Random impressions:
The fast cuts on that music toward the beginning were cool, but they were also a bit gimmicky and a bit jarring. I think it would have been better to build toward that a little more, or possibly even reduce the pace of those edits so that it wasn't at such odds with the rest of the piece. Newsshooter3 is right about the pace. You had that rapid fire editing, and then you had shots of the puppets that ran several seconds. They seemed really slow after that.
Also, those long wide shots of the puppets begged for sequences. They were involved in motions that you could have snapped in to get in close-up and snapped back to make sequences--that is, assuming you keep your zoom on manual to allow you to do that. Often on something like this you can snap in, snap out, snap in and snap out, then end up with a four shot sequence just by cutting out the snap zooms. It takes practice to get it right, and sometimes you f*ck it up even when you're good at it. But that's how some of those pieces you see on the contest tapes that look staged because of the nearly perfect sequences get done without actually staging.
I have to take you to task for the jump cuts at the beginning. We see the conductor on the podium. Then we see him in an interview. Then we see him on the podium again. That first cut begged for a cutaway, perhaps of a shot that would establish the scene.
Once you established those two interviews, I think you could have covered most of your bites. Their voices were distinctive enough from each other that we know who's talking. About 2/3 of the way through, for example, you have a fairly long shot of the conductor's interview talking about "these Russian fairy tales." I think you could have covered most of that shot, if not the whole thing.
I also would have liked just a bit more information. For example, what Russian fairy tale? The girl says the piece is difficult to play. What piece? It's not too difficult to get your interview to say that information on camera. Most of the questions an audience will have about what's going on here will be answered by the visuals, but there were a few more details that you could have added to fill it out. Remember, this is still news.
From a more "personal tastes" standpoint, I like to see faces. Viewers usually identify more with faces than with mechanical things. I would have liked to have seen closer shots of the faces of both the puppeteers and the musicians during the sequences focused on them. Those puppeteers especially were probably intensely concentrating, but we didn't really get a chance to see that reflected in their faces.
Taking that a step further, I think I might have liked to have heard from one of the puppeteers. It might have made nice symmetry to hear the musician talking about the puppets (as you had in the piece) and a puppeteer talking about the music (which was missing). That would probably mean you would need to drop the conductor for time, but I don't think I would have minded that.
Overall, it was a good piece. You entertained me, and that's difficult.