Tugan Sokhiev has been appointed the new chief conductor of the Bolshoi Theatre. Who will be the new chief conductor of the Bolshoi Theatre? With a new chief conductor in the gabta, they will be happy with Gergiev and decide on a three-year planning
Tugan Sokhiev. Photo - Kirill Kallinikov
The scandal surrounding the ballet "Nureyev" may ruin the reputation of the Russian Bolshoi Theater, which will participate in the Finnish Opera Festival in the city of Savonlinna. chief conductor and music director theater director Tugan Sokhiev says questions about ballet should be directed to the theater director.
Chief conductor of the Moscow Bolshoi Theater Tugan Sokhiev still believes in the artistic freedom of his troupe, although the recent postponement of the premiere of the ballet Nureyev has damaged the reputation of the legendary ballet and opera house, which takes part in the Savonlinna Opera Festival in the Finnish city of Savonlinna.
Nureyev is a legendary dancer and homosexual. The culture minister is said to have wondered if the ballet would violate a law that prohibits "propaganda of homosexuality" to minors. The law has already been used, for example, to ban gay parades.
"Ask the CEO, who made the decision to postpone the premiere of the ballet. I'm in charge of the music"
Reminds me of Sokhiev.
The editors of Helsingin Sanomat agreed to interview the CEO Vladimir Urin later. Sokhiev can only tell what he himself heard.
“As far as I know, a project delivered in the studio was more difficult to transfer to big stage. For the ballet "Nureyev" were invited good composer, a brilliant choreographer, an interesting director.
They probably need more time and as far as I know, the premiere should take place already before the new year, although initially it was next May, as they have a lot of other work.
He said.
Sokhiev is responsible for the opera productions of Iolanta and Eugene Onegin to the music of Pyotr Tchaikovsky. On July 25, 2017, the audience was able to enjoy the one-act opera Iolanta.
“At the time of the composer, the ballet The Nutcracker and the opera Iolanta were shown on the same evening. Then they cooked theater evenings which lasted 4-5 hours. We, in turn, present excerpts from The Nutcracker, which reflect in this option staging hidden aspects of "Iolanthe",
The conductor notes.
Symbolic "black" and "white" rooms will appear on the stage of the Olavinlinna Fortress.
“In Moscow, they also move and unite, but in Olavinlinna this is not possible. For this performance, we made a special new and simple scenery”,
Says Sokhiev.
The performance of the opera "Eugene Onegin" will take place on July 26. Unfortunately, a concert version of the opera will be presented, as was done recently at the Aix-en-Provence Opera Festival.
“Actually, concert performance is also possible. Eugene Onegin is an unusual opera. The composer presents a series of lyrical fragments in it. It's over chamber music than many imagine,
The conductor is speaking.
Grand Theatre was mentioned in the headlines four years ago, when acid was thrown in the face of the then head of the theater. A ballet dancer was blamed for the attack.
“This happened, fortunately, before I took up my post. As far as I understand, it was a personal conflict that became a problem for the entire theater. Now we have a good healthy atmosphere,”
Sokhiev says.
Sokhiev is also responsible for the opera performance, which the presidents of Russia and Finland are due to attend on July 27, and utters polite words appropriate to the situation: “It is wonderful that the centenary of Finland can be celebrated in this way among neighbors.”
Sokhiev works in Moscow five months a year. At the same time, he remains the conductor of the Toulouse Orchestra in France. He takes part in the most significant events - for example, he comes to the Philharmonic concerts in Berlin and Vienna.
“And to the performance of the Finnish Radio Symphony Orchestra! There is a lot to do, but I will try to get to this country I love in order to conduct an orchestra in 2019”,
Mahler's grandiose composition, Symphony No. 4, will be performed by the St. Petersburg Conservatory Students' Symphony Orchestra and soloist of the Bolshoi Theater of Russia, Alina Yarovaya (soprano). Behind the conductor's stand is the chief conductor of the Bolshoi Theater of Russia, maestro Vasily Sinaisky. The Fourth Symphony occupies a very special place in Mahler's heritage. Critics rate it as "humorous and good-natured-clownish". The reason for this was given by the composer himself, who repeatedly called the symphony "humorous". The composition was created during 1899-1901, at the turn of the century. External naivety and deceptive innocence of the language of the Fourth - the desire to be content with what is, and not to demand more from life. The premiere of the symphony took place in Munich under the direction of the author on November 25, 1901.
