Tenors of the 21st century poster. "Tenors of the 21st century"
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The art project "Tenora of the 21st century" is an exclusive group of soloists from the best opera houses in Moscow.
All members of the ensemble are unique in their own way, each of them has a beautiful chest voice that makes everyone present tremble.
If you are a fan of a real sonorous voice, then you should invite the art project "Tenora of the 21st century" to a concert. You always have the opportunity to order a performance of the art project "Tenora of the 21st century" for your anniversary, corporate event or any other kind of celebration. In order to fulfill your plan, you should dial the phone number indicated on the official website and voice your desire - to listen to the singing of the great voices of Russia.
Organization of performances of the art project "Tenora of the 21st century" is our field of activity. Household and technical rider is also our concern.The art project "Tenora of the 21st century" during its existence has managed to fully win its audience. Thousands of fans of the beautiful sound of classical musical works annually attend concerts of such a popular band. No wonder in 2007 the art project "Tenora of the 21st century" received the award " National treasure Russia". The performance of the great Russian voices cannot be compared with anything. How beautiful are the sounds that spill over the opera concert hall, so wonderful are the melodies of all existing natural phenomena, such as a waterfall, wind or thunderstorm.
The art project "Tenora of the 21st century" is very popular among all lovers of classical works.
Especially for them, the official website of the art project "Tenora of the 21st century" was opened, where photos of the art project "Tenora of the 21st century" are posted. The site of the art project "Tenora of the 21st century" makes it possible to watch tracks and videos of the art project "Tenora of the 21st century", as well as video recordings the best concerts performed by team members. It contains complete biography singers, their history creative success, as well as all the information about their life outside the scene. Contacts for organizing concerts on our website.
Call today and order performances by famous tenors of Russia, which will be specially timed to coincide with your solemn event. A live concert performed by the art project "Tenora of the 21st century" will await you. The organization of concerts of the art project "Tenors of the 21st century" - let it completely fall on our shoulders. And, you must be ready for a meeting with a famous musical group.
The repertoire of the art project "Tenors of the XXI century":
- AIRS FROM OPERAS, Neapolitan and Spanish songs
- World hits of the 20th century and songs from films
- Sacred songs
- Folk songs
- SONGS OF ARNO BABAJANYAN (Accompanied by orchestra)
- SONGS OF WAR AND SONGS ABOUT WAR
- FROM THE REPERTOIRE OF THE PESNYARY ENSEMBLE
In 2016, the art project "Tenors of the XXI century" celebrated its anniversary. For more than ten years, millions of music lovers have had the opportunity to listen to these wonderful vocalists who gather to give the audience pleasure and enjoy it themselves. It is no secret that tenors have always been and remain the favorites of the public. Their singing involuntarily makes you freeze and gives rise to a desire to listen more and more.
Every tenor is always a bright creative individuality, an artist who is not used to sharing stage space with someone. He always main character and that should be the focus of attention. The more surprising is the combination of so many wonderful singers in one project. And more than that, a strong friendship between very different people.
Dmitry Sibirtsev - Russian musician and producer - managed to gather the leading tenors of prestigious Moscow and European opera houses: the State Academic Bolshoi Theater of Russia, the Moscow Academic Musical Theater them. K. Stanislavsky and V. Nemirovich-Danchenko, Moscow Novaya Opera Theatre. E. Kolobov, Moscow theater "Helikon-Opera", LEIPZIG OPER (Germany).
About five dozen unique programs, more than a thousand concerts and two thousand works of various eras, styles and trends, performances on almost all continents of the globe. When they get together, you have the opportunity to touch the miracle.
Who is suitable for
For adults, fans of performers.
Why you should go
- New concert of an incredible art project
- Amazing voices and performance
- Performance of the best compositions
Our guest was the artistic director of the art project "Tenors of the XXI century", the director of the theater " New Opera» Dmitry Sibirtsev.
We talked about music, about how the classics can be combined with modern stage, as well as about music festival"Transformation".
A. Pichugin :
- "Bright Evening" on the light radio. Hello dear listeners! We welcome you to this studio. We are Alla Mitrofanova...
A.Mitrofanova :
Alexey Pichugin.
A. Pichugin :
And together with us and with you this bright evening will be held by Dmitry Sibirtsev - artistic director and producer of the art project "Tenors of the XXI century", director of the Moscow theater Novaya Opera. Hello!
D.Sibirtsev :
Hello!
A. Pichugin :
Today we will talk about the project "Tenors of the XXI century" and about the festival "Transfiguration", which literally tomorrow will begin in the Hall of Church Councils of the Cathedral of Christ the Savior. Well, let's, for starters, about the art project - as it is correctly called - "Tenors of the XXI century." You are the head of it, you are the artistic director, but, as I understand it, this project includes - so, I open the site, I see that there are a lot, a lot of your colleagues. Please tell us about what this project is. "Tenors of the 21st century" - as I understand it, these are, probably, most likely, young performers who, well, at least not from the middle of the 20th century, have been performing on opera stage...
