simple: he is poor, she is from a rich family, but the heart triumphs. To the battle of styles with Malevich in revolutionary Vitebsk. Colorful canvases come alive in dance, Suprematist squares contend with Chagall's poetic lines, and the finale is a grandiose ascent over his homeland to Belarusian motifs. And his wonderful ceiling painting at the Opéra Garnier — that's a true ballet within a ballet, brought to life on the ceiling! Each sector — its own whirl of color, its own melody, its own harmony, and its own captivating story. A plotless grand pas ("Grand Pas: Ceiling Painting") that soars in flight.

This is a wonderful theme for a contemporary ballet: with diverse plasticity, combined with Belarusian folklore and Jewish melody. And most importantly — the theme of conflict: it's not politics, not revolution, but a duel of styles — Chagall's colorful embrace against Malevich's icy squares. This can be perfectly shown in various choreographic styles!" Gabyshev writes with enthusiasm.

He wrote to the theatre, and received a reply: "Yes, we are very interested in new ideas. Come, this is not a phone conversation. Tell us in person!"

He went to Minsk, met with the director and the theatre's chief choreographer.

"They listen to the ballet idea, but have doubts: 'Does the Belarusian government view Chagall favorably?' I argue, as if, yes, that even a Belarusian cartoon from 2016 was created 'with the support of the ministry'!

They ask for sketches, costumes, set designs, a full estimate. I say: 'I'm not a stage artist, I'm a choreographer; that's exactly why I came — to create a team, if the idea is liked.' I leave with nothing, but afterwards they write: 'Describe the libretto in detail.'

For about a month, I develop, create a presentation, send them the plan: acts of the performance, visuals. I even found a strange sketch by Chagall himself — a village, inverted in the sky, his beloved Vitebsk and his childhood room!"

The answer: the script was liked, requires discussion. Plans for 2025 are closed, for 2026 — "under consideration."

But a few days ago, Gabyshev's friends wrote to him that the theatre had officially announced a future production about Chagall in '26.

"I: 'That's wonderful!!!' "But it will be staged by the theatre's chief choreographer — Igor Kolb, and they are already developing sketches for decorations and discussing music with the conductor."

What a surprise! They took it..." Gabyshev writes.

He adds that it's a strange coincidence that precisely after his visit to the theatre, the management and chief ballet master Kolb came up with the idea for a performance about Chagall.

"I understand that in creative circles, unfortunately, there are many such ungrateful stories. But this is the first time I've encountered such disrespect, injustice, and creative deception — everything was quietly decided behind my back, without even trying to inform me in any way," he adds.

Igor Kolb was born in Pinsk and graduated from the Belarusian State Choreographic College; already in his 3rd year, he began performing on the stage of the Opera and Ballet Theatre in Minsk. But he became a star in Russia — from 1996, he worked in St. Petersburg at the Mariinsky Theatre.

In 2022, Igor Kolb — Honored Artist of Russia — returned to Minsk. Here he was made chief ballet master. The man said that accepting the offer was not very easy — as his family did not want to move anywhere from St. Petersburg.

This April, audiences already expressed outrage at his vision of the ballets "Bolero. Carmen." The public then felt that the new ballet master had "desecrated something sacred" and demanded the return of Valentin Elizariev's production.

And at the end of the year, Kolb's "Nutcracker" gathered so many negative reviews that people even asked on social media if it was worth returning tickets for 250 rubles in advance.

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