“… Islom Baimuradov stated at the time, "why wasn't the ballet administration consulted ... in what was needed in terms of rehearsal space?"
Islom Baimuradov could better ask his own boss - the head of the ballet company: what was the ballet administration doing during all those seven years? Why couldn’t they demand that the ballet company’ requirements are taken into account?
When a project is started, there's a project sponsor, and if the project sponsor indicates that a certain group's requirements are out-of-scope, usually those requirements aren't discussed or their input sought. The head of the ballet company reports to Gergiev, and if Gergiev made it clear that the ballet was not to be consulted, the ballet would not be consulted. Mr. Baimuradov's boss possibly could have gone over Mr. Gergiev's head, but that only works if someone over Gergiev was ready to listen.
But if a building to house a school does not have classrooms, then corruption alone is not a sufficient explanation for the senseless design, although it is likely a factor.
I'm not saying that the reason for the lack of studio space for the ballet was corruption: from David Remnick's article
on the Filin attack in The New Yorker
[Alexander] Budberg [“a man of business, who is married to Natalya Timakova, one of Medvedev’s closest aides"] was forthright about the rebuilding of the Bolshoi. The Russian press has reported that the six-year project—which rescued the foundation, doubled the size of the complex, improved the acoustics, and modernized its stage—ran well over its initial cost projections. Indeed, according to an official audit, the costs were sixteen times as high. Budberg himself estimated the bill at nearly a billion dollars, and volunteered that, especially in the early years, many millions went to shady contractors, inspectors, venders, and bureaucrats.
Budberg talked about a contractor who was involved early on in the project. He smirked. “The guy was a crook,” he said. “But he didn’t have the scale to steal on a huge scale! He stole what he could, but he couldn’t steal enough! A lot of money that was budgeted was still there. So we were lucky. We got it done.”
This was Russia. Only the naïve flinch at brazen corruption. When I asked another member of the board of trustees about bribes, thievery, and waste at the Bolshoi, he shrugged. We were at a café near the theatre that was a hangout for dancers, models, and the businessmen who love them. The board member was shocked no more by the notion of financial malfeasance than he was by the fact that the young woman at the next table was evidently applying manual pleasure to her date.
However, it is possible for the crooks to have the "scale to steal on a huge scale," and corruption alone could explain it, in that if corruption drains enough resources, and because the resources are constrained, scope suffers.
I do think that the ballet's needs were not taken into consideration because they had whatever facilities existed in the Main theater and Gergiev was counting on using the school for the main company during the renovation of the building. A renovation of the Main theater did not just pop into someone's head recently.
Likewise, the above claim that Gergiev favors the opera and treats ballet as a slave, does not sufficiently explain the intentional creation of a space that lacks studios to permit the training of dancers who are the cash cows whose slave labor funds the beloved opera. One must still build a barn to house the horses who draw the carriages, even if one does not adequately or completely feed the horses.
Dorofeeva did not say that Gergiev was planning the throw the ballet out onto the street: it's a question of being ousted from their premises because they're convenient to the ballet, which is generating the revenue. I'm sure Gergiev will find a barn to put them in.
It will be interesting, because if they're taking in paying students, I'm not sure how happy the high-paying parents will feel about their children taking classes in the new barn, instead of the venerable old one.