Moscow Operetta. Kyiv National Academic Operetta Theater State Academic Theater

Chief choreographer

Honored Artist of Ukraine Vadym Prokopenko (since 2011)

Chief choirmaster

Honored Art Worker of Ukraine Igor Yaroshenko (since 2014, since 2004 - theater choirmaster)

Lead Artist

Theater history

Founded in 1934 as the State Theater of Musical Comedy of the Ukrainian SSR. Since 1966 - Kyiv state theater operettas. Since 2004 - academic, since 2009 - National. The theater is located in the building of the former Trinity People's House, built in 1901-1902. designed by architect Gennady Antonovsky in the style of rationalism.

Between 1964 and 2003 the theater was run by eminent figures Ukrainian Art Borys Sharvarko, Oleksandr Barseghyan, Boris Ryabikin, Sergey Smeyan, Volodymyr Begma (ukr.)Russian, Victor Shulakov .

From 1980 to 2010, the People's Artist of Ukraine Oleksandr Segal was the chief choreographer of the theatre.

From 1970 to 1973, the People's Artist of Ukraine, Hero of Ukraine Yevgeny Savchuk was the choirmaster of the theater. From 1989 to 2014, Honored Art Worker of Ukraine V.N.Vorvulev was the chief choirmaster.

Since 2003, the theater has been headed by the Honored Art Worker of Ukraine, People's Artist of Ukraine Bogdan Strutinsky (ukr.)Russian. The main artist of the theater - Andrey Romanchenko (ukr.)Russian(in 2014).

In 2013, the Ivan Kozlovsky Art and Concert Center of the Kyiv National Academic Operetta Theater was created - a multifunctional theater and concert cultural institution at the address Kyiv, st. Khreshchatyk, 50-b.

Theater personalities

Artistic directors of the theater

• - - Sergey Kargalsky (ukr.)Russian
• - - Boris Khenkin (ukr.)Russian
• - - Vladimir Vilner
• - - Alexey Ryabov (ukr.)Russian
• - - Boris Khenkin (ukr.)Russian
• - - Boris Ryabikin (ukr.)Russian
• - - Alexander Barseghyan
• - - Eduard Mitnitsky
• - - Vladimir Begma (ukr.)Russian
• - - Sergey Smeyan
• - - Victor Shulakov
• - - Boris Ryabikin (ukr.)Russian
• - - Sergey Smeyan
• - - Victor Shulakov
• - - Acting Vladimir Sheiko
• c - Bogdan Strutinsky (ukr.)Russian

Theater troupe

Selected repertoire

see also

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An excerpt characterizing the Kiev National Academic Operetta Theater

If Napoleon had not left on the evening of the 24th for Kolocha and had not ordered to attack the redoubt immediately in the evening, but had begun the attack the next day in the morning, then no one would have doubted that the Shevardinsky redoubt was the left flank of our position; and the battle would have taken place as we expected it to. In that case, we would probably have defended the Shevardino redoubt, our left flank, even more stubbornly; they would attack Napoleon in the center or on the right, and on the 24th there would be a general battle in the position that was fortified and foreseen. But since the attack on our left flank took place in the evening, following the retreat of our rearguard, that is, immediately after the battle of Gridneva, and since the Russian military leaders did not want or did not have time to start a general battle on the 24th evening, the first and main action of Borodinsky the battle was lost on the 24th and, obviously, led to the loss of the one that was given on the 26th.
After the loss of the Shevardinsky redoubt, by the morning of the 25th we found ourselves without a position on the left flank and were forced to bend back our left wing and hastily strengthen it anywhere.
But not only did the Russian troops stand only under the protection of weak, unfinished fortifications on August 26, the disadvantage of this situation was further increased by the fact that the Russian military leaders, not recognizing a completely accomplished fact (the loss of a position on the left flank and the transfer of the entire future battlefield from right to left ), remained in their stretched position from the village of Novy to Utitsa and, as a result, had to move their troops from right to left during the battle. Thus, during the entire battle, the Russians had twice the weakest forces against the entire French army, directed at our left wing. (The actions of Poniatowski against Utitsa and Uvarov on the right flank of the French constituted actions separate from the course of the battle.)
So, battle of Borodino happened quite differently from how (trying to hide the mistakes of our military leaders and, as a result, belittling the glory of the Russian army and people) describe it. The battle of Borodino did not take place on a chosen and fortified position with only the weakest forces on the part of the Russians, and the battle of Borodino, due to the loss of the Shevardino redoubt, was taken by the Russians in an open, almost unfortified area with twice the weakest forces against the French, that is, under such conditions, in which it was not only unthinkable to fight for ten hours and make the battle indecisive, but it was unthinkable to keep the army from complete defeat and flight for three hours.