The Symphony Orchestra of Students of the St. Petersburg Conservatory was formed by its founder and first director A. G. Rubinshtein, who opened classes for orchestral playing and ensemble from the moment the oldest musical university in Russia was founded. IN different years the student orchestra was led by N. A. Rimsky-Korsakov and A. K. Glazunov. When a conducting department was created at the Conservatory, a fruitful creative collaboration with an orchestra of students of the conducting faculty, whose graduates were outstanding musicians: A. Melik-Pashaev, E. Mravinsky, I. Musin, N. Rabinovich, Yu. Temirkanov, V. Gergiev, V. Sinaisky, V. Chernushenko and others. The Student Symphony Orchestra was re-established in 2004 after a long break in order for the students to have orchestral practice. The team consists mainly of first-year students orchestra faculty. During this time, the orchestra has prepared many interesting concert programs under the direction of such conductors as Maris Jansons, Vasily Sinaisky, Sergei Stadler, Alexander Titov, Alexander Sladkovsky, Alexander Polishchuk, Alim Shakhmametiev, Dmitry Ralko, Mikhail Golikov. The team accompanied Luciano Pavarotti during his last concerts in St. Petersburg, successfully performed at music festivals in Russia, Germany, France, Italy, Czech Republic, Lithuania.
Vasily SINAISKY graduated from the Leningrad (St. Petersburg) Conservatory and completed postgraduate studies in symphony conducting under Professor I. A. Musin. In 1973 he won gold medal International Competition. G. von Karajan. For a long time led the State Symphony Orchestra of the Latvian USSR. Since 1976 he has taught at the Latvian Conservatory. In 1991-1996 was music director and chief conductor symphony orchestra Moscow Philharmonic, where he began working at the invitation of Kirill Kondrashin, being his assistant. V. Sinaisky has collaborated with many domestic and foreign orchestras, including the Academic Symphony Orchestra of the St. Petersburg Philharmonic, the Russian National Orchestra, the Birmingham Symphony Orchestra, the Royal Scottish, Rotterdam, Dresden and Czech Philharmonic Orchestras, Finnish and Frankfurt Radio Orchestras, Detroit Symphony Orchestras and Atlanta. In 2000-2002 - Music Director and Chief Conductor of the State Symphony Orchestra of Russia. Was Principal Guest Conductor Philharmonic Orchestra Netherlands. Currently, V. Sinaisky is Principal Conductor, Music Director of the Bolshoi Theater (Moscow), Principal Guest Conductor of the BBC Symphony Orchestra (Great Britain) and Principal Conductor of the Malmö Orchestra (Sweden). He recorded the works of M. Glinka, A. Lyadov, R. Gliere, S. Rachmaninov, P. Tchaikovsky, D. Shostakovich, A. Dvorak and many others. From recent works conductor in the opera house, it should be especially noted: "Boris Godunov" by M. Mussorgsky at the San Francisco Opera (USA), "Iolanthe" by P. Tchaikovsky at the Wales national opera(Great Britain), "Carmen" by G. Bizet at the English National Opera, "Lady Macbeth Mtsensk district» D. Shostakovich at the Komische Opera in Berlin (Germany), Der Rosenkavalier by R. Strauss and Prince Igor by A. Borodin at the Bolshoi Theater of Russia.
BOLSHOY THEATER OF RUSSIA State Academic (GABT), one of the oldest theaters country (Moscow). Academic since 1919. The history of the Bolshoi Theater dates back to 1776, when Prince P.V. Urusov received the government privilege “to be the owner of all theatrical performances in Moscow” with the obligation to build a stone theater “so that it could serve as an ornament to the city, and moreover, a house for public masquerades, comedies and comic operas. In the same year, Urusov attracted M. Medox, a native of England, to participate in the expenses. Performances were staged at the Opera House on Znamenka, which was in the possession of Count R. I. Vorontsov (in the summer - in the "voxal" in the possession of Count A. S. Stroganov "under the Andronikov Monastery"). Opera, ballet and drama performances were performed by actors and musicians who left the theater troupe of Moscow University, the serf troupes of N. S. Titov and P. V. Urusov.
