Concert of artists of the youth opera program. Gala concert of artists of the Youth Opera Program Bolshoi Theater concert of the Youth Opera Program

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The orchestra sat on the stage, the singers acted on the proscenium - leveled-laid orchestra pit. And there were even chairs-tables, some mise-en-scenes were marked, slender, tail-coat young men were carried out and carried away from the candelabra's mimance. Very bright, the toilets of all the girls participating, which changed in different rooms(costume designer Elena Zaitseva).

The orchestra of the Bolshoi Theater sounded harmoniously and correctly, a little softer in the hands of the invited maestro Christopher Molds, louder and more relaxed with our Alexander Sladkovsky.

What surprised and even upset in general - all the participants seemed much stronger in the Western European repertoire. There were much fewer Russian arias, and much more notes for performance. Plus to the organizers - on the monitors on the sides the titles of the translation of foreign works into Russian were broadcast - a cultural interlinear, and not the old conditional translation, and Russian arias - into English.

The very beginning of the concert caused rather bewilderment. The idea that all young singers exaggeratedly timidly, almost stealthily, entered the stage in everyday, jeans-shirt form, is not bad. But as a background of this demonstration - here, they say, we are simple ordinary guys - the overture to "Idomeneo" by V.A. Mozart. The depth, almost cosmism of the music, eternally fresh for the perception, and this was the only purely orchestral number and, at the same time, sounded worthy, did not correspond in any way to the "crush" on the stage.

But it turned out that "Idomeneo" continued in the performance of Alina Yarovaya. And this, in my opinion, is one of several repertoire mistakes - directors' misses. Having charmed even at the last chamber evening with her musical stage organics, Alina Yarovaya in the recitative and Elijah's aria was too absorbed by the vocal difficulties of the party and the seriousness of the heroine's experiences - which is why a throaty tinge appeared in the sound. Feeling - the performance is exaggeratedly mature for such a lovely girl. That's when the same Yarovaya, after a few numbers, came out in a duet from " magic flute"It was a gem! Such a Papagena will adorn even Vienna, even Salzburg, without stretch.

As expected, Pavel Kolgatin pleased with Nadir's romance from Bizet's The Pearl Seekers. Excellent piano skills, musical meaningfulness of every word. Even the top note taken slightly with a blot did not spoil the impression. It is a pity that I did not have a chance to evaluate and compare the singer in the Russian repertoire.

The French page was continued by Venera Gimadieva with Juliet's waltz from Gounod's Romeo and Juliet. Well, what can I say - both Juliet and the scene that sounded at the end of the concert and Violetta's aria from Verdi's La Traviata are already ready stage images. There were no reasons for criticism - only exclamation points in the working program. If only the young artist kept everything as it is - the possession of a light pure soprano, perfected technique, plasticity, perfect Italian. Finally, what we are often sanctimoniously ashamed to talk about: yes, looking at her is an aesthetic pleasure, there are few of them in Hollywood!

Most of the numbers alternated in contrast musical material, so the romantic lightness of Juliet was replaced by baroque severity - the duet of Cornelia and Sextus from Handel's opera "Julius Caesar". It was performed by Nadezhda Karyazina and Aleksandra Kadurina, an already established duet. Surprisingly, both of them are declared mezzo-sopranos, but how different is the nature of the voices that blend perfectly in the ensemble.

Nadezhda Karyazina is in fact a contralto, a rare gift of nature, an almost masculine timbre density, combined with her high stature, and the singer’s article immediately suggest the “boyish” parts of Vanya or Ratmir, whose performers are always in short supply. So far, she has noticeable intonation problems, and less stage “courage” than other participants, but all this, perhaps, can be overcome.

Alexandra Kadurina is a light mezzo, on the contrary, just one of those who take not by the voice itself, but by the possession of it. It seemed that the technical rough edges heard in February in the chamber program were successfully overcome by her. And the scene with Charlotte's letters from Werther to Massenet, which opened the second part of the concert, was especially impressive. Here is the top ten! The subtlety of phrasing, the meaningful chanting of each word, the dramatic intensity - all this was performed by Kadurina. And the artist's youth and completely ballet thinness enhanced the authenticity of Goethe's heroine.

All vocalists know that Lyudmila's cavatina from Glinka's "Ruslan and Lyudmila" is an insidious thing. But Ulyana Aleksyuk, who performed it, is a fairly experienced artist, already employed in the repertoire of the Bolshoi Theater. Having started well, the singer began to underestimate the intonation already at the words “... about my love, about my native Dnieper” - and so she falsified almost the entire aria to the finale. Those who don't hear this may have liked it, but it caused me an uncomfortable feeling of struggle with the tonality. And, lo and behold, the most virtuoso Polonaise Filina from "Mignon" by A. Tom, the same Aleksyuk sang very well, with brilliance, only forgivably dabbing a couple of graces.

The scene of Robert and Vaudemont from Tchaikovsky's Iolanthe became a hard battle with Pyotr Ilyich's "non-vocality". This time my winter favorite Alexei Lavrov obviously boosted his most beautiful baritone, and in the sung "Who can compare with my Matilda" sounded harsh and uninteresting. Then he appeared only in ensembles - he presented several captivating phrases of the Count in the finale from Le nozze di Figaro: perhaps in solo it was a clamp from excitement.

Boris Rudak, undoubtedly, overcame the most difficult, instrumentally written romance of Vaudemont, suffering painfully, almost not falling into notes. (During the intermission, I heard the fair grumbling of the orchestra for falsehood on this particular performer). And the same Rudak, whose voice is very interesting in itself, starting low in Rudolf's aria from Puccini's La bohème, sounded good in the middle, carefully took the notorious upper "c", but, as if frightened, did not make the usual fermata on it.

Added "tar" in the Russian part of the program Konstantin Shushakov. Wonderful Papageno - not only vocally, just a Mozart type! But at the same time, Yeletsky's aria from The Queen of Spades - as he reported, bare notes, sometimes dubious intonation, unjustifiably fast pace, nothing from the noble Prince!

Two performers performed only in the second part, singing on the only Russian aria. Oksana Volkova, who I had not heard before, in the aria of Joanna from Tchaikovsky's The Maid of Orleans tried not only to sing, but also to be a real maiden warrior - which is facilitated by her bright appearance. But to the end she was prevented from believing by the unevenness of her voice and a somewhat understated intonation in the reprise.

The only bass participant, Grigory Shkarupa, presented an almost rarity in modern times - Melnik's aria from Dargomyzhsky's Mermaid. Once popular, this opera today has unfairly found itself on the periphery of the interests of singers and directors. Oh, how nicely he began the genre “That’s all you young girls ...”, but he couldn’t stand the complex three-part form a bit, he began to get clearly tired by the end, he just sang the aria to the end - and that’s all.

I would especially like to note Svetlana Kasyan. Complicated feeling prompted her performance. The potential of this young singer is huge, her voice is a jewel, a powerful dramatic soprano, capable of everything in the future - up to "bloody" verists and Wagner. A paradoxical combination with a miniature graceful figure and the profile of an Egyptian figurine, a clear stage temperament. But just be careful with all this! So far, both of her numbers again reminded clothes "for growth." Lisa's aria from The Queen of Spades - the tragic confession at Kanavka was performed rather low, rather not even in tonality, but in the artificially deepened sound of her voice. “Ah, I am weary of grief…” - I wanted more flow, breadth, and the phrases were student-like short. And I was completely discouraged by the choice of a Western aria - the Scene of Elizabeth at the crucifixion from Verdi's Don Carlos. Famously! Mature prima donnas do not often dare to sing this in concerts. The volume and vocal complexity are combined here with some kind of prophetic depth, even over-subjectivity of the music. (an obvious semantic analogy is Shaklovity's "The Archer's Nest Is Sleeping" in "Khovanshchina"). For all the unsungness, this aria captures anyone who listens to it for the first time. Yes, they played the heartfelt orchestral introduction in an original way - Svetlana Kasyan appeared in the spotlight in the stalls, regally walked, climbed onto the stage, leaning on the hand of a dress-coat young man, her crimson dress awakened associations with Mary Stuart on the scaffold. She began in a completely different way than in Liza - with a lighter, harsh sound. And, in general, the entire vocal text was voiced competently. But only! Unusually fast pace, some abruptness of phrasing were rather associated with Lady Macbeth of the same Verdi, and not at all with the sacrificial sufferer Elizabeth of Valois.