On the 25th in the morning Pierre left Mozhaisk. On the descent from the huge steep and crooked mountain leading out of the city, past the cathedral standing on the mountain to the right, in which there was a service and the gospel, Pierre got out of the carriage and went on foot. Behind him descended on the mountain some kind of cavalry regiment with peselniks in front. A train of carts with the wounded in yesterday's deed was rising towards him. The peasant drivers, shouting at the horses and whipping them with whips, ran from one side to the other. The carts, on which three and four wounded soldiers lay and sat, jumped over the stones thrown in the form of a pavement on a steep slope. The wounded, bound in rags, pale, with pursed lips and frowning eyebrows, holding on to the beds, jumped and jostled in the carts. Everyone looked with almost naive childlike curiosity at Pierre's white hat and green tailcoat.
Pierre's coachman angrily shouted at the line of wounded to keep them to one. The cavalry regiment with songs, descending from the mountain, advanced on Pierre's droshky and blocked the road. Pierre stopped, clinging to the edge of the road dug up in the mountain. Because of the slope of the mountain, the sun did not reach into the deepening of the road, it was cold and damp here; over Pierre's head it was a bright August morning, and the chime rang cheerfully. One cart with the wounded stopped at the edge of the road near Pierre himself. A driver in bast shoes, out of breath, ran up to his cart, slipped a stone under the rear non-tired wheels and began to straighten the harness on his now horse.
One wounded old soldier with a bandaged hand, who was walking behind the cart, took hold of it with his healthy hand and looked back at Pierre.
- Well, countryman, they will put us here, or what? Ali to Moscow? - he said.
Pierre was so thoughtful that he did not hear the question. He looked first at the cavalry regiment, which now met with the train of wounded, then at the cart by which he stood and on which two wounded were sitting and lying alone, and it seemed to him that here, in them, was the solution of the question that occupied him. One of the soldiers sitting on the cart was probably wounded in the cheek. His whole head was tied with rags, and one cheek was swollen with a child's head. His mouth and nose were on the side. This soldier looked at the cathedral and crossed himself. Another, a young boy, a recruit, blond and white, as if completely without blood in his thin face, looked at Pierre with a stopped kind smile; the third lay prone, and his face was not visible. Cavalry riders passed over the cart itself.
- Oh, it’s gone ... yes, Yezhov’s head ...
- Yes, they are tenacious on a foreign side ... - they made a dance soldier's song. As if echoing them, but in a different kind of merriment, the metallic sounds of chimes were interrupted in the heights. And, in yet another kind of fun, the hot rays of the sun poured over the top of the opposite slope. But down the slope, by the cart with the wounded, beside the out of breath horse, by which Pierre was standing, it was damp, overcast and sad.
A soldier with a swollen cheek looked angrily at the troopers of the cavalry.
- Oh, dandies! he said reproachfully.
- Today, not only a soldier, but also seen peasants! The peasants are being driven out, too, ”said the soldier who stood behind the cart and turned to Pierre with a sad smile. - Today they don’t sort it out ... They want to pile on all the people, one word - Moscow. They want to make one end. - Despite the vagueness of the soldier's words, Pierre understood everything he wanted to say and nodded his head approvingly.
The road cleared, and Pierre went downhill and drove on.
Pierre rode, looking around on both sides of the road, looking for familiar faces and everywhere meeting only unfamiliar military faces of different branches of the armed forces, looking with the same surprise at his white hat and green coat.
Having traveled four versts, he met his first acquaintance and joyfully turned to him. This acquaintance was one of the leading doctors in the army. He rode towards Pierre in a cart, sitting next to the young doctor, and, recognizing Pierre, stopped his Cossack, who was sitting on the goats instead of the coachman.

Moscow Operetta Theater was formed in a house on Bolshaya Dmitrovka by the merchant Solodovnikov, with the support of famous Moscow artists, and since then has been one of the most popular theater halls in the capital.

Beautiful auditorium made in classical style and gives a feeling of comfort in burgundy tones with gold trim. The hall is decorated with an amazingly beautiful painted ceiling. This is one of the most interesting theater halls, where classical interiors are combined with excellent acoustics and modern lighting and stage equipment.

In the 20-30s of the last century Operetta Theater under the leadership of G.Yaron became one of the flagships of the new art. Along with classical works I.Kalman, J.Offenbach, I.Strauss, operas by young talented composers appeared in his repertoire: D.Shostakovich, I.Dunaevsky, D.Kabalevsky, T.Khrennikov.

Composers, who were the pride of Soviet music, created works specifically for productions. Operetta Theater. Talented operas, brilliant directorial work and the skill of the actors have brought great recognition to the theater in Russia and abroad and made it one of the leaders in its genre.

And today in Operetta Theater wonderful and beloved by the audience artists: T. Shmyga, G. Vasiliev, L. Amarfiy, Yu. Vedeneev, S. Varguzova, V. Rodin, V. Michelet, A. Markelov and many others.

In the repertoire Operetta Theater classical works and modern operetta, famous musicals and shows. It was here that they began to master the genre of the musical, new for the domestic theater. In 2001, the musical "Metro" appeared on the stage of the theater, which became a bold experiment and caused a great response from the audience.