After the fire of the Opera House in 1780 in the same year on Petrovka Street, a theater building in the style of Catherine's classicism was erected in 5 months - the Petrovsky Theater (architect H. Rozberg; see Medox Theater). Since 1789 it has been administered by the Board of Trustees. In 1805 the Petrovsky Theater burned down. In 1806, the troupe came under the jurisdiction of the Directorate of the Moscow Imperial Theaters, and continued to perform in different rooms. In 1816, a restructuring project was adopted Theater Square architect O. I. Bove; in 1821, Emperor Alexander I approved the design of a new theater building by architect A. A. Mikhailov. The so-called Bolshoi Petrovsky Theater in the Empire style was built by Beauvais according to this project (with some changes and using the foundation of the Petrovsky Theatre); opened in 1825. A horseshoe-shaped auditorium, the stage space was equal in area to the hall and had large corridors. The main façade was punctuated by a monumental 8-column Ionic portico with a triangular pediment topped with an alabaster sculptural group "Apollo's Quadriga" (placed against the background of a semicircular niche). The building became the main compositional dominant of the Theater Square ensemble.
After the fire of 1853, the Bolshoi Theater was restored according to the project of the architect A.K. Kavos (with the replacement of the sculptural group by the work in bronze by P.K. Klodt), construction was completed in 1856. Reconstruction changed it significantly appearance, but retained the layout; the architecture of the Bolshoi Theater acquired features of eclecticism. The theater remained in this form until 2005, with the exception of minor internal and external reconstructions (the auditorium can accommodate over 2,000 people). In 1924-59, the branch of the Bolshoi Theater worked (indoors former Opera S. I. Zimina on Bolshaya Dmitrovka). In 1920, a concert hall, the so-called Beethoven Hall, was opened in the former imperial foyer. During the years of the Great Patriotic War part of the staff of the Bolshoi Theater was evacuated to Kuibyshev (1941-42), part gave performances in the premises of the branch. In 1961-89, some performances of the Bolshoi Theater took place on the stage Kremlin Palace congresses. During the reconstruction (since 2005) of the main theater building, performances are staged on the New Stage in a specially built building (designed by architect A.V. Maslov; functioning since 2002). The Bolshoi Theater is included in the State Code of Particularly Valuable Objects cultural heritage peoples of the Russian Federation.
N. N. Afanas'eva, A. A. Aronova.
A significant role in the history of the Bolshoi Theater was played by the activities of the directors of the imperial theaters - I. A. Vsevolozhsky (1881-99), Prince S. M. Volkonsky (1899-1901), V. A. Telyakovsky (1901-1917). In 1882, the reorganization of the imperial theaters was carried out, in the Bolshoi Theater there appeared the positions of the chief conductor (chapel master; he became I. K. Altani, 1882-1906), the chief director (A. I. Bartsal, 1882-1903) and the chief choir master ( W. I. Avranek, 1882-1929). The design of the performances became more complicated and gradually went beyond the simple decoration of the stage; K. F. Waltz (1861-1910) became famous as the chief machinist and decorator. In the future, the main conductors of the Bolshoi Theater: V. I. Suk (1906-33), A. F. Arende (chief conductor of the ballet, 1900-24), S. A. Samosud (1936-43), A. M Pazovsky (1943-48), N. S. Golovanov (1948-53), A. Sh. Melik-Pashaev (1953-63), E. F. Svetlanov (1963-65), G. N Rozhdestvensky (1965-1970), Yu. I. Simonov (1970-85), A. N. Lazarev (1987-95). Main directors: V. A. Lossky (1920-28), N. V. Smolich (1930-1936), B. A. Mordvinov (1936-40), L. V. Baratov (1944-49) , I. M. Tumanov (1964-70), B. A. Pokrovsky (1952-55, 1956-63, 1970-82). Chief choreographers: A. N. Bogdanov (1883-89), A. A. Gorsky (1902-24), L. M. Lavrovsky (1944-56, 1959-64), Yu. N. Grigorovich (1964 -95 years). Chief choirmasters: V. P. Stepanov (1926-1936), M. A. Cooper (1936-44), M. G. Shorin (1944-58), A. V. Rybnov (1958-88) , S. M. Lykov (1988-95, artistic director choir in 1995-2003). Main artists: M. I. Kurilko (1925-27), F. F. Fedorovsky (1927-29, 1947-53), V. V. Dmitriev (1930-41), P. V. Williams (1941 -47 years), V. F. Ryndin (1953-70), N. N. Zolotarev (1971-88), V. Ya. Levental (1988-1995). In the 1995-2000s, the artistic director of the theater was V.V. Vasiliev, artistic director, stage designer and main artist- S. M. Barkhin, music director - P. Feranets, since 1998 - M. F. Ermler; artistic director of the opera B. A. Rudenko. Ballet troupe manager - A. Yu. Bogatyrev (1995-98); artistic directors of the ballet troupe - V. M. Gordeev (1995-97), A. N. Fadeechev (1998-2000), B. B. Akimov (2000-04), since 2004 - A. O. Ratmansky . In 2000-01, the artistic director was G. N. Rozhdestvensky. Since 2001, the musical director and chief conductor is A. A. Vedernikov.
Opera at the Bolshoi Theatre. In 1779, one of the first Russian operas was staged at the Opera House on Znamenka - "Melnik - a sorcerer, a deceiver and a matchmaker" (text by A. O. Ablesimov, music by M. M. Sokolovsky). The Petrovsky Theater staged the allegorical prologue Wanderers (text by Ablesimov, music by E. I. Fomin), performed on the opening day 12/30/1780 (10/1/1781), opera performances Misfortune from the Carriage (1780), The Miser ( 1782), "St. Petersburg Gostiny Dvor" (1783) by V. A. Pashkevich. The development of the opera house was influenced by the tours of the Italian (1780-82) and French (1784-1785) troupes. The troupe of the Petrovsky Theater included actors and singers E. S. Sandunova, M. S. Sinyavskaya, A. G. Ozhogin, P. A. Plavilshchikov, Ya. E. Shusherin and others. the prologue "The Triumph of the Muses" by A. A. Alyabyev and A. N. Verstovsky. Since that time, works by Russian authors, mainly vaudeville operas, have occupied an increasing place in the operatic repertoire. Over 30 years of work opera troupe was associated with the activities of Verstovsky - inspector of the Directorate of Imperial Theaters and composer, author of the operas "Pan Tvardovsky" (1828), "Vadim" (1832), "Askold's Grave" (1835), "Longing for the Motherland" (1839) . In the 1840s, Russians were supplied classical operas"Life for the Tsar" (1842) and "Ruslan and Lyudmila" (1846) by M. I. Glinka. In 1856, the newly rebuilt Bolshoi Theater was opened with V. Bellini's opera "Puritani" performed by an Italian troupe. The 1860s were marked by an increase in Western European influence (the new Directorate of Imperial Theaters favored Italian opera and foreign musicians). Of the domestic operas, Judith (1865) and Rogneda (1868) by A. N. Serov, Mermaid by A. S. Dargomyzhsky (1859, 1865) were staged, since 1869 operas by P. I. Tchaikovsky. The rise of the Russian musical culture at the Bolshoi Theater is associated with the first production at the Bolshoi opera stage"Eugene Onegin" (1881), as well as other works by Tchaikovsky, operas by St. Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky, with Tchaikovsky as a conductor. At the same time the best works foreign composers - W. A. Mozart, G. Verdi, C. Gounod, J. Bizet, R. Wagner. Among the singers of the late 19th and early 20th centuries: M. G. Gukova, E. P. Kadmina, N. V. Salina, A. I. Bartsal, I. V. Gryzunov, V. R. Petrov, P. A. Khokhlov . The conductor activity of S. V. Rachmaninov (1904-1906) became a milestone for the Bolshoi Theater. The heyday of the Bolshoi Theater in 1901-17 is largely associated with the names of F. I. Chaliapin, L. V. Sobinov and A. V. Nezhdanova, K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko, K. A. Korovin and A. Ya. Golovin.
In 1906-33, the actual head of the Bolshoi Theater was V.I. Suk, who continued to work on Russian and foreign opera classics together with directors V. A. Lossky (Aida by G. Verdi, 1922; Lohengrin by R. Wagner, 1923; Boris Godunov by M. P. Mussorgsky, 1927 year) and L. V. Baratov, artist F. F. Fedorovsky. In the 1920s-1930s, performances were conducted by N. S. Golovanov, A. Sh. Melik-Pashaev, A. M. Pazovsky, S. A. Samosud, B. E. Khaikin, V. V. Barsova, K. G. Derzhinskaya, E. D. Kruglikova, M. P. Maksakova, N. A. Obukhova, E. A. Stepanova, A. I. Baturin, I. S. Kozlovsky, S. Ya. Lemeshev, M. D. Mikhailov, P. M. Nortsov, A. S. Pirogov. There were premieres of Soviet operas: The Decembrists by V. A. Zolotarev (1925), Son of the Sun by S. N. Vasilenko and The Dumb Artist by I. P. Shishov (both 1929), Almast by A. A. Spendiarov (1930); in 1935, the opera Lady Macbeth of the Mtsensk District by D. D. Shostakovich was staged. At the end of 1940, Wagner's Valkyrie was staged (directed by S. M. Eisenstein). The last pre-war production was Mussorgsky's Khovanshchina (13.2.1941). In 1918-22, the Bolshoi Theater functioned opera studio under the direction of K. S. Stanislavsky.
In September 1943, the Bolshoi Theater opened the season in Moscow with the opera Ivan Susanin by M. I. Glinka. In the 1940s and 1950s, Russian and European classical repertoire was staged, as well as operas by composers from Eastern Europe - B. Smetana, S. Moniuszko, L. Janacek, F. Erkel. From 1943 with Bolshoi Theater associated with the name of the director B. A. Pokrovsky, who for over 50 years determined the artistic level opera performances; His productions of the operas War and Peace (1959), Semyon Kotko (1970) and The Gambler (1974) by S. S. Prokofiev, Ruslan and Lyudmila by Glinka (1972), Othello » G. Verdi (1978). In general, the operatic repertoire of the 1970s - early 1980s is characterized by a variety of styles: from operas of the 18th century (G. F. Handel’s Julius Caesar, 1979; K. V. Gluck’s Iphigenia in Aulis, 1983) , opera classics of the 19th century (“Gold of the Rhine” by R. Wagner, 1979) to Soviet opera (“Dead Souls” by R. K. Shchedrin, 1977; “Betrothal in a Monastery” by Prokofiev, 1982). IN the best performances I. K. Arkhipova, G. P. Vishnevskaya, M. F. Kasrashvili, T. A. Milashkina, E. V. Obraztsova, B. A. Rudenko, T. I. Sinyavskaya, V A. Atlantov, A. A. Vedernikov, A. F. Krivchenya, S. Ya. Lemeshev, P. G. Lisitsian, Yu. A. Mazurok, E. E. Nesterenko, A. P. Ognivtsev, I. I. Petrov, M. O. Reizen, Z. L. Sotkilava, A. A. Eizen, conducted by E. F. Svetlanov, G. N. Rozhdestvensky, K. A. Simeonov and others. With the exception of the position of chief director (1982 ) and the departure of Yu. I. Simonov from the theater began a period of instability; until 1988, only a few opera productions were staged: The Tale of the Invisible City of Kitezh (directed by R. I. Tikhomirov) and The Tale of Tsar Saltan (directed by G. P. Ansimov) by N. A. Rimsky-Korsakov, Werther J. Massenet (director E. V. Obraztsova), "Mazeppa" by P. I. Tchaikovsky (director S. F. Bondarchuk). Since the late 1980s, opera repertory policy determined the orientation towards rarely performed works: The Maid of Orleans by Tchaikovsky (1990, for the first time on the stage of the Bolshoi Theater), Mlada, The Night Before Christmas and The Golden Cockerel by Rimsky-Korsakov, Aleko and Miserly knight» S.V. Rachmaninov. Among the productions is the joint Russian-Italian work "Prince Igor" by A.P. Borodin (1993). During these years, a mass departure of singers abroad began, which (in the absence of the position of chief director) led to a decrease in the quality of performances.
In the 1995-2000s, the basis of the repertoire was Russian operas of the 19th century, among the productions: Ivan Susanin by M.I. I. Tchaikovsky (director G. P. Ansimov; both 1997), Francesca da Rimini by S. V. Rachmaninov (1998, director B. A. Pokrovsky). On the initiative of B. A. Rudenko, Italian operas(“Norma” by V. Bellini; “Lucia di Lammermoor” by G. Donizetti). Other productions: "The Beautiful Miller's Woman" by G. Paisiello; "Nabucco" by G. Verdi (director M. S. Kislyarov), "The Marriage of Figaro" by W. A. Mozart (German director I. Herz), "La Boheme" by G. Puccini (Austrian director F. Mirdita), the most successful of them - "The Love for Three Oranges" by S. S. Prokofiev (English director P. Ustinov). In 2001, under the direction of G. N. Rozhdestvensky, the premiere of the 1st edition of the opera The Gambler by Prokofiev (directed by A. B. Titel) took place.
Fundamentals of repertoire and personnel policy(since 2001): entrepreneurial principle of working on a performance, inviting performers on a contract basis (with a gradual reduction in the main troupe), rental foreign performances(“The Force of Destiny” and “Falstaff” by G. Verdi; “Adrienne Lecouvreur” by F. Cilea). The number of new opera productions has increased, among them: "Khovanshchina" by M. P. Mussorgsky, "The Snow Maiden" by N. A. Rimsky-Korsakov, "Turandot" by G. Puccini (all 2002), "Ruslan and Lyudmila" by M. I. Glinka (2003; authentic performance), "The Rake's Adventures" by I. F. Stravinsky (2003; for the first time at the Bolshoi Theater), " Fire Angel" S. S. Prokofiev (for the first time at the Bolshoi Theater) and " Flying Dutchman"R. Wagner (both 2004), "Children of Rosenthal" L. A. Desyatnikov (2005).
N. N. Afanas'eva.
Bolshoi Ballet. In 1784, the troupe of the Petrovsky Theater included students ballet class, opened in 1773 in the Educational House. The first choreographers were Italians and French (L. Paradise, F. and C. Morelli, P. Pinyucci, G. Solomoni). The repertoire included their own productions and transfers of performances by J. J. Noverre. In the development of the ballet art of the Bolshoi Theater in the 1st third of the 19th century, the activity of A.P. Glushkovsky, who headed ballet troupe in 1812-39. He staged performances of various genres, including on the plots of A. S. Pushkin (“Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard” by F. E. Scholz, 1821). Romanticism was established on the stage of the Bolshoi Theater thanks to the choreographer F. Güllen-Sor, who worked at the Bolshoi Theater in 1823-39 and transferred a number of ballets from Paris (La Sylphide by F. Taglioni, music by J. Schneitzhoffer, 1837, etc.). Among her students and most famous performers: E. A. Sankovskaya, T. I. Glushkovskaya, D. S. Lopukhina, A. I. Voronina-Ivanova, I. N. Nikitin. Of particular importance were the performances in the 1850s by the Austrian dancer F. Elsler, thanks to whom the ballets by J. J. Perrot (C. Pugni's Esmeralda, and others) entered the repertoire.
From the middle of the 19th century, romantic ballets began to lose their significance, despite the fact that the troupe retained artists who gravitated towards them: P. P. Lebedeva, O. N. Nikolaeva, in the 1870s - A. I. Sobeshchanskaya. During the 1860s-90s, several ballet masters changed at the Bolshoi Theater, leading the troupe or staging individual performances. In 1861-63, K. Blazis worked, who gained fame only as a teacher. The most repertory in the 1860s were the ballets of A. Saint-Leon, who transferred Pugni's The Little Humpbacked Horse from St. Petersburg (1866). A significant achievement was "Don Quixote" by L. Minkus, staged by M. I. Petipa in 1869. In 1867-69, S. P. Sokolov staged several productions (“The Fern, or Night at Ivan Kupala” by Yu. G. Gerber, and others). In 1877, the famous choreographer V. Reisinger, who arrived from Germany, became the director of the 1st (unsuccessful) edition of P. I. Tchaikovsky's Swan Lake. In the 1880s and 1890s, the choreographers at the Bolshoi Theater were J. Hansen, H. Mendes, A. N. Bogdanov, I. N. Khlyustin. By the end of the 19th century, despite the presence of strong dancers in the troupe (L. N. Geiten, L. A. Roslavleva, N. F. Manokhin, N. P. Domashev), the Bolshoi Ballet was in crisis: there was even a question of liquidating the troupe , in 1882 halved. The reason for this was partly the little attention to the troupe (considered then provincial) of the Directorate of the Imperial Theaters, untalented leaders who ignored the traditions of the Moscow ballet, the renewal of which became possible in the era of reforms in Russian art at the beginning of the 20th century.
In 1902, the Bolshoi Ballet Company was headed by A. A. Gorsky. His activities contributed to the revival and flourishing of the Bolshoi Ballet. The choreographer sought to saturate the performances with dramatic content, achieved logic and harmony of action, accuracy of national color, and historical authenticity. Gorsky's best original productions were A. Yu. Simon's "Daughter of Gudula" (1902), "Salambo" by A. F. Arends (1910), "Love is fast!" to music by E. Grieg (1913), great importance also had alterations classical ballets(“Don Quixote” by L. Minkus, “ Swan Lake» by P. I. Tchaikovsky, «Giselle» by A. Adam). Gorsky’s associates were the leading dancers of the theater M. M. Mordkin, V. A. Karalli, A. M. Balashova, S. V. Fedorova, E. V. Geltser and V. D. Tikhomirov also worked with him, dancers A. E. Volinin, L. L. Novikov, masters of pantomime V. A. Ryabtsev, I. E. Sidorov.
The 1920s in Russia is a time of searching for new forms in all types of art, including dance. However, innovative choreographers were rarely admitted to the Bolshoi Theatre. In 1925, K. Ya. Goleizovsky staged the ballet “Joseph the Beautiful” by S. N. Vasilenko on the stage of the Bolshoi Theater Branch, which contained many innovations in the selection and combination dance moves and the construction of groups, with the constructivist design of B. R. Erdman. The production of V. D. Tikhomirov and L. A. Lashchilin “The Red Poppy” to the music of R. M. Gliere (1927) was considered an officially recognized achievement of the Bolshoi Theater, where the topical content was clothed in a traditional form (ballet “dream”, canonical pas -de de, elements of extravaganza).
Since the late 1920s, the role of the Bolshoi Theater - now the capital's, "main" theater of the country - has been growing. In the 1930s choreographers, teachers and artists were transferred here from Leningrad. M. T. Semyonova and A. N. Ermolaev became leading performers along with Muscovites O. V. Lepeshinskaya, A. M. Messerer, M. M. Gabovich. The repertoire included the ballets The Flames of Paris by V. I. Vainonen and The Fountain of Bakhchisarai by R. V. Zakharov (both to music by B. V. Asafiev), Romeo and Juliet by S. S. Prokofiev staged by L. M. Lavrovsky, transferred to Moscow in 1946, when G. S. Ulanova moved to the Bolshoi Theater. Starting from the 1930s and until the mid-1950s, the main trend in the development of ballet was its convergence with realistic drama theater. By the mid-1950s, the genre of dramatic ballet had become obsolete. A group of young choreographers aspiring to transformation has emerged. In the early 1960s, N. D. Kasatkin and V. Yu. Vasilev staged at the Bolshoi Theater one-act ballets(“Geologists” by N. N. Karetnikