Bolshoi theater hall capacity after renovation. The installation of seats began in the auditorium of the Bolshoi Theater

The history of the Bolshoi Theatre, which is celebrating its 225th anniversary, is as majestic as it is intricate. From it, with equal success, you can create both an apocrypha and an adventurous novel. The theater was repeatedly burned, restored, rebuilt, merged and separated its troupe.

Twice-born (1776-1856)

Story Bolshoi Theater, which celebrates its 225th anniversary, how majestic, just as confusing. From it, with equal success, you can create both an apocrypha and an adventurous novel. The theater was repeatedly burned, restored, rebuilt, merged and separated its troupe. And even the Bolshoi Theater has two dates of birth. Therefore, its centenary and bicentennial anniversaries will not be separated by a century, but by only 51 years. Why? Initially, the Bolshoi Theater counted its years from the day when Theater Square a magnificent eight-column theater arose with the chariot of the god Apollo above the portico - the Bolshoi Petrovsky Theater, the construction of which was a real event for Moscow early XIX century. Great building in classical style, inside decorated in red and gold tones, according to contemporaries, was the best theater in Europe and in scale was second only to Milan's La Scala. Its opening took place on January 6 (18), 1825. In honor of this event, the prologue "The Triumph of the Muses" by M. Dmitriev was given with music by A. Alyabyev and A. Verstovsky. It allegorically depicted how the Genius of Russia, with the help of the muses, creates a new beautiful art on the ruins of the Medox theater - the Bolshoi Petrovsky Theater.

However, the troupe, by whose forces the “Celebration of the Muses” that caused general delight was shown, had already existed for half a century by that time.

It was started by the provincial prosecutor Prince Pyotr Vasilyevich Urusov in 1772. On March 17 (28), 1776, the highest permission was given “to keep him all kinds of theatrical performances, as well as concerts, vauxhalls and masquerades, and besides him, no one should be allowed any such entertainment at all the time appointed by privilege, so that he would not be undermined.”

Three years later, he petitioned Empress Catherine II for a ten-year privilege to maintain a Russian theater in Moscow, undertaking to build a permanent theater building for the troupe. Alas, the first Russian theater in Moscow on Bolshaya Petrovsky Street burned down before the opening. This led to the decline of the prince's affairs. He handed over the business to his partner, the Englishman Michael Medox, an active and enterprising man. It was thanks to him that in the wasteland, regularly flooded by the Neglinka, despite all the fires and wars, the theater grew up, which eventually lost its geographical prefix Petrovsky and remained in history simply as the Bolshoi.

And yet, the Bolshoi Theater begins its calendar on March 17 (28), 1776. Therefore, in 1951, the 175th anniversary was celebrated, in 1976 - the 200th anniversary, and ahead - the 225th anniversary of the Bolshoi Theater of Russia.

Bolshoi Theater in mid-nineteenth century

The symbolic name of the performance, which opened the Bolshoi Petrovsky Theater in 1825, "The Triumph of the Muses" - predetermined its history over the next quarter of a century. Participation in the first performance of outstanding masters of the stage - Pavel Mochalov, Nikolai Lavrov and Angelica Catalani - set the highest level of performance. The second quarter of the 19th century is the awareness of Russian art, and the Moscow theater in particular, of its national identity. The work of the composers Alexei Verstovsky and Alexander Varlamov, who for several decades were at the head of the Bolshoi Theater, contributed to its extraordinary rise. Thanks to their artistic will, the Russian operatic repertoire was formed on the Moscow Imperial stage. It was based on Verstovsky's operas "Pan Tvardovsky", "Vadim, or the Twelve Sleeping Maidens", "Askold's Grave", the ballets "The Magic Drum" by Alyabyev, "The Sultan's Amusements, or the Slave Seller", "Boy with a Finger" by Varlamov.

The ballet repertoire was as rich and varied as the opera. The head of the troupe, Adam Glushkovsky, is a pupil of the St. Petersburg ballet school, a student of Ch. Didlo, who headed the Moscow ballet even before Patriotic War 1812, created original performances: “Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard”, “Three Belts, or Russian Sandrilona”, “Black Shawl, or Punished Infidelity”, transferred to the Moscow stage best performances Didlo. They showed the excellent training of the corps de ballet, the foundations of which were laid by the choreographer himself, who was also at the head of the ballet school. The main roles in the performances were performed by Glushkovsky himself and his wife Tatyana Ivanovna Glushkovskaya, as well as the Frenchwoman Felicata Gullen-Sor.

The main event in the activities of the Moscow Bolshoi Theater in the first half of the last century was the premiere of two operas by Mikhail Glinka. Both of them were first staged in St. Petersburg. Even though reach from one Russian capital to another it was already possible by train, Muscovites had to wait for new products for several years. "Life for the Tsar" was first performed at the Bolshoi Theater on September 7 (19), 1842. “... How to express the surprise of true music lovers when they were convinced from the first act that this opera solved a question important for art in general and for Russian art in particular, namely: the existence of Russian opera, Russian music ... With Glinka's opera is something that has long been sought and not found in Europe, a new element in art, and begins in its history new period- the period of Russian music. Such a feat, let's say, in all honesty, is a matter not only of talent, but of genius! -- exclaimed eminent writer, one of the founders of Russian musicology V. Odoevsky.

Four years later, the first performance of Ruslan and Lyudmila took place. But both operas by Glinka, despite favorable reviews from critics, did not last long in the repertoire. Even the participation in the performances of guest performers Osip Petrov and Ekaterina Semenova, temporarily ousted from St. Petersburg by Italian singers, did not save them. But decades later, it was "Life for the Tsar" and "Ruslan and Lyudmila" that became the favorite performances of the Russian public, they were destined to defeat the Italian opera mania that arose in the middle of the century. And by tradition, each theatrical season the Bolshoi Theater opened with one of Glinka's operas.

On the ballet stage, by the middle of the century, performances on Russian themes created by Isaac Ablez and Adam Glushkovsky were also forced out. The ball was ruled by Western romanticism. "La Sylphide", "Giselle", "Esmeralda" appeared in Moscow almost immediately after the European premieres. Taglioni and Elsler drove Muscovites crazy. But the Russian spirit continued to live in the Moscow ballet. Not a single guest performer could outshine Ekaterina Bankova, who performed in the same performances as visiting celebrities.

In order to accumulate strength before the next rise, the Bolshoi Theater had to endure many upheavals. And the first of them was a fire that in 1853 destroyed the theater of Osip Bove. All that was left of the building was a charred shell. The scenery, costumes, rare instruments, and the music library were destroyed.

In the competition for best project restoration of the theater was won by the architect Albert Kavos. In May 1855, construction work began, which was completed after 16 (!) months. In August 1856, a new theater was opened with V. Bellini's opera "The Puritani". And there was something symbolic in the fact that he opened with an Italian opera. Shortly after its opening, the actual tenant of the Bolshoi Theater was the Italian Merelli, who brought a very strong Italian troupe to Moscow. The audience enthusiastically preferred the new converts Italian opera Russian. All of Moscow flocked to listen to Desiree Artaud, Pauline Viardot, Adeline Patti and other Italian opera idols. The auditorium at these performances was always crowded.

Only three days a week were left for the Russian troupe - two for ballet and one for opera. The Russian opera, which had no material support and was abandoned by the public, was a sad sight.

And yet, despite any difficulties, the Russian operatic repertoire is steadily expanding: in 1858, A. Dargomyzhsky's "Mermaid" was presented, two operas by A. Serov, "Judith" (1865) and "Rogneda" (1868), were staged for the first time , "Ruslan and Lyudmila" by M. Glinka is resumed. A year later, P. Tchaikovsky made his debut on the stage of the Bolshoi Theater with the opera Voyevoda.

A turning point in the tastes of the public occurred in the 1870s. Russian operas appear one after another in the Bolshoi Theater: “The Demon” by A. Rubinstein (1879), “Eugene Onegin” by P. Tchaikovsky (1881), “Boris Godunov” by M. Mussorgsky (1888), “ Queen of Spades(1891) and Iolanta (1893) by P. Tchaikovsky, The Snow Maiden by N. Rimsky Korsakov (1893), Prince Igor by A. Borodin (1898). Following the only Russian prima donna Ekaterina Semyonova, a whole galaxy of outstanding singers enters the Moscow stage. This is Alexandra Alexandrova-Kochetova, and Emilia Pavlovskaya, and Pavel Khokhlov. And already they, not italian singers, become favorites of the Moscow public. In the 70s, the owner of the most beautiful contralto Eulalia Kadmina enjoyed special affection of the audience. “Perhaps the Russian public never knew, either before or later, such a peculiar performer, full of real tragic power,” they wrote about her. M. Eikhenvald was called the unsurpassed Snow Maiden, the baritone P. Khokhlov, whom Tchaikovsky highly appreciated, was the idol of the public.

In the ballet of the Bolshoi Theater in the middle of the century, Martha Muravyova, Praskovya Lebedeva, Nadezhda Bogdanova, Anna Sobeshchanskaya were played, and in their articles about Bogdanova, journalists emphasized "the superiority of the Russian ballerina over European celebrities."

However, after their departure from the stage, the Bolshoi Ballet found itself in a difficult position. Unlike St. Petersburg, where the unified artistic will of the choreographer dominated, ballet Moscow in the second half of the century was left without a talented leader. The raids of A. Saint-Leon and M. Petipa (who staged Don Quixote at the Bolshoi Theater in 1869, and made his debut in Moscow before the fire, in 1848) were short-lived. The repertoire was filled with occasional one-day performances (the exception was Sergey Sokolov's Fern, or Night on Ivan Kupala, which had long lingered in the repertoire). Even the production of " swan lake”(choreographer - Wenzel Reisinger) by P. Tchaikovsky, who created his first ballet specifically for the Bolshoi Theater. Each new premiere only irritated the public and the press. auditorium on ballet performances, which in the middle of the century gave a solid income, began to be empty. In the 1880s, the question of liquidating the troupe was seriously raised.

And yet, thanks to such outstanding masters as Lydia Geiten and Vasily Geltser, the Bolshoi Ballet was preserved.

On the eve of the new century XX

Approaching the turn of the century, the Bolshoi Theater lived hectic life. At that time Russian art approached one of the peaks of its heyday. Moscow was in the center of the seething artistic life. A stone's throw from Theater Square, the Moscow Public Art Theater opened, the whole city was eager to see the performances of the Mamontov Russian Private Opera and the symphony meetings of the Russian musical society. Not wanting to fall behind and lose the audience, the Bolshoi Theater rapidly made up for lost time in previous decades, ambitiously wanting to fit into the Russian cultural process.

This was facilitated by two experienced musicians who came to the theater at that time. Ippolit Altani led the orchestra, Ulrich Avranek - the choir. The professionalism of these groups, which have grown not only quantitatively (there were about 120 musicians in each), but also qualitatively, invariably aroused admiration. Outstanding masters shone in the opera troupe of the Bolshoi Theater: Pavel Khokhlov, Elizaveta Lavrovskaya, Bogomir Korsov continued their careers, Maria Deisha-Sionitskaya arrived from St. Petersburg, Lavrenty Donskoy, a native of Kostroma peasants, became the leading tenor, Margarita Eikhenwald was just beginning her journey.

This made it possible to include in the repertoire virtually all world classics - operas by G. Verdi, V. Bellini, G. Donizetti, C. Gounod, J. Meyerbeer, L. Delibes, R. Wagner. New works by P. Tchaikovsky regularly appeared on the stage of the Bolshoi Theater. With difficulty, but still, the composers of the New Russian School made their way: in 1888, the premiere of "Boris Godunov" by M. Mussorgsky took place, in 1892 - "The Snow Maiden", in 1898 - "The Night Before Christmas" by N. Rimsky- Korsakov.

In the same year he got on the Moscow Imperial stage "Prince Igor" by A. Borodin. This revived interest in the Bolshoi Theater and, in no small measure, contributed to the fact that by the end of the century singers joined the troupe, thanks to whom the opera of the Bolshoi Theater reached great heights in the next century. The ballet of the Bolshoi Theater also came to the end of the 19th century in magnificent professional form. The Moscow Theater School worked without interruption, producing well-trained dancers. Caustic feuilleton comments, such as the one posted in 1867: “And what are the corps de ballet sylphs now? .. all so well-fed, as if deigning to eat pancakes, and dragging their legs as if they were caught” - have become irrelevant. The brilliant Lydia Gaten, who had no rivals for two decades and carried the entire ballerina repertoire on her shoulders, was replaced by several world-class ballerinas. One after another debuted Adeline Juri, Lyubov Roslavleva, Ekaterina Geltser. Vasily Tikhomirov was transferred from St. Petersburg to Moscow and became the premier of the Moscow ballet for many years. True, unlike the masters opera troupe until their talents had a worthy application: the stage was dominated by the secondary empty ballet extravaganzas of José Mendez.

It is symbolic that in 1899 choreographer Alexander Gorsky, whose name is associated with the heyday of Moscow ballet in the first quarter of the 20th century, made his debut on the stage of the Bolshoi Theater with the transfer of Marius Petipa's ballet The Sleeping Beauty.

In 1899 Fyodor Chaliapin joined the troupe.

began at the Bolshoi Theater new era, which coincided with the onset of a new XX century

1917 has come

By the beginning of 1917, there were no signs of revolutionary events at the Bolshoi Theater. True, there were already some self-governing bodies, for example, a corporation of orchestra artists, headed by the concertmaster of the group of 2 violins, Ya.K. Korolev. Thanks to the active actions of the corporation, the orchestra received the right to be installed at the Bolshoi Theater symphony concerts. The last of them took place on January 7, 1917 and was dedicated to the work of S. Rachmaninov. Conducted by the author. "Cliff", "Isle of the Dead" and "Bells" were performed. The choir of the Bolshoi Theater and soloists E. Stepanova, A. Labinsky and S. Migai took part in the concert.

On February 10, the theater showed the premiere of Verdi's Don Carlos, which became the first production of this opera on the Russian stage.

After the February Revolution and the overthrow of the autocracy, the management of St. Petersburg and Moscow theaters remained common and concentrated in the hands of their former director V. A. Telyakovsky. March 6, by order of the Commissioner of the Provisional Committee State Duma N. N. Lvov, A. I. Yuzhin was appointed authorized commissioner for the management of theaters in Moscow (Big and Small). On March 8, at a meeting of all employees of the former imperial theaters - musicians, opera soloists, ballet dancers, stage workers - L.V. Sobinov was unanimously elected manager Bolshoi Theater, and this election was approved by the Ministry of the Provisional Government. On March 12, searchers arrived; from the economic and service part, and L. V. Sobinov headed the actual artistic part of the Bolshoi Theater.

It must be said that “Soloist of His Majesty”, “Soloist of the Imperial Theaters” L. Sobinov broke the contract with the Imperial Theaters back in 1915, unable to fulfill all the whims of the directorate, and performed either in performances of the Musical Drama Theater in Petrograd, or in Zimin theater in Moscow. When did February Revolution, Sobinov returned to the Bolshoi Theater.

On March 13, the first "free solemn performance" took place at the Bolshoi Theater. Before it began, L. V. Sobinov delivered a speech:

Citizens and citizens! With today's performance, our pride, the Bolshoi Theater, opens the first page of its new free life. Bright minds and pure, warm hearts united under the banner of art. Art sometimes inspired the fighters of the idea and gave them wings! The same art, when the storm subsides, which made the whole world tremble, will glorify and sing folk heroes. In their immortal feat it will draw bright inspiration and infinite strength. And then the two best gifts of the human spirit - art and freedom - will merge into a single mighty stream. And our Bolshoi Theatre, this marvelous temple of art, will become a temple of freedom in the new life.

March 31 L. Sobinov is appointed commissar of the Bolshoi Theater and the Theater School. Its activities are aimed at combating the tendencies of the former directorate of the Imperial Theaters to interfere with the work of the Bolshoi. It comes down to a strike. In protest against encroachments on the autonomy of the theater, the troupe suspended the performance of Prince Igor and asked the Moscow Council of Workers' and Soldiers' Deputies to support the demands of the theater staff. The next day, a delegation was sent from the Moscow City Council to the theater, welcoming the Bolshoi Theater in the struggle for its rights. There is a document confirming the respect of the theater staff for L. Sobinov: “The Corporation of Artists, having elected you as a director, as the best and staunchest defender and spokesman for the interests of art, earnestly asks you to accept this election and notify you of your consent.”

In order No. 1 dated April 6, L. Sobinov addressed the team with the following appeal: “I make a special request to my comrades, artists of the opera, ballet, orchestra and choir, to all staging, artistic, technical and service personnel, artistic, pedagogical the staff and members of the Theater School to make every effort for the successful completion of the theater season and the academic year of the school and for the preparation, on the basis of mutual trust and comradely unity, of the upcoming work in the next theatrical year.

In the same season, on April 29, the 20th anniversary of L. Sobinov's debut at the Bolshoi Theater was celebrated. There was an opera by J. Bizet "Pearl Seekers". Comrades on the stage warmly welcomed the hero of the day. Without undressing, in the costume of Nadir, Leonid Vitalyevich delivered a response speech.

“Citizens, citizens, soldiers! I thank you from the bottom of my heart for your greeting and thank you not on my own behalf, but on behalf of the entire Bolshoi Theater, which Hard time you have provided such moral support.

In the difficult days of the birth of Russian freedom, our theater, which until then represented an unorganized collection of people who “served” in the Bolshoi Theater, merged into a single whole and based its future on the elective principle as a self-governing unit.

This elective principle saved us from ruin and breathed into us the breath of new life.

It would seem to live and be happy. The representative of the Provisional Government, appointed to liquidate the affairs of the Ministry of the Court and Appanages, went to meet us halfway - welcomed our work and, at the request of the entire troupe, gave me, the elected manager, the rights of commissar and director of the theater.

Our autonomy did not interfere with the idea of ​​uniting all state theaters in the interests of the state. For this, a person of authority and close to the theater was needed. Such a person has been found. It was Vladimir Ivanovich Nemirovich-Danchenko.

This name is familiar and dear to Moscow: it would unite everyone, but... he refused.

Other people came, very respectable, respected, but alien to the theater. They came with the confidence that it was people outside the theater who would give reforms and new beginnings.

Three days had not passed before attempts began to put an end to our self-government.

Our elective offices have been postponed, and we have been promised a new regulation on the management of theaters the other day. We still do not know who and when it was developed.

The telegram muffledly says that it meets the wishes of theater workers, which ones we do not know. We did not participate, we were not invited, but on the other hand, we know that the recently thrown down fetters of the order are again trying to confuse us, again the discretion of the order is arguing with the will of the organized whole, and the hushed order rank is raising its voice, accustomed to shouting.

I could not take responsibility for such reforms and resigned as director.

But as an elected theater manager, I protest against the seizure of the fate of our theater in irresponsible hands.

And we, our entire community, are now appealing to representatives public organizations and the Soviets of Workers' and Soldiers' Deputies to support the Bolshoi Theater and not give it to the Petrograd reformers for administrative experiments.

Let them be engaged in the stable department, specific winemaking, card factory, but they will leave the theater alone.

Some points of this speech require clarification.

The new regulation on the management of theaters was issued on May 7, 1917 and provided for the separate management of the Maly and Bolshoi Theaters, and Sobinov was called an authorized representative for the Bolshoi Theater and the Theater School, and not a commissar, i.e., in fact, a director, according to the order of March 31.

Mentioning the telegram, Sobinov means the telegram he received from the Commissioner of the Provisional Government for the department of the former. yard and destinies (this included the stable department, and winemaking, and the card factory) F.A. Golovina.

And here is the text of the telegram itself: “I am very sorry that you resigned your powers due to a misunderstanding. I earnestly ask you to continue working until the case is clarified. New one coming out in a few days general position about the management of theaters, known to Yuzhin, meeting the wishes of the theater workers. Commissar Golovin.

However, L.V. Sobinov does not stop directing the Bolshoi Theater, he works in contact with the Moscow Soviet of Workers' and Soldiers' Deputies. On May 1, 1917, he himself participates in a performance in favor of the Moscow Council at the Bolshoi Theater and performs excerpts from Eugene Onegin.

Already on the eve October revolution, October 9, 1917. The Political Directorate of the Military Ministry sends the following letter: “To the Commissar of the Moscow Bolshoi Theater L.V. Sobinov.

In accordance with the petition of the Moscow Soviet of Workers' Deputies, you are appointed commissar over the theater of the Moscow Soviet of Workers' Deputies ( former theater Zimina).

After the October Revolution, E.K. Malinovskaya, who was considered the commissar of all theaters, was placed at the head of all Moscow theaters. L. Sobinov remained as director of the Bolshoi Theater, and a council (elected) was created to help him.

Undoubtedly Grand Theatre- this is one of the most recognizable sights of Moscow. Suffice it to recall that his image was awarded hit on banknotes Russian Federation. Founded in 1776, it quickly acquired the status of the Imperial Theatre, while becoming the center of the stage life of that time. The theater has not lost this status to this day. The phrase "Bolshoi Theater" has long become a brand known and understood by art lovers all over the world.

History of the Bolshoi Theater

The founding day of the Bolshoi Theater is March 13, 1776. On this day, Prince Peter Urusov received permission from Empress Catherine II to create a theater. This year, construction began on the right bank of the Neglinka, but the theater did not have time to open - all the buildings died during a fire. New theater was built on Arbat Square under the direction of Russian architect of Italian origin Karl Ivanovich Rossi. This time the theater burned down during the invasion of Napoleon. In 1821, under the guidance of the architect Osip Bove, the buildings of the Bolshoi Theater appeared, to which we are so accustomed. The opening of the Bolshoi Theater took place on January 6, 1825. This date is considered the second birthday of the theatre. The repertoire of the Bolshoi Theater began with the concert "The Triumph of the Muses" by M. Dmitriev (music by A. Alyabyev and A. Verstovsky).

The Bolshoi Theater has a very difficult and further fate. Its building burned down, fell into disrepair, German bombs fell there ... The next reconstruction, begun in 2005, should give historic building the original view of the theater, to open to the audience and tourists all the splendor of the old building. There is very little time left: soon the fans high art will be able to enjoy the masterpieces of world music in a wonderful and unique atmosphere main stage Bolshoi Theatre. The Bolshoi Theater has long specialized in the arts that have been the pride of Russian culture for many years - opera and ballet. The respective theater troupes, as well as the Bolshoi Theater Orchestra, consist of exceptionally talented artists. Difficult to name classical opera or a ballet that would never have been staged at the Bolshoi. Bolshoi Theater repertoire consists exclusively of works by great composers: Glinka, Mussorgsky, Tchaikovsky, Stravinsky, Mozart, Puccini!

Buy tickets to the Bolshoi Theater

Buying tickets to theaters in Moscow is not easy in principle. The Bolshoi Theater is also, of course, the most prestigious, and it is very difficult to get tickets there, despite their high cost. Therefore, you should take care of purchasing tickets to the Bolshoi Theater in advance. At the theater box office, tickets are sold out very quickly, and the choice of seats in the hall is limited. Use a more modern and convenient way -

The most famous theater in Russia and one of the famous theaters of the world is the Bolshoi Theatre. Where is main theater countries? Well, of course, in the main city - in Moscow. Its repertoire includes opera and ballet performances by Russian and foreign classical composers. In addition to the classical repertoire, the theater is constantly experimenting with innovative contemporary productions. The history of the Bolshoi Theater is very rich and is associated with the names of people significant for our country. In March 2015, the theater turns 239 years old.

How it all began

The ancestor of the Bolshoi Theater is considered to be Prince Pyotr Vasilyevich Urusov, he was a provincial prosecutor and at the same time had his own theater troupe. He was the only one who was allowed to organize performances, masquerades, concerts and other entertainments. No one else was allowed to do such a thing, so that the prince would not have competitors. But this privilege also imposed an obligation on him - to build a beautiful building for the troupe, in which all performances would take place. The prince had a companion named Medox, who was a foreigner, he taught mathematics to the Grand Duke Paul - the future Russian emperor. Having fallen in love with theatrical business, he remained in Russia and came to grips with the development of the theater. failed to build a theater because he went bankrupt, the privilege of the owner of the theater, as well as the obligation to build a building, passed to Medox, as a result of which it was he who built the Bolshoi Theater. Where the theater created by Medox is located is known to every second inhabitant of Russia, it is located at the intersection of Theater Square and Petrovka.

Theater construction

For the construction of the theater, Medox chose a plot that belonged to Prince Rostotsky, which he bought from him. It was a street called Petrovskaya, its very beginning, and the Bolshoi Theater was built here. The address of the theater now is Theater Square, building 1. The theater was built in record time, in just 5 months, which is even for our time with all its modern technologies and building materials is awesome and awesome. Developed a project for the construction of a theater building by Christian Rozberg. The theater was magnificent inside, the auditorium was striking in its beauty, but on the contrary, it was modest, unremarkable and practically undecorated. The theater got its first name - Petrovsky.

Theater opening

The building of the Bolshoi Theater was opened in 1780, on December 30. On this day, the very first performance of the theater troupe took place in its own building. All the newspapers only wrote about the opening, theater masters and famous architects as one scattered compliments on the building, characterizing it as strong, huge, profitable, beautiful, safe and superior in all respects to most famous theaters Europe. The governor of the city was so pleased with the construction that the privilege that gave Medox the right to hold entertainment was extended for another 10 years.

Interior decoration

For performances, a round hall, the so-called rotunda, was built. The hall was decorated with numerous mirrors and illuminated by forty-two crystal chandeliers. The hall was designed by Medox himself. Next to the stage, as expected, was located orchestra pit. Closest to the stage were stools for honored guests of the theater and regular viewers, most of whom were owners of serf troupes. Their opinion was important for Medox, for this reason they were invited to dress rehearsals, after which they were involved in the discussion of the upcoming production.

The theater showed about 100 performances a year. It was impossible to buy tickets for one performance; to visit the theater, the audience purchased an annual subscription.

Over time, theater attendance deteriorated, profits dwindled, actors began to leave the theatre, and the building fell into disrepair. As a result, the Bolshoi Opera House became a state theater and received a new name - Imperial.

temporary sunset

The history of the Bolshoi Theater has not always been so beautiful, there were tragic moments in it. In 1805 the theater burned down after 25 years of its existence. Only the load-bearing walls have survived, and only partially. Reconstruction began only in 1821, when Moscow was being restored after the invasion of Napoleon's troops. Osip Bove was the chief architect who was commissioned to restore the central part of the city, including the theater. He was an innovator, according to his project, the streets began to be built up differently, now the mansions began to face the street, and not inside the courtyard. Bove led the restoration of the Alexander Garden, the square near the theater. The reconstruction of the Bolshoi Theater became his most successful project. The new building was erected in the Empire style. According to the architect's contemporaries, the Bolshoi Theater is like a phoenix rising from the ashes.

The metro is located very close to the theater, so getting to the theater is very convenient from anywhere in Moscow.

Reconstruction of the theater building

The restoration of the theater began in 1821 and lasted for several years. Initially, the plan for the renovated building of the theater was developed by the well-known architect in St. Petersburg Andrei Mikhailov, the governor of Moscow approved this plan. Mikhailov designed the theater building in the shape of a rectangle, as well as a portico of eight columns and Apollo in a chariot at the top of the portico; the hall was provided for up to two thousand spectators. Osip Bove revised Mikhailov's project, where the Bolshoi Theater became lower, the proportions of the building changed. Bove also decided to refuse accommodation on the ground floor, as he considered it unaesthetic. The hall became multi-tiered, the decoration of the hall became rich. The necessary acoustics of the building were observed. Bove even had a very original idea - to make a mirror curtain, but to realize such an idea, of course, is unrealistic, since such a curtain would be incredibly heavy.

Second birth

The reconstruction of the theater was completed by the end of 1824, in January 1825 the renovated building of the theater was solemnly opened. The first performance took place, the program of which included the ballet "Sandrillon" and the prologue "The Triumph of the Muses" specially written for the opening of the theater by Alyabyev and Verstovsky. Beauvais was the center of attention, the audience greeted him with thunderous applause in gratitude. The new theater was simply amazing in its beauty. Now the theater is called the Bolshoi Petrovsky Theatre. All productions of the theater went with the same success. Now the Bolshoi Theater has become even more brilliant.

Metro is the most convenient way to get to the Bolshoi Theatre. The nearest stations to the theater are the stations "Teatralnaya", "Revolution Square", " Okhotny Ryad"and" Alexander Garden ". Which station to choose from them depends on the starting point of the route.

And fire again

In the spring of 1853, a fire broke out in the theater again, it was very strong and lasted two days. The sky was so clouded with black smoke that it was visible in all corners of the city. All the snow has melted on Theater Square. The building burned down almost completely, only the load-bearing walls and the portico remained. The fire destroyed the scenery, costumes, music library, musical instruments, among which were rare specimens. IN Once again The Bolshoi Theater was damaged by fire.

It is not difficult to find where the theater is located, it is located on Theater Square and there are a lot of attractions next to it: the Maly Drama Theater, Youth theater, the Shchepkin Theater School, the Metropol Cabaret, the House of Unions, Okhotny Ryad, the Central Department Store, opposite the theater there is a monument to Karl Marx.

Restoration work

Albert Cavos became the architect who was involved in the revival of the theater to life; Mariinskii Opera House in St. Petersburg. Unfortunately, little information has come down to us about this architect. There was not enough money to restore the theater, but the work progressed quickly and took just over a year. The theater was opened on August 20, 1856, now it was called the "Big Imperial Theatre". The premiere performance of the restored theater was the opera "The Puritani" Italian composer The attitude towards the new theater was different. The townspeople considered it magnificent and were proud of it, as for the engineers and architects, some of them believed that the reconstruction carried out by Kavos was too different from the way the theater was conceived by Mikhailov and Beauvais, especially for facades and some interiors. It is worth paying tribute to the architect, thanks to his redevelopment of the hall, the acoustics in the Bolshoi Theater became one of the best in the world.

In the theater there were not only performances, balls and masquerades were held in it. This was the Bolshoi Theatre. The address of the theater is City Square, Building 1.

Our days

The theater entered the 20th century in a fairly dilapidated state, with a sagging foundation and cracks on the walls. But several reconstructions carried out in the theater in the 20th century, one of which was completed quite recently (lasted 6 years), did their job - and now the theater shines with all its facets. In addition to operas and ballets, the theater's repertoire also includes operettas. And you can also take a tour of the theater - see the hall and several other very interesting rooms. It may be difficult for a visitor who wants to visit the Bolshoi Theater, where he is located, although in fact he is located in the very center of the city and it will not be difficult to find him, not far from him is another attraction of the capital, which is known to the whole world - Red square.

The long history of the Bolshoi Theatre, founded in 1776, knows many ups and downs. Over the past years, numerous fires and fascist bombs during the war years destroyed the building, but like a Phoenix from the ashes, it was restored again. To date, the scheme of the Bolshoi Theater includes three halls: historical scene, new stage and the Beethoven Hall.

Historic Hall

The Historical or Main Stage opened in 2011 after a lengthy renovation. Interior decoration remained the same as it was seen by the audience in late XIX century - unsurpassed in its splendor, made in uniform style. When recreating its original appearance, new technologies were used, and now the stage consists of 7 platforms freely circulating in two levels. This is shown on the scheme of the Bolshoi Theatre.

Depending on the type of presentation, it can take a different position. It became possible to combine the stage and the backstage, which gives the audience a sense of the depth of space. The view from the hall is magnificent from any seat, so there is no division into “bad” and “good” seats on the scheme of the Bolshoi Theater in the Historical Hall.

new stage

Appeared on in 2002 as a replacement for the Historical Hall for the period of reconstruction. It is designed for 1000 seats. Until 2011, the entire ballet and opera repertoire of the Bolshoi Theater was performed on the New Stage. displays its semicircular shape with an amphitheater, tiers and mezzanine.

The interior decoration is concise and comfortable, but at the same time the entourage of the Bolshoi Theater is preserved. Unfortunately, there are some places in the hall with limited visibility, viewers need to pay attention to this when buying tickets to the Bolshoi Theater. On the diagram, as a rule, such places are indicated. The new stage continues its work even after the opening of the Main Hall.

Beethoven Hall

The Beethoven Hall of the Bolshoi Theater is the most refined and elegant among all the buildings of the Bolshoi Theatre. Its interior in the style of Louis XV is striking in luxury. But the main advantage of the hall is its unique acoustics. Solo performances of soloists and creative evenings of celebrities take place in its chamber space.

There are 320 seats in the Beethoven Hall and, what is especially pleasant, 100% visibility from each of them. The capacity of the hall is quite enough for true connoisseurs of chamber music.

The Bolshoi Theater is the pride of Russia, a reflection of its spiritual culture. In any of its magnificent halls, the public can plunge into the world of opera and ballet, enjoy the majestic atmosphere of art.