Alexander titel: we made a modern theater. Alexander Titel: “Our performance is a multi-layered fairy tale” Awards and titles

The chief director of the Musical Theater named after Stanislavsky and Nemirovich-Danchenko Alexander Titel suddenly became a director. He calmly studied at the Polytechnic Institute in Tashkent, wrote the course project "Control and measuring equipment for the Tajik aluminum plant" and suddenly took ... and entered the directing department of GITIS. To the dismay of loved ones. For eleven seasons he worked at the Sverdlovsk Opera House, making it one of the most popular theaters in Russia, and for eighteen years he has been the head of the MAMT.

Alexander Borisovich, you managed to work in the theater and in Soviet time, and during the restructuring. When everything became possible, very many directors had nothing to say, allegory was a thing of the past, what to do was not clear. Have you had it?

- No, it was not. I have never been a dissident, although I had infinite respect for their courage and shared many of their ideas. But to put on performances only about this has always seemed to me a certain limitation. Of course, I have a human position, and it manifested itself in any performance - in such as "The Prophet" or "Boris" it became more obvious, furious or angry, on other material it could be mocking, but build everything on some kind of in Aesopian language, the language of allegory, and to deal only with “how else to prick, undermine” the surviving system - I didn’t have this. The world does not consist only of power, this is a delusion. Indeed, then a generation came that began to be condescending towards the generation of their grandparents and even parents. To whom it seemed that it was easy to prevent violence. Actually, it's not easy. Even the country of Goethe failed to do this. And, on the contrary, they masterfully rebuilt concentration camps, they are champions in the creation and organization of concentration camps. And America expelled Chaplin. Thomas Mann left Germany with Heinrich without being Jewish. At the same time, people are people for that, they still fell in love, gave birth to children, lived. I will tell you this - a poor, poor life is actually much richer and more diverse than a wealthy life. The period of wealth leads to a very strong human stratification. People communicate much less with each other at generational levels - between parents and children. There used to be much more communication between people. And this is the richest. Now more money, more wealth, more in stores ...

Do you think that the theater can somehow change this situation?

- We cannot, I think, change, because the ratio of people who go to the theater and those who do not go to the theater is incommensurable. But we trumpet and broadcast about what we consider important, necessary and serious. You know, during the time of the plague, the monasteries were closed and the monks, although they went to help the world, to heal, nevertheless they protected themselves. Because they kept books, knowledge, they had to bring this intellectual stock further.

And the theater now, in your opinion ...

- Not in the sense that the theater was fenced off. We are doing our job, I will still do performances about people, about people ... But power is far away. Too much importance is attached to it thanks to television, the media. In fact, there are much more important things - how people talk, how they travel, how they communicate with children, how they give birth, what they read, whether they sing to children at night or not ... Huge life, in which, of course, there is a place for politics, but by no means the most important thing. Of course, there is power and power structures, but in principle, they should do what we, the voters, need, and not vice versa. They must be supervised.

What should opera be like today, in your opinion? After all, it is considered that this is the most conservative art ...

- Who thinks so? What are you! It is now the most fashionable and interesting. And, I would say, this is a corporate label, a corporate chip, indicating prosperity. The very word “opera” has become fashionable, it carries some kind of elite, secularism. And if formerly opera used some artistic discoveries And artistic techniques found in drama, now I think it's the other way around. The most interesting things are happening right now in opera scenography. All artists work at the opera, and ideas are born there, because there is a place for them. The opera has a huge stage, different money, different scale, the number of people involved. This is not "Six characters in search of the author" and the viewer at the same time. I don't want to say anything bad about Pirandello's play. But the audience will cry over the hunchback, who is guilty of slaughtering his daughter. And she will die for half an hour, and he will sing over her for half an hour. And everyone will cry, sob. It's a certain phenomenon, a reflection human culture, its conventions, its strangeness, its naivety, its historicity. Literature, painting, sculpture, architecture, music, singing - all this is melted down in order to get this opera phenomenon that has existed for only four hundred years. Today the opera house is very powerful. Of course, Moscow is not the most operatic city, but we, too, can't complain, the Stanislavsky Theatre.

Do you have everything in your theater the way you want?

- No, I want much more - so that we can put on rarer compositions much more often and fewer hits. But, unfortunately, life has harsh laws, so you need to somehow balance. The trouble is that the number of hits for the Russian audience is three times less than for the Western European. These are ten or twelve titles, which include Verdi, Puccini and Tchaikovsky. Well, maybe, " royal bride" more…

"The Barber of Seville" is also a hit ...

- Well, yes, that is why we are returning to it, because it is a hit and it needs to be done. And we will try to do well and in a different way. Rossini is a brilliant person, but I would love to stage Cinderella or The Italian Girl in Algeria... But before that, we showed Werther, he hasn't been around for a long time. And then there will be "Force of Destiny", this is also not "Rigoletto". And “Ernani” once walked here ... Then, God willing, there will be “War and Peace”, then something else ...

We agreed that we are not talking about your anniversary (Alexander Titel turned 60. - Approx. ed.). But, nevertheless, everything worked out for you, what did you think?

I don't consider it a milestone. There is no desire, no reason to sum up, to say something there - yes, I have achieved this, but I have not achieved this. Work in progress, there wonderful people, there are problems, someone unexpectedly made you happy with their vocal form, their professional growth. Someone, on the contrary, suddenly began to lose it, someone got better, got fat, somewhere they didn’t give money, and it is urgent to do “The Barber of Seville” instead of “Portrait”. And the Dutch festival asks to change and swap the years of the tour - first bring Onegin, and then La Traviata, and not vice versa. And now we need to calculate it. These have given up on co-production, while those, on the contrary, are now asking for co-production... How can we really have at least twenty-five opera titles in our repertoire? To have a place to store decorations. Eat everyday problems- what will we put on next season, and what will we put next to Prokofiev. And how to use something interesting for our stars - Gerzmava, Dolgov, Andreeva or Maskimova, or for the new dramatic tenor that we have taken? And it would be nice to do some concerts that could educate their taste and expand it ... That's all daily work. You also need to listen to young artists all the time, you need to watch performances. Something fails, but this does not mean that it will not succeed tomorrow or the day after tomorrow. And in the end, we all get the same thing. (Laughs.) And I already know what. Or maybe I don't know...

He did not graduate from music school. The young violinist preferred football. When he grew up and realized that he could not imagine his existence without the theater, Alexander Titel left Tashkent, where he was born, grew up, graduated from the Physics and Mathematics School with a gold medal and the Polytechnic Institute, to Moscow, to GITIS. His father was a famous violinist, a chick of the famous Stolyarsky's nest. At the First All-Ukrainian Competition of Performers, he received the second prize. The first went to David Oistrakh. Mom is a doctor. They married on June 22, 1941. Odessa has already been bombed. The city was urgently evacuated. The family did not have time to board the ship, which, as soon as it left the port, was bombed. We left at the beginning of August. At some half-station, on the way to Central Asia, a train stopped on neighboring tracks, in which the Leningrad Conservatory was going to be evacuated. Rector Pavel Serebryakov, who knew his father, suggested that they go together to Tashkent. They boarded a nearby train. A year later, his father would give up his armor and go to the front as a private, taking his violin with him. At first, there was no time for her, but towards the end of the war an ensemble was formed, and one night he played Paganini's caprices to the commander of the Volkhov Front, Marshal L. Govorov.

I was born much later, in Tashkent, and I know about the war and Odessa from my grandmother's stories. Having become a famous person, I somehow received a letter from Far East from the military man, who headed the front-line ensemble, with a request to send notes of the march of the Mariupol Guards Division, which his father composed during the war. The notes, written with an indelible pencil, were sent by my mother to the Far East.

- He figured you out by name?

Yes, he wrote that the surname is rare, am I not the son of Boris Titel. Our surname may have come from the word "title", which means "heading", but my father always said that the stress should be on the second syllable. He is the first musician in the family; his grandfather, a native of Belgium, was a forest specialist, and his father was a forester on a large estate in Ukraine.

- When did you first get into the theater?

Five years. According to an acquaintance, they put me in the orchestra on the chair of the double bass player. It was a fatal mistake, because as soon as the pirates began to sneak up on the sleeping doctor Aibolit, I jumped out of fear, screaming, knocking down the musicians. orchestra pit. Then I became a regular at the opera and ballet theater and reviewed everything, and when I grew up, I signed up for mimams. I liked it very much. Not only did I watch performances, I also received a ruble for it.

- What did you do in mimams?

In "Mermaid" he carried a candle for the bride and groom. In "Boris Godunov" he wore banners. In "Carmen" he sang in children's choir. In "Aida" was an Ethiopian prisoner. Adult artists did not want to smear themselves with stain, and we, teenagers, did it with pleasure, although the Ethiopian army, consisting of children school age, discredited the winners - the Egyptians. I even told the director about it, but he did not understand me.

What did you spend your hard earned money on?

Walked with the girls. I had enough for ice cream and a movie.

Alexander Titel with his wife Galina.

« golden mask» for the play «La Boheme»

Violetta - H. Gerzmava, "La Traviata"

Mimi - O. Guryakova, Rudolf - A. Agadi, "La Boheme"

Eisenstein - R. Muravitsky, Rosalind - O. Guryakova, " Bat»

Elvira - I. Arkadieva, "Ernani"

Alexander Titel at the rehearsal

Don Hero - V. Voinarovsky, Duenna - E. Manistina, "Betrothal in a Monastery"

Don Jose - R. Muravitsky, Carmen - V. Safronova, "Carmen"

Alexander Titel with his wife Galina and son Evgeny

- What were you doing then?

Like a violinist's son I went to music school and learned to play the violin. At the same time he played football. At some point, I wanted to play football more, and I left the music school. After the eighth grade, he moved to the physics and mathematics school. I wanted to become a physicist. I started solving puzzles, going to the Olympiads. One day I decided to surprise my mother. There was no outlet for the washing machine in the bathroom. I installed an outlet, but extended the line from the switch. Then he boasted to his friends: “See how I came up with: turn on the light, it works washing machine". I didn’t know then that it was necessary to pull from another outlet, because there is “phase” and “zero”, and only “phase” on the switch. After school, I entered the energy department of the Polytechnic Institute. True, I was more engaged in KVN and theater. Over time, I began to understand that what I see in the opera is much more flawed than what I hear. Having understood what exactly I want to do, I went to Moscow to enter GITIS at the directing department.

- Is musical education was not required upon admission?

Well, I studied violin at a music school, and violinists are the best listeners, people with absolute pitch.

- Did you do it right away?

The first time I cut myself off, came back home. He went to work at the Tashkent Conservatory as an assistant director in opera studio and also led theater Club. On next year went and entered the course of L. Mikhailov.

- Why didn't you stay in Moscow after graduation?

Mikhailov believed that I needed to work in the theater, and not sit in the capital, and sent me to the Sverdlovsk Opera and Ballet Theater: “I’ll give you three years to master the profession, then I’ll take you to the Stanislavsky and Nemirovich-Danchenko Theater.” A month after my distribution, Lev Dmitrievich died suddenly, he was only fifty-two years old. He was an outstanding director and an amazing teacher. I worked in Sverdlovsk for eleven seasons.

How did the audience react to your first performance?

It was the Barber of Seville. I watched him with fear from the balcony, during the intermission I went out into the corridor and suddenly I heard footsteps behind me and male voice: “Tell me, do you know who put it?” I realized that it was time to be responsible for everything and turned around: “Well, me!” The man looked at me carefully: “Nothing, I even like it.” Then I told this story to Mikhailov's wife, Alla Aleksandrovna. She laughed: “Sasha, you are a courageous person! Exactly the same story happened to Lev Dmitrievich in Novosibirsk, but he turned around and said: “I don’t know!”

- Was the Arts Council just as benevolent?

On it, everyone who was not lazy scolded me, it remains only for the cleaning lady to spit in my direction. I sincerely began to believe that I had staged a bad performance, but then the head of the production got up: “What is the Barber of Seville? It's blue skies and blue seas." I dubbed this phrase "the dream of the post officer." Well, what else can a slacker dream of, because nothing needs to be done. The backdrop is taken, painted blue, the horizon line is marked with a cord. Everything, the scenery is ready.

- Did that make you angry?

Rather, it made me laugh and dispelled my tragic mood. I started staging performance after performance, and the head of the post went to trade in a vegetable stall. Our productions went with a bang, we were called the “Sverdlovsk phenomenon”. At the presentation of "Boris Godunov" the students demolished the doors of the theater in order to get into the play. We participated in all festivals, showed "Boris Godunov", "The Prophet", "The Tale of Tsar Saltan", "Katerina Izmailova". In 1987, on tour in Moscow, we performed at the Stanislavsky and Nemirovich-Danchenko Theater, at the last performance of “The Tales of Hoffmann” they shouted to us from the audience: “Don’t leave, stay!”

- Fourteen years ago you returned to Moscow.

The year before I had put in Bolshoi Theater"Christmas Eve". Actors from the Stanislavsky and Nemirovich-Danchenko Theater came to my room at the Rossiya Hotel where I lived. A conflict broke out in the theater with E.V. Kolobov. At one time, he received me in Sverdlovsk, where we worked with him for one year. I told artists what to look for mutual language because Evgeny Vladimirovich Kolobov is an outstanding conductor. Reconciliation did not happen. The theater is broken. Kolobov left and with part of the troupe, orchestra, chorus created “ new opera". The artists who remained wanted me to come to them as the main director. I loved this theatre. As a student of L. Mikhailov, who worked there for twenty years, I spent a lot of time here. I was touched and proud of their invitation. Once upon a time, the old people of the Moscow Art Theater also called O. Efremov to their place. I agreed.

- But you could not help but know that it will be difficult here.

I didn't expect it to be so difficult. Any scandal does not pass without a trace. Human and creative tissue is being eroded, and it needs to be restored very carefully. You can’t just attach it - it won’t grow, you need to grow it again. We invited an orchestra, formed a choir. Three months later, the poster had three ballet names, which went under the phonogram, and the first renewed " Queen of Spades". Then came the turn of other operas - The Barber of Seville, Eugene Onegin, Iolanthe. People had to be given work, and I had to see and hear them in order to understand who I was dealing with. At first I did not put, "stepped on the throat own song”, only a year and a half later I staged“ Ruslan and Lyudmila ”.

Your theater bears the names of two prominent people and is led by two people. First, in last years life, could not get along with each other, and now main director and the chief choreographer get along?

Until recently, Dmitry Alexandrovich Bryantsev was our chief choreographer. This was the first person I turned to for advice whether I should go here or not. He already worked here. At first he helped me a lot. All these years we found a common language. We heard each other. In the theater, opera and ballet are like two wings that must be equally strong. The more talented, extraordinary and professional both teams work, the easier it is for us to move forward.

- Are there any priorities in building the repertoire?

Of course, the main thing is that the music should be varied in national school, genre, era, so that the work resonates with our time and so that the singers can the best way appear in this material.

- IN Lately there is a lot of debate about which language to sing the opera in, in the original language or in their own.

Either option has its pros and cons. Previously, all operas were always sung in Russian, but translations are flawed, they sin bad poetry. When the performer sings in the original language, he gets closer to what the author wanted. The composer composed music to this text, he heard this sonority, but at the same time, every composer wants to be understood. I saw two Russian performances abroad. Different foreign artists they sang “Boris Godunov” in Russian, and it was funny, while the English performance of “Lady Macbeth Mtsensk district” on his mother tongue it was very convincing. Now the market is unified. The opera has become a single space. Artists sing today in Russia, tomorrow in Europe, the day after tomorrow in America, and in order not to learn ten lyrics, they try to sing in the original language. With the advent of the running line, the matter was facilitated, and execution in the original language became preferable. Accurate interlinear translation on the screen, synchronized with singing, enters into some new relationship with the performance, introduces some additional meaning.

- Today's graduates are very different from those artists with whom you started working?

Then the surface was calm, the first bubbles appearing on it were barely visible. The singing mass was quite retrograde, they were hard to take on new forms, they wanted everything to be as written in the libretto. Now the whole space is boiling, everything is gurgling, you can do whatever you want. Young artists are ready to experiment, they are ready to try, they are ready to do something different, and that's great, but I'm worried about their lack of immunity to vulgarity, banality, lack of need to know and compare.

- Does your theater have a system of school subscriptions?

I am not a supporter of children's mass raids, even students of music schools. When the classes go to view, the effect of large numbers sets in, they are tied to each other, they are not up to what is happening on the stage. It is much better if they come with their parents, or with an older sister or brother and bring a friend with them.

- Is your theater known abroad?

You probably think that only the Big One knows; no, we go on tour and get invited again. We were in France, Germany, Latvia, twice in South Korea, USA. Our artists sing all over the world, but they value our theater, and not one of them has remained in the West.

- Have you worked abroad?

Yes, I get invitations from time to time. I worked in France, Czech Republic, Germany, Turkey. There are theaters there too. permanent troupe. When I worked in Antalya, they invited additional singers from Vienna and Istanbul to their troupe, but there was no troupe in France, but when I arrived, they had already recruited all the performers.

- Over the years, have you become calm about criticism?

I accept criticism, I do not accept rudeness. Yes, and what a boor can write useful, what interesting things will be written by a person who knows seven times less than me, is not concerned, is not sick of what he allows himself to talk about. The performance of "La Boheme" begins with the flight of pigeons. So some critic called them brainless creatures in a review. Here is the mind chamber! Well, you didn't like the performance, but what about the pigeons? In another review, they poured mud on a young singer, saying that they didn’t take her to the Bolshoi and we picked her up, and this singer is now singing all over the world. In general, I noticed that for some critics the amount of aplomb is inversely proportional to the amount of knowledge. This distribution of marks, statements like: “As you know, we are bad with opera” testify to the dangerous convergence of the two capacitor plates in the head, “minus” and “plus”. The further they are, the larger the volume.

For 14 years of work at the Stanislavsky and Nemirovich-Danchenko Musical Theater, what can you take credit for?

The opera house that exists today was created by me, but not alone, of course, but together with my distinguished colleagues V. Arefiev, V. Urin, with conductors, directors, singers. We started almost from scratch, but we did modern theater with a good stage culture, decent vocals, serious music. I hope that what I love in art and in life, the sum of my artistic preferences, is understandable and audible from the stage.

Alexander Borisovich, in the new season, after a two-year restoration, your theater is reopening. What will surprise you?

The new "La Traviata" with the wonderful Khibla Gerzmava and the young talented Albina Shagimuratova in the title role. The new "Eugene Onegin", "Tosca", made a year ago, but managed to pass only a few times. This is the work of Lyudmila Naletova. We will resume whole line of our performances - nominees and winners of the Golden Mask Award: Carmen, La Boheme, Madama Butterfly. On November 20, 1805, Beethoven's opera Fidelio was performed for the first time in Vienna. On November 20, 2005, in honor of the 200th anniversary, we will give a concert performance of this opera, in which, in addition to our singers, the soloist will take part Mariinsky Theater Yuri Laptev, famous English bass Robert Lloyd (former performer of Boris Godunov at Covent Garden) and Austrian soprano Gabriela Fontana.

Has your son followed in your footsteps?

My son followed in my footsteps exactly the opposite. Graduated from music school, studied at music school at the Moscow Conservatory, then dispelled my mother's dreams of seeing him as a conductor symphony orchestra, graduated from the Higher School of Economics and now successfully works as a marketing manager. When Zhenya was two years old, I staged my graduation performance “Not Only Love” by R. Shchedrin. He remembered the text quickly. A recording has been preserved where he sings in a wild voice, burr: “Wait, wait, guys!” Later he took part in my performances. Now he takes girls to my performances.

Titel Alexander Borisovich Titel Alexander Borisovich

(b. 1950), opera director, people's artist Russian Federation(1999). Since 1981 the main director of the Sverdlovsk Opera and Ballet Theatre, since 1991 - the Moscow musical theater them. Stanislavsky and Nemirovich-Danchenko. State Prize USSR (1987).

TITEL Alexander Borisovich

TITEL Alexander Borisovich (Borukhovich) (b. 1949), Russian opera director. National artist Russia.
In 1980 he graduated from GITIS (now the Russian Academy theatrical art). Graduate of the workshop of L. D. Mikhailov.
Since 1980 - director, and in 1985-1991. - chief director of the Sverdlovsk (now Yekaterinburg) Opera and Ballet Theater. He made his debut with a production of G. Rossini's opera The Barber of Seville. Soon he becomes one of the leading domestic opera directors. Among the productions of this period are "Katerina Izmailova" by D. Shostakovich (1984), "The Tales of Hoffmann" by J. Offenbach (1986) and others.
From 1991 - artistic director and chief director of the opera of the Moscow Academic Musical Theatre. K.S. Stanislavsky and Vl. I. Nemirovich-Danchenko.
Performed about 30 productions in Russia (including in 1990 at the Bolshoi Theater - "The Night Before Christmas" by N. Rimsky-Korsakov) and abroad. Performances directed by Alexander Titel were shown at festivals in Edinburgh (1991), Kassel (1989), at the World Theater Olympiad in Moscow (2001).
Laureate of the State Prize of the USSR (1987). Twice winner of the Golden Mask National Theater Award (1996, 1997), laureate of the Casta Diva Opera Award (1996). Professor Russian Academy theater arts (RATI).
Among the productions: The Barber of Seville by G. Rossini, Boris Godunov by M. Mussorgsky, The Pagliacci by R. Leoncavallo, The Tales of Hoffmann by J. Offenbach, The Prophet by V. Kobekin, Betrothal in a Monastery by S. Prokofiev, "Katerina Izmailova" by D. Shostakovich, "The Tale of Tsar Saltan" by N. Rimsky-Korsakov, "Antigone" by V. Lobanov, "Ruslan and Lyudmila" by M. Glinka, "Ernani" and "La Traviata" by G. Verdi, "The Wedding of Figaro » V. Mozart, “Carmen” by J. Bizet, “Die Fledermaus” by I. Strauss and others. Alexander Titel’s production of “La Boheme” by G. Puccini on the stage of the Moscow Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko (1996) was recognized as the best opera work of the year in Russia.

encyclopedic Dictionary . 2009 .

See what "Titel Alexander Borisovich" is in other dictionaries:

- (b. 1950), opera director, Honored Artist of the RSFSR (1991). Since 1981, the main director of the Sverdlovsk Opera and Ballet Theater, since 1991 of the Moscow Musical Theater named after K. S. Stanislavsky and V. I. Danchenko. ... ... Big Encyclopedic Dictionary

Chief Director and Artistic Director of the Opera of the Moscow Academic Musical Theatre. K. S. Stanislavsky and Vl. I. Nemirovich Danchenko; was born in 1949 in Tashkent; graduated from the Tashkent Polytechnic Institute, GITIS in ... ... Big biographical encyclopedia

Wikipedia has articles about other people with this surname, see Titel. Alexander Titel Birth name: Alexander Borisovich Titel Date of birth: November 30, 1949 (1949 11 30) (63 years old) ... Wikipedia

Alexander Titel - Theater director, artistic director of the opera of the Moscow Academic Musical Theater named after K.S. Stanislavsky and Vl.I. Nemirovich Danchenko Alexander Borisovich Titel was born on November 30, 1949 in Tashkent (Uzbekistan). His father… … Encyclopedia of Newsmakers

Titel A. B.- TITEL Alexander Borisovich (b. 1950), opera director, honored. activist claim in the RSFSR (1991). Since 1981 Ch. dir. Sverdlovsk Theater of Opera and Ballet, since 1991 Moscow. music t ra im. K. S. Stanislavsky and V. I. Nemirovich Danchenko. State. etc. USSR (1987) ... Biographical Dictionary

Them. K. S. Stanislavsky and Vl. I. Nemirovich Danchenko, opened in 1941. Created on the basis of Opera House them. Stanislavsky (1928) and the Musical Theater. Nemirovich Danchenko (1926). Since 1964 academic. IN different years worked in the theater: ... ... encyclopedic Dictionary

- (b. 1938), theater artist, folk artist USSR (1989), full member of the Russian Academy of Arts (1997). Designed many performances of musical and drama theaters in Russia and abroad. Lead Artist Bolshoi Theater in 1988 95. State Prize ... ... encyclopedic Dictionary

- (b. September 24, 1941, Reinsfeld village, Kuibyshev region), Russian theater and film actor, Honored Artist of the RSFSR (1988), State Prize (2001, for theater work). In 1964 he graduated from the acting, in 1973 directing faculties of VGIK. WITH … encyclopedic Dictionary

Below is a list of People's Artists of the Russian Federation by year of awarding the title ... Wikipedia

For a list of Stalin Prize laureates, see the Stalin Prize article. Laureates of the State Prize of the USSR The list is complete. Contents 1 1967 2 1968 3 1969 4 1970 ... Wikipedia

1987 - State Prize of the USSR.
1999 - the title of "People's Artist of Russia".
1997 - national theater award"Golden Mask" - for the play "La Boheme" at the Musical Theater. Stanislavsky and Nemirovich-Danchenko.
2007 - national theater award "Golden Mask" - for the play "That's what all women do" at the Musical Theater. Stanislavsky and Nemirovich-Danchenko.
2010 - national theater award "Golden Mask" - for the play "Hamlet (Danish) (Russian) comedy" at the Musical Theater. Stanislavsky and Nemirovich-Danchenko.
2016 - national theater award "Golden Mask" - for the play "Medea". Laureate of the Moscow Prize in the field of literature and art.

Biography

Born in 1949 in Tashkent. In 1980 he graduated from GITIS them. A. V. Lunacharsky (now - the Russian University of Theater Arts, teacher - L. D. Mikhailov).
In 1980-91. - chief director of the Sverdlovsk (now Yekaterinburg) Opera and Ballet Theater.
Since 1991 - artistic director and chief director of the Moscow Academic Musical Theater. K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko.

In this theater he staged operas:
"Ruslan and Lyudmila" M. Glinka
"The Tale of Tsar Saltan" by N. Rimsky-Korsakov
The Golden Cockerel by N. Rimsky-Korsakov
« May night» N. Rimsky-Korsakov
"Ernani" G. Verdi
La Traviata by G. Verdi
"La Boheme" G. Puccini
"Carmen" G. Bizet
“Betrothal in a Monastery” by S. Prokofiev
"Bat" by I. Strauss
“All women do this” V.A. Mozart
"Eugene Onegin" by P. Tchaikovsky
"Hamlet" by V. Kobekin
The Barber of Seville by G. Rossini
"Tales of Hoffmann" by J. Offenbach
« magical flute» V.A. Mozart
"War and Peace" by S. Prokofiev
"Don Juan" V.A. Mozart
"Khovanshchina" by M. Mussorgsky
"Medea" by L. Cherubini
The Queen of Spades by P. Tchaikovsky
"Love for Three Oranges" by S. Prokofiev

Among the operas staged in other theaters: "Boris Godunov" by M. Mussorgsky, "The Night Before Christmas" by N. Rimsky-Korsakov, "Katerina Izmailova" by D. Shostakovich, "The Prophet" by V. Kobekin, "Antigone" by V. Lobanov, " The Barber of Seville by G. Rossini, La Traviata and Nabucco by G. Verdi, Rural Honor by P. Mascagni, Pagliacci by R. Leoncavallo, Tales of Hoffmann by J. Offenbach, Carmen by J. Bizet. In total, he performed more than fifty productions in Russia and abroad.

In 1991 he staged N. Rimsky-Korsakov's opera The Night Before Christmas at the Bolshoi Theater (director Alexander Lazarev, artist Valery Leventhal). In 2001 he staged the first edition of S. Prokofiev's opera The Gambler (stage conductor Gennady Rozhdestvensky, artist David Borovsky). In 2017 he staged the opera The Snow Maiden by N. Rimsky-Korsakov (stage conductor Tugan Sokhiev, stage designer Vladimir Arefiev).

He teaches at the Faculty of Musical Theater of the Russian University of Theater Arts (GITIS), professor.

Performances directed by Alexander Titel were shown at festivals in Edinburgh, Kassel, and Riga.

print