A year later, the public swept away everything from the box office tickets to the Operetta Theater to the famous musical "Notre Dame de Paris", which made even the biggest skeptics look differently at the appropriateness of existence in Russian theater new genre. The resounding success of Notre Dame de Paris prompted a number of productions at other theater venues.

Moscow Operetta Theater s continues to develop the genre of the musical, and now on its stage you can see the performances of “My wonderful lady» F. Lowe, « Parisian life” by J. Offenbach, “Jane” by A. Kremer and the classic musical “Hello, Dolly” to the music of J. Gershwin.

Since October 2008, the grandiose musical "Monte Cristo" has been staged with great success on the stage of the theater, which has become one of the most successful performances in Moscow for last years. In the first season alone, more than 200,000 spectators saw this vibrant production.

Booking tickets to the Operetta Theater for the famous Russian musical "Monte Cristo" and other wonderful performances can be made at any time convenient for you on the TicketService website.

The history of the Operetta Theater began in 1922, but performances in its building began earlier. The hall of the house of the merchants Solodovnikovs, great art lovers, was considered one of the best concert venues Moscow. After the revolution, a private entrepreneur opened an operetta theater in this building, on the stage of which many celebrities of that time appeared. Operettas by such recognized masters of the genre as Imre Kalman, Ferenc Lehar, Johann Strauss were staged on the Moscow stage. It was fashionable and prestigious to buy a ticket to the operetta theater. The end of the NEP era could also be the end of the theater, but a decision was made to support the Operetta by the state. G. Yaron became the first Soviet director of the Operetta Theater. The theater's repertoire has expanded with works by Russian composers: Kabalevsky, Dunaevsky, Shostakovich. IN different years dozens of famous artists. The most famous of them is Tatyana Shmyga, People's Artist USSR, unsurpassed soprano.

In 1988 the theater was renamed. Now it is officially called the "State Academic Theater "Moscow Operetta"". Late 1990s - 2000s are new era in the existence of the theatre. It was then that a new for Russian art genre - musical. First world premiere famous musical at the Operetta Theater took place in 2001 - it was the famous "Metro". In 2002, the turn of the "Cathedral Notre Dame of Paris", and in 2003? - "Romeo and Juliet". Since then, new musicals have been constantly staged in the theater, and no one is going to refuse from the traditions - the classical operetta. Having bought a ticket to the Operetta Theater you will not be disappointed. A cozy hall of the classical type , decorated in gold and burgundy tones, immediately tunes in to listening to great music.Masterpieces of operetta and musical - from "The Merry Widow" to "Romeo and Juliet" and "Cinderella" - are best perceived in this theater, where everything breathes operetta. at the box office or order them online, with our help.The corresponding section of the site contains information about upcoming performances and availability.Let's comprehend great art together!

From the first owners - the princes Shcherbatovs - the house on Bolshaya Dmitrovka passed to the merchants Solodovnikovs. With the direct participation of the new owners, at the beginning of the 20th century, with the help of famous artists one of the best concert and theater halls in Moscow was created within its walls. Today, the stage of the Moscow Operetta Theater is also very popular. Modern lighting and sound equipment is perfectly combined with the classical beauty of the hall, its soft, velvety cosiness in burgundy and gold tones, amazing painted ceiling.
According to State Archive At the end of 1927, the Moscow Soviet of Workers', Peasants' and Red Army Deputies "categorically" decided: "The operetta should be preserved. To improve the repertoire, bringing it closer to the tasks of the present. Almost immediately, the young team, headed by G. Yaron, came to success and popularity. In the playbill of the theater, next to the recognized classics J. Offenbach, I. Strauss, F. Legar, I. Kalman, P. Abraham, the brilliant composers of our country I. Dunaevsky, Y. Milyutin, T. Khrennikov, D. Shostakovich, D .Kabalevsky. With sincere interest they created their works especially for the stage of the operetta theater. Thanks to the brightest talent, the excellent skill of actors and directors, the Moscow Operetta Theater has become a leader in its genre not only in Russia, but has also won great prestige in Europe.

Today, the Moscow Operetta remains true to its traditions. Such wonderful actors as People's Artist of the USSR T. Shmyga, folk artists of Russia L. Amarfiy, V. Bateyko, S. Varguzova, G. Vasiliev, M. Koledova, Yu. Vedeneev, V. Rodin, A. Markelov, V. Michelet, honored artists of Russia V. Belyakova, I. Guliyeva, Zh. Zherder, I. Ionova, E. Zaitseva, T. Konstantinova, E. Soshnikova, V. Ivanov, V. Shlyakhtov, artists S. Krinitskaya, M. Bespalov, P. Borisenko, A. Golubev, A. Kaminsky, A. Babenko and others. The repertoire of the theatre, revealing a huge acting and staging potential, combines classic and modern operetta, musical and show....