D.Sibirtsev :
Well, not in the middle, that's for sure. But the project is growing up along with its creators, along with the guys who stood at its origins. This, as we said, was the “great five”, which, almost 12 years ago, decided to set off on an independent voyage and work independently of any other organizations. And the only obligatory condition has always been that each soloist continues to work in parallel at the opera house. That is, soloists of opera theaters had to work for us. These are the Stanislavsky Theatre, the Bolshoi Theater and the Novaya Opera. From that moment, of course, the composition of the project was replenished a little, after some time several young singers came - younger, so to speak. And now, probably, he is in the same state and in the form in which, probably, in this moment I would like to watch him. Very good composition. It is a little big - the main composition is 9 soloists. We have the opportunity to simultaneously perform at different venues, dividing into 4 and 5 people - for example, or leaving someone in theaters. Because, if you look at the poster of the performances of our soloists, then, of course, we are doing everything possible to ensure that neither the theaters interfere with the work in the project, nor the project interferes with the work in the theaters. Because, of course, for everyone opera singer his appearance on the stage in the theater is very important, this is probably the most important thing - this is what he was once taught at the conservatory, and what he aspired to. Each, of course, got, probably, some specific place in the troupe. It is easier for me to talk about this now, since I am the head of one of the theaters - the Novaya Opera Theater. And it so happily happened that several people work in this theater, and, of course, I am very pleased with this. It's nice that these guys are able to sing along with opera music and any other music, because this is another important condition for being in the project - this is the ability to perform music with equal success different styles, eras, trends and be able to somehow reincarnate in the song genre, and ... here, very unexpected, of course, we have programs that revealed some artists in a completely new way and, moreover, allowed them to add popularity, and the love of some part of the audience, in addition to what they do in the theater. I communicate a lot with our viewers, and they say that, thanks to the project, they got to know each of the artists from a completely different angle, and now they are interested in what they do in theaters, how they live. Before for... After all, the theater is such a situation, quite difficult for many artists, when, as they say, in the general mass they then go to the final bows, and only the person who came to the theater not by chance, but specially bought a program, looked into it or, for example, bought it in advance ...
A.Mitrofanova :
But these are not few!
D.Sibirtsev :
Yes ... well, or he bought tickets in advance, based on the composition of the performers, he knows who and why he came. And so - next to Boris Godunov, someone with a beard in the image of Shuisky came out and quietly left, and there was also a holy fool nearby ... Now, of course, I'm joking a little, but it often happens. And the singers... they all really want, after all, to be recognizable, and when they appear in our programs, in concerts, the public has the opportunity to evaluate everyone, choose for themselves the one who ...
A.Mitrofanova :
Favorite...
D.Sibirtsev :
To my liking, yes - a favorite, and since we...
A. Pichugin :
Even if his party was not the main one.
D.Sibirtsev :
Well, we have... Here we have...
A. Pichugin :
Well, what you are talking about, yes.
D.Sibirtsev :
A fairly equal story, because the concerts are built on the principle ... everyone will definitely be able to show themselves. We consider it unacceptable enough for ourselves when they try to call us a choir or an ensemble. This is completely wrong, because people who sing at the same height - they definitely cannot be a choir, they simply do not know how to do it. Once Placido Domingo, Luciano Pavarotti and Jose Carreras were able to get together and...
A.Mitrofanova :
How did they do it? I'm breaking my head, you know. Is this... is this some colossal production work?
D.Sibirtsev :
I must say a big thank you to Marta Domingo, who was able to persuade, as I understand it ... who persuaded whom - I can’t say for sure, because there was also the figure of Tibor Rudas, a wonderful producer, but she ... I know that the very first concert these outstanding singers have done completely free. I mean, it was a promo...
A.Mitrofanova :
Fantastic!
D.Sibirtsev :
A promotional action, which later, of course, brought huge, including, probably, financial dividends to the participants in this action. But there was very a difficult situation, because Domingo and Pavarotti were quite serious rivals on stage, and Domingo and Carreras were also rivals in the intra-Spanish situation, because one is a Catalan, the other is a Spaniard, well, in general, that's enough ...
A.Mitrofanova :
An elegant story, but at the same time - what a touching relationship they have on stage ...
D.Sibirtsev :
Here, but...
A.Mitrofanova :
When, there, Carreras sings, and Pavarotti, in my opinion, is there, wiping sweat from his forehead with a handkerchief.