Ensembles completed each of the parts of the concert. And if the first of them is a super-hit of all time, the famous sextet from Donizetti's Lucia di Lammermoor seemed to be performed somewhat formally, then the carefully crafted finale of Mozart's Marriage of Figaro was a spectacular end to the evening.

Despite all the criticisms - an optimistic remark. At the exit from the hall, a remark was remembered young man, addressed to the companion: "Everything is fine, only the palms hurt, I'm tired of clapping." So that always at the performances and concerts of current graduates Youth program The audience at the Bolshoi Theater hurt their palms!

The Beethoven Hall of the Bolshoi Theater is a special stage. Here you can hear those works that cannot be taken out to the historical and New scene. And especially this hall is loved by the participants of the Youth opera program theater. This year they have prepared for the audience a series of creative evenings dedicated to various composers. Tickets for P.I. Tchaikovsky are already on sale.

Music P.I. Tchaikovsky is one of our national symbols. Who hasn't heard queen of spades or "Eugene Onegin"? Arias from these operas are known even to those who are not interested in classical music. But young artists will perform at the concert not only the most famous, but also rare works that few people know. If you want to be among those who will hear the "unknown Tchaikovsky", we recommend that you buy tickets for a concert by artists of the Youth Opera Program.

This evening is not the only interesting event expected in autumn. The complete one is available on our website.

Bright voices of talented young performers, the best works world classics - all this awaits the audience at a concert of artists of the Youth Opera Program at the Bolshoi Theater. Gifted youth, just starting their career in art, are waiting for the famous scenes of all the most famous theaters peace. The youth and energy of the singers, together with the talent and the highest professionalism of the teachers, will give the audience an unforgettable vocal evening.

The world's best vocalists, including the leading soloists of almost all famous theaters - Evgeny Nesterenko, Makvala Kasrashvili, Laura Claycomb (USA), Deborah York (Great Britain), Gloria Guida Boreli (Italy), pass on their skills and experience to their young colleagues. Artistic director The youth program is Dmitry Vdovin, who can rightly be called one of the best vocal teachers in Russia. His students perform at the Bolshoi Theatre, Milan's La Scala, the Metropolitan Opera in New York, Covent Garden in London, Paris Opera and many other famous concert venues.

fans classical music with great pleasure they buy tickets to the Bolshoi Theater for a concert of artists of the Youth Opera Program in order to hear the voices of rising opera stars.

On the stage of the Bolshoi Theater - the future of the world opera stage

The Bolshoi Theater has always had a group of trainees, a wonderful continuation of this tradition was the creation in 2009 of the Youth Opera Program. Each soloist went through a difficult competitive selection and got the opportunity to study vocals, acting and many other disciplines from the best Russian and foreign teachers. The purpose of this program is to train performers in accordance with the standards of the world stage and to strengthen the position of the Russian vocal school on it. Tickets for a concert by artists of the Youth Opera Program will give their holders a meeting with talented vocalists from Russia and the CIS countries.

The soloists - participants of the program have their own tour schedule, which covers almost all cities of Russia. Tickets for the concert of the artists of the Youth Opera Program are always in great demand, the audience is interested in meeting new talented singers. The best of the best performers will perform at the big musical event, which will be presented by the Bolshoi Theater - Concert of artists of the Youth Opera Program, tickets for which are available. The concert program includes the most beautiful arias and duets from world famous operas.

Tickets to the Bolshoi Theater for a concert of artists of the Youth Opera Program will be a great opportunity to get acquainted with future soloists of the world opera stage.