D.Sibirtsev :
But you probably remember that it was also dedicated not only to the World Cup, which was in Italy in 1990, but it was also a tribute to the return of Carreras to the stage after a serious illness. And this is precisely what, probably, prompted these people not only to compete like that, but also to make friends. Despite the fact that in this concert there was also an internal rivalry - everyone tried to be better than the other. And here we are...
A.Mitrofanova :
Do you notice it, right? Because I'm just a spectator, I don't see it.
D.Sibirtsev :
We have taken this as a basis. I saw. Because Plácido Domingo was never so focused, so... so every note that he took at this concert and every piece that he chose for the program of this concert - I remember very well - it was all an absolutely precisely adjusted situation. Because he was well aware that only those virtues that he has can help him in Italy to be as loved as Pavarotti. Because Pavarotti came out ... Pavarotti - unusually gifted person nature. A lot is given to him - it was much easier to give than to others. Because, having applied to this nature an absolutely fantastic school, which was given to him by Ettore Campogalliani, a wonderful teacher, he realized that he could do anything. AND...
A. Pichugin :
Sorry! Still, it’s very interesting to me - what kind of competition, rivalry can there be between tenors?
A.Mitrofanova :
D.Sibirtsev :
Well, everyone wants to be better. They always say that a tenor is generally a rather complex substance: a person who wants to please everyone, in whom there is such an element of narcissism, selfishness - completely creepy. We remember other stories very well, when, for example, Franco Corelli, whose height was under 2 meters, always wanted ... Firstly, the struggle for who will bow first and who will bow last. That is, the last - either the prima donna came out, or the tenor had to go out. And was famous story when Franco Corelli met on the same stage with a baritone, whose height was several centimeters taller. Franco got hysterical and refused to sing...
A.Mitrofanova :
Wow...
D.Sibirtsev :
Rather, he did not refuse to sing the play. He ordered for himself - himself having a height of under 2 meters - he ordered for himself ...
A.Mitrofanova :
High boots?
D.Sibirtsev :
High-heeled boots, he added, there, in my opinion, 6 or 8 centimeters, he went on stage on these coils, and then ran away in hysterics, because the baritone did the same. And when he saw that the same thing was there, he just... There is such a legend. Therefore, the matter is not to gather three tenors together, but to gather ... or rather, even three, even if they are such great ones ... but to gather the company that we have is very complicated story. But, thank God, I had great experience cohabitation and vision is constantly before the eyes of just the tenor, because my father is a tenor, and he sang in the Soviet Union, in Russia on the best stages. He has just finished his career. And all the time I observed this behavior, these stresses before each performance, because - the voice will answer, the voice will not answer, because I myself, not possessing ... For example ... I lead the tenors, but still , my voice - it's somewhere between a tenor and a baritone, and I ... in general, everything that I do in the project, I do enough in this - in a calm mode. It's easier for me. I perfectly understand, for example, a lot of baritones or basses, for whom it is sometimes quite enough just to come out and show the beautiful timbre coloring of their voice. And the tenor is always, sorry for such a word, but it is sharpened to surprise with the upper notes. Top notes - they do not happen every day with a tenor, and if he is a little unwell, if he experienced some extra physical exertion, if he ate something wrong, there, spicy, and so on and so forth .. He begins to have these horrors and nightmares that haunt him, when, going on stage, he does not know whether he will succeed or not.
A. Pichugin :
The whole career is... continuous...
D.Sibirtsev :
It's a total fight...
A. Pichugin :
Look after yourself...
D.Sibirtsev :
Yes, take care of yourself. For all that, because of this, just, in many ways ... not only because, as they say, there is something to “lean” on, as the vocalists say, but also because that's just it constant stress, a lot of singers who sing in tenor - they are quite fat people, obese and so on - that's all, well, we know how it happens.
A.Mitrofanova :
You have now revealed to us some behind the scenes of what is actually happening in the life of a tenor, and this is not an easy path. Let's now hear what the result is. After all, you came to us with musical compositions. "Funiculi, funikula" will be our first?
D.Sibirtsev :
Yes, this is a song that, in general, was one of the very first in our repertoire. We were asked to perform it at some fairly serious event. And since then, very often our concerts, in which Italian music sounds, we start with it. Lineups change, but the song stays the same. Therefore... This one is one of the last versions of the recording of this song. Let's listen.
A.Mitrofanova :
With pleasure!
BRIGHT EVENING ON RADIO "VERA"
A. Pichugin :
We remind you that Dmitry Sibirtsev, artistic director and producer of the art project "Tenora of the 21st century" and director of the Moscow Novaya Opera Theater, is visiting radio Vera today.
A.Mitrofanova :
And can I ask you a question about internal relations, continue this topic a little? If it is so difficult even for three outstanding performers on stage, what is it like inside your team? And for you, as a leader, what buttons do you have to press in order to maintain some kind of correct balance? After all, this state of jealousy, competition - something that is so characteristic of an artist, how much can this interfere with joint work? But you still have a large team, and everyone is a tenor.
D.Sibirtsev :
Well, those who are very much disturbed by this do not work in the project. Because, of course, a lot of people wanted to get into it. And - we took some, and someone literally a month later understood that - it was impossible. And we tried and tried the guys and - from the very beginning, and a little later - only those people who are able, firstly, to turn each other's shoulder in any case, are constantly in the project. They - yes, they are in solo songs, they ... We all want to be better than the other. That is, even when choosing a repertoire, it is always very funny when ...
A. Pichugin :
And who chooses the repertoire?
D.Sibirtsev :
I choose the repertoire, but each soloist comes and asks what he sings, for example, this Sasha - we have four Sashas, yes. And one Sasha says: “But what does he sing?” ...
A.Mitrofanova :
Undercover intrigue!
D.Sibirtsev :
- ... "So. Then I will sing this.” - and here some certain disputes begin, but sometimes I understand very well. If I can replace this or that piece, if I believe that it will sound, for example, absolutely no worse than what I would like to offer him, performed by this singer. The most important thing is not to miss with some things that are completely unsuitable for this or that artist. Here. We're just working so hard, we're doing now... if we used to do like 100 shows a year, 100 gigs, then...
A.Mitrofanova :
Seriously.
D.Sibirtsev :
Yes... then this year we will... probably say a terrible thing, but it seems that we are going somewhere at 160, at 170.
A. Pichugin :
I'm looking at the section of posters on your site - well, that's from what has already been the other day ... This is Yaroslavl. Twenty...
D.Sibirtsev :
Well, here it is tomorrow starts yes.
A. Pichugin :
Yes, yes... No. This will start your festival. And what already happened: Yaroslavl, the next day - Shchelkovo, the next day - Moscow, the next day - another Moscow, and so on ad infinitum, practically without a single day off. Are you also involved? That is, the entire composition, all the participants of the project "Tenors of the XXI century" participate in these concerts every day?
D.Sibirtsev :
Well, they participate in something every day. That is, for example, I do not need all our 9 people for every concert. Because there are programs that are more intimate, there are programs in which, for example, two out of nine cannot participate, because, after all, they are significantly inferior in their stylistic capabilities, their sense of style to other guys. For example, we have a program called "The Golden Age of Soviet Tango", in which only guys with lyrical tenors sing. Those who are stronger, they feel much more difficult in this program, and we decided not to use them in it. There are separate performances, on small venues, where, for example, more than 4 people do not fit on the stage. There are corporate performances that no one has canceled, for which we also negotiate with each customer the number of singers on stage, this or that repertoire. For the sake of three songs, sometimes it's not worth using all 9 people. They must rest. Then, I understand very well that if this or that singer is preparing for some serious opera part at one time or another, then we reduce his workload. And we are very interested in that he sang this part well in his theater and thus benefit both himself and the project. This is very important. Some guys leave for a month, a month and a half, two...
A. Pichugin :
On my own tour...
D.Sibirtsev :
For performances. Just a few days ago Maxim Paster returned from his contract in Salzburg. And now he is joining us again. Therefore, there are simply 9 people who, in our opinion, deserve to work in this project. There are several singers who know the most, such, popular songs of our repertoire and are sometimes able to help us a little, for which we always thank them very much. These are our friends, too - and soloists Bolshoi Theater, and the Helikon Opera Theatre, and the Novaya Opera Theatre. Here. Unfortunately, there are losses that occur due to objective circumstances. Because, for example, 2 years ago, the person who stood at the origins of the project and was one of its main stars, Mikhail Urusov, left for permanent place residence in the United States of America, our Ukrainian tenor Sasha Ostrovsky left and works under a contract in Poland and Japan - he is not with us now, and, of course, the most terrible loss for us - this is the first loss - in 2010 ...
A. Pichugin :
Edward Semyonov.
D.Sibirtsev :
Edik Semyonov, who just ... well ... He was a person whom we still lack, has passed away. And the first 5 years, the most difficult that we had, he passed with us, and I always regret it very much, I think that now ... now we should have him. Now he would have - the situation in which we find ourselves. Because, you know, he was pulling... pulling quite a heavy burden. He was the only one who interrupted some of his performances in the West for the sake of the project, and it was very difficult for him, having arrived in Moscow, to try to somehow start living in a new way here, and so on and so forth. And so, perhaps, maybe in some way it ...
A. Pichugin :
Did he come from the Far East?
D.Sibirtsev :
He is a native of the Far East. In my opinion, the only singer on Far East which is truly opera artist. Because we all know the situation... there now... A man who put his best young years into the fact that the Opera appeared in Vladivostok. But the Opera appeared much later, when he was no longer in the world, and appeared thanks to completely different people who came from St. Petersburg, so ... Well, Edik, unfortunately, did not live to see this. For nine years he worked in Italy, singing absolutely fantastic concerts. Moreover, it so happened that ... He, for example, sings a concert with a world opera star, with Katya Ricciarelli. The concert is announced as her solo concert. Katya Ricciarelli sings three things in this concert, Eduard sings twelve. The concert is hers. This also happened, and it was very appreciated. He was a very modest man, surprisingly modest. He never, even in our group... He says, "Well, I... I'll be the last one out." That is ... And he was always worried, he was always ready, he was always unusually neat, he made sure that he looked decent on stage, always ... how he wore a suit ... Well, in general, this was a unique person - with despite the fact that it was very difficult for him, because he was just ready to enter some Opera theatre, because for the first years he tried to work only with us - we really needed such a person. Here. But it happened, it's a pity ... At the beginning of September of each year, we remember that here he is ... Moreover, he - amazing story- he passed away in his native Vladivostok, having gone there to change his passport. He got off the plane - he became unwell on the plane. Everyone remembers this year 2010...
A. Pichugin :
Yes, hot...
D.Sibirtsev :
This smog is Moscow. He had to whole month here, in the heat, to stay, to wait for the moment when he was able to fly away, and he flew away, and, unfortunately, his mother ... she could not even see him alive - he fell in the entrance of his house. Here. Very sad story. And we, when we said goodbye to him - literally two days before that - we did not know at all that it would be his last performance what it will be ... And the broadcast of this speech was given exactly an hour after we learned that he had passed away. And now - they give our performance from Luzhniki. He was supposed to be 45 the next day. This is such a sad, sad story.
A.Mitrofanova :
You know...
A. Pichugin :
We remember him, we remembered him here too...
D.Sibirtsev :
And we always dedicate one song to his memory in our concerts. It can be either the song “Notte” - “Night”, which he himself loved to sing very much, and in which he recorded with us, or ... of course, the song “In Memory of Caruso” always very much corresponds to this ...
A.Mitrofanova :
Caruso...
D.Sibirtsev :
Here... If we have the opportunity, we can listen to it.
A.Mitrofanova :
Yes, let's listen to it.
A. Pichugin :
Yes, we have just now is the time to listen to the song. Come on, let it be "In Memory of Caruso". And in memory of Eduard Semyonov.
A.Mitrofanova :
This is how I would listen! Such musical compositions... Thank you very much.
A. Pichugin :
Yes thank you! And we recall that it was the composition "In Memory of Caruso", which is not just in memory of Caruso, but in this case, on our air it still sounded in memory of the wonderful tenor, a participant in the art project "Tenors of the XXI century" Eduard Semyonov. Our guest is Dmitry Sibirtsev, artistic director and producer of the art project "Tenors of the 21st Century" and director of the Novaya Opera Theater in Moscow. Alla Mitrofanova and I, Alexey Pichugin - we'll be back in a minute.
BRIGHT EVENING ON RADIO "VERA"
A.Mitrofanova :
Once again - good bright evening, dear listeners! Alexey Pichugin, I'm Alla Mitrofanova, and let me remind you that our guest today is Dmitry Sibirtsev, artistic director and producer of the art project "Tenors of the 21st Century", director of the Moscow Novaya Opera Theater. We are talking about the 21st Century Tenors project and the Transfiguration festival in which you are taking part, let's also talk a little now. What kind of phenomenon is this on the Moscow, Russian opera stage? What is this?
D.Sibirtsev :
Well, this phenomenon is probably not exactly on the opera stage. Because they still perfectly understand that large groups become participants in the festival. It is a great honor for us to find ourselves in the company of these teams. And, if you look, for example, at the poster of those concerts that take place in the Hall of Church Councils of the Cathedral of Christ the Savior, then this is the Pyatnitsky Choir, this is the choir Sretensky Monastery. These are magnificent groups, with which ours, including soloists of the theater, which I direct, perform. How many concerts did our wonderful tenor Lyosha Tatarintsev give with the choir of the Sretensky Monastery, for example. We all know this very well. Certainly...
A.Mitrofanova :
You know that... We don't know everything about it.
D.Sibirtsev :
This is the Alexandrov Ensemble - for me it is especially pleasant, because my whole family went through this group. Grandfather stood at the origins of this ensemble and was the first bayan of this ensemble until the early 70s. My father, who was singing baritone at that time, worked in this ensemble for several years, and my own uncle, my mother's brother, worked in the choir for 20 years. Therefore, to me ... Moreover, our soloist, our project, Alexander Zakharov, served and worked there for several years. So, here is the band being resurrected, and we find out all the time what's going on there. I know that they took a very good squad, very strong guys. I am very glad that such things happen. And, of course, to find yourself in the same poster with such bands is an honor, it is very pleasant and responsible, because we, of course ... we do not want to be compared with anyone, and in no case ... Here For some reason, perhaps, I said that we, perhaps, stand a little apart in this poster. Because, perhaps, the organizers of the festival were originally, after all ... Well, this ... we also have 9 people there, a team that we are ... but we - we, of course, are not a choir. Naturally, we cannot just do this. We have several songs in the concert that we all sing together. And so - this is an attempt to always show each soloist from the best side.
A. Pichugin :
And how can, in general, the community of tenors be called a choir?
D.Sibirtsev :
I don't know, they call...
A. Pichugin :
Call?
D.Sibirtsev :
They call it sometimes, yes. This is ... The first, by the way, in such a kind of, however, joking form, is ... such a word was said by Vladimir Volfovich Zhirinovsky.
A. Pichugin :
In a playful way. Let's not argue with Vladimir Volfovich!
D.Sibirtsev :
No, we came to some broadcast, where we had a parody of some song - we had to sing it. And there was even some kind of director’s idea - thank God that she drowned in the wilds of director’s thought - but the director thought: “But now Vladimir Volfovich would come to you, and something together ...” And here is Vladimir Volfovich, in his usual manner, ran into the studio and said: “Well, where is the choir?” Why Maxim Paster...
A.Mitrofanova :
Your soloist?
D.Sibirtsev :
Our soloist, something terrible answered him at that moment ... well, that's it ... and ... Of course, it happens ... But that's how it went. But, really - we can't sing in chorus. And the fact that we sometimes, in this or that song, nevertheless, sing some pieces together, and even sing something at some intervals and build some chords - this, after all, is probably because many of our singers have a choir conductor's education and... well, sometimes we realize that this can sound good. But, if you remember Domingo, Pavarotti and Carreras - well, they took this B-flat of theirs together. Moreover, for one it sounded a little higher, for the other it sounded at 422 ... I wanted to say - “turnover” - forgive me, for God's sake, but for Carreras it sounded, as they say, under a note - and still the public perceived it as some kind of such a great pleasure, when, therefore, three in one. And we get ... sometimes there are nine even in one. Therefore, this is the task, and, of course, it was very difficult to choose the appropriate program for this festival. Because, again, we ... We could not sing, for example, with the choir of the Sretensky Monastery or with the Alexandrov Ensemble, some similar works that they will sing. Therefore, we decided to make a program of favorite songs of our youth - these are songs Soviet era, which we love very much, on which we grew up, and grew up on the examples of the excellent performance of these songs by those people who not only sang well, but also knew perfectly well what verses they utter in these songs. And, of course, these are the traditions that we are trying to preserve, they differ significantly, probably, from the style that is sometimes presented to us, including, unfortunately, from central television screens. But I think that the audience that comes, they perfectly understand some certain difference. Moreover, the most tangible - it happens, probably, at concerts of military songs, when, after all, we try to comply with the traditions that were laid down, including in the Alexandrov ensemble, and do not fit, for example, into that rhythmic pattern , on which these songs are based now and ... I think that our dear veterans who come to such concerts, they, nevertheless, are much closer to the manner that we preserve, and which they remember from the time of Vinogradov, from from the time of Evgeny Belyaev, from the time of a man who did not possess singing voice, but this repertoire sang absolutely amazingly - Mark Bernes, and so on, and so on. We would like to, after all, go down this path. Thank God, we all have wonderful parents who instilled in us, probably some, after all, good taste. And we, to the extent possible, to the extent of our education and strength, we try to correspond to this. Despite the fact that we, and, probably, our public are well aware that the project still exists, and not only "thanks to", but also "despite". Because many singers would never work in this project, if everything they did in the opera took up all their time, that they would be treated kindly by invitations from all world theaters. Of course, Mitya Korchak or, let's say, Lyosha Tatarintsev would hardly need the project "Tenors of the 21st Century", they are already doing well on the opera stage. Here, after all, there is a certain element of such a desire to realize oneself even more creatively, and I, as a producer, as a musician, I must use this to the maximum, to the maximum.
A. Pichugin :
Let's listen to music. And then we will move on to discussing the Transfiguration festival, for which we, including ourselves, are gathering here today, in this studio. What are we listening to?
D.Sibirtsev :
Let's listen to the tango "My Happiness", which will be sung by Georgy Faradzhev. Well, this is one of the songs that, quite possibly, will be played at our concert.
BRIGHT EVENING ON RADIO "VERA"
A. Pichugin :
We remind you, dear listeners, that Dmitry Sibirtsev, artistic director and producer of the art project "Tenors of the 21st Century" and director of the Moscow Novaya Opera Theater, is visiting the bright radio today. We talked about your project and the festival "Transfiguration", which starts tomorrow in the Hall of Church Councils of the Cathedral of Christ the Savior. Why exactly there, by the way?
D.Sibirtsev :
Well, I think that this is the choice, first of all, of the organizers. And, of course, it seems to me that when they made us an offer, they, nevertheless, had in mind that we would not sing on this site, for example, one of our programs ... well, something like like ... you know, "Cosa Nostra" we have a program - songs of the Italian mafia ...
A.Mitrofanova :
Oh seriously?
D.Sibirtsev :
Yes, we have such programs. For 12 years, we have already made 54 programs and sang more than 2000 pieces, so...
A. Pichugin :
After the broadcast, you will tell Alla and me where you can listen to this program.
D.Sibirtsev :
Yes Yes. We sing - everything. Here. Therefore ... I think that the Pyatnitsky Choir, the Alexandrov Ensemble, and the Sretensky Monastery Choir - selected a certain repertoire. And, of course, the very choice of the site... well... we are on this site - we are pleased to return to it. Because at it we were awarded, for example, the National Treasure award in 2007. We sang a lot of concerts - participated in large concerts - on this stage, and I personally accompanied some big, serious singers on this stage. It seems to me that a person to come to a concert ... here ... in the Hall of Church Councils - this, in general, is a reason, after all, to find himself next to the Cathedral of Christ the Savior. Therefore, it is... despite the fact that it is considered a secular stage, on which you can perform practically any music, but it still seems to me that there should be certain limits. And therefore, personally, we will perform such beautiful lyric songs about love on this stage. What audience will come - we do not know at all. It seems to me that, quite possibly, a lot of new audiences will come that do not attend, for example, our concerts at the House of Music - that makes it more interesting for us. And if anyone else finds out about what we're doing, that'd be great. And for us - once again to look around and think about whether it makes sense to make such concerts fairly regular. Here, here it is.
A.Mitrofanova :
You just mentioned the site of the House of Music - the Moscow International House of Music - this is a popular place. A place where people come to both opera concerts and, in general, to ... I don’t know, there ... for some big orchestral events like that. You know, I ask myself: what is the phenomenon of popularity in the 21st century of crazy rhythm - this genre, the genre of opera, which still implies, well, it seems to me, a slightly different habit of moving, looking at the world, somehow this world to feel. This is a genre that is more consistent, perhaps, with the end of the eighteenth century and the nineteenth. I don’t know, maybe I’m wrong, then you correct me, because, well, in my opinion, here is the concert of Domingo, Pavarotti and Carreras you mentioned - it was such a moment, well, a renaissance, or something, the return of a wide such popularity of the genre of opera, when people who, perhaps, never thought at all that they might like it, heard and - they liked it. This is how you explain - what kind of attention is this now from the public, which, perhaps, does not even have music education, to this genre?
D.Sibirtsev :
Here, here you need to understand that, for example, for professionals ... well ... or people who ... well ... believe that they are professionals ... at least, who have studied music all their lives and consider that they sacredly preserve some certain things and traditions, for them the concert of Domingo, Pavarotti and Carreras was a horror. Because many...
A.Mitrofanova :
I know, yes, yes! "Pops-pops such", yes!
D.Sibirtsev :
Yes, and they think it's unacceptable. But actually...
A.Mitrofanova :
It is so beautiful!
D.Sibirtsev :
This is really such a turn of those who would never go, for example, to the opera, which is very cool. We ourselves, sometimes, giving some kind of interviews, speaking on the air, we suddenly get some kind of echo - a review, there, on the phone - when some girl says: “Oh, I thought opera was so boring , and then such funny guys came! Here. Well, that happens too. In fact, I think that Domingo, Pavarotti and Carreras, and, at one time, Montserrat Caballe with Freddie Mercury ...
A.Mitrofanova :
With Freddie Mercury, for sure...
D.Sibirtsev :
They did a great job of popularizing classical music. Another thing is that we are talking about the House of Music. Not everything that is given in the House of Music is opera.
A.Mitrofanova :
Undoubtedly!
D.Sibirtsev :
Not everything that is given on the Culture channel is a classic in its purest form. Now there is a mixture of genres and so on.
A.Mitrofanova :
There jazz is great. Well, different, different...
D.Sibirtsev :
Yes, definitely! No, well ... it happens that ... for example, the program "Romance of the Romance" has long ceased to be a program in which romances are performed. It does everything in it. We are only ourselves in this program - we had 3 full big concert, ours only - we sang Babajanyan's songs, we sang and italian songs, we sang the program "The Golden Age of Soviet Tango", that is, everything is performed. In my opinion, everything that brings, especially young people, closer to the fact that they, nevertheless, are fueled by the performance of music on high level. Even if... Well, let's... well, what are we... we won't scold Khibla Gerzmava for singing jazz. She does it great.
A.Mitrofanova :
Oh, how beautifully she does it!
D.Sibirtsev :
She does it wonderfully. Here. We will not scold Dmitry Hvorostovsky for the fact that he sings Soviet songs and songs of the war years, but someone likes it, someone does not like it. It's already...
A. Pichugin :
Well, this is the business of Hvorostovsky himself and the business of each performer.
D.Sibirtsev :
This is a completely different question, but the fact that thanks to the name, thanks to fame, thanks, yes, to some things ... - people are also drawn to this music, and that's great. And the one who came to the theater or to concert hall only to sit with a notepad and calculate that “this note is not taken very cleanly”, that “here he violated the rhythmic basis of the work laid down by the composer”, you know, this ...
A.Mitrofanova :
Letterism is like that.
D.Sibirtsev :
This is in the library School of Music to the Faculty of Music Theory - and here, please, do it there. I... We have such people at concerts. More annoyance than when you see one such person who is clearly sitting here ... And if this is some other failed singer, but, as he thinks, an accomplished teacher, well, this is generally a nightmare. That is, such people, in my opinion, have absolutely no place at ... including at our concerts. Because we are open, we are smiling, we... even those mistakes that we make - they are made quite easily, because these are our mistakes. As Vladimir Horowitz said... When he was told: “You know...” - he had had enough years already ... he says: “Here, I will leave everything that I played in this record. Every false note Because it's my wrong note." And, for me, the manner, for example, in which Vladimir Gorovets played - it is much closer to me than the manner of some winner of the first prize of the Tchaikovsky Competition, who plays everything cleanly, but - no mind, no heart, and no soul in it No. Do you understand? Like this. And it's the same with vocals. You can sing absolutely technically, absolutely correctly, but without putting your soul, heart, nothing into it... everyone feels it.
A.Mitrofanova :
D.Sibirtsev :
Oh, personally, last year it was like this for me ... I ... surprisingly, I had some kind of coup. Because I, when I was very young, just everything that Mark Bernes did - I was insanely annoyed.
A.Mitrofanova :
Seriously?
D.Sibirtsev :
Because I didn't understand why he sang it. Why is he saying this? Why does he practically pronounce the song that needs to be sung. Because my dad was nearby, my uncle, who sang, sang passages and so on. And I didn't understand how it happened. But after some time, and now especially now, when I myself suddenly took it upon myself to perform it - for example, in our military program - the songs "Dark Night" and "Cranes", after all, I am the basis took, with all due respect, not Dmitry Hvorostovsky, but Mark Bernes. So this is very, very important. Since, for example, in the song “August”, which I will sing at a concert in the Hall of Church Cathedrals, I took Jan Frenkel himself as the basis, who performed this song completely ...
A. Pichugin :
Yan Frenkel, by the way, too ... like Bernes - one cannot say that he had a fantastic voice.
D.Sibirtsev :
Here! I say: I didn’t have, I didn’t have a voice. But it was done with a soul, the man knew what he was singing about, he knew poetry...
A.Mitrofanova :
He resides... yes...
D.Sibirtsev :
He felt, he lived every moment. For us it is very important. We have absolutely ... forgive me for the word - "vocaluk", just like that - we don't have. We have people who are burdened with this quality, but we are struggling with it, so to speak.
A. Pichugin :
Let us remind you once again that you can hear the project of the “Tenors of the 21st Century” live in the Hall of Church Councils of the Cathedral of Christ the Savior. Artistic director- Dmitry Sibirtsev, who was with us today in the Bright Evening program. Dmitry Sibirtsev is also the director of the Moscow Novaya Opera Theatre, and his colleagues from the project "Tenors of the 21st Century" will take the stage of the Hall of Church Councils - come, listen...
A.Mitrofanova :
As part of the festival "Transfiguration".
A. Pichugin :
And we finish our program, and finish with one more composition.
D.Sibirtsev :
Well, let's smile goodbye. Because it’s such a... so light... well, not exactly a parody, but... here, a completely different performance of the song “Bee and Butterfly”, which is sung by Maxim Paster, and he She will definitely sing, so come!
A. Pichugin :
Alla Mitrofanova...
A.Mitrofanova :
Alexey Pichugin.
D.Sibirtsev :
Best wishes!
A.Mitrofanova :
- "Bee and Butterfly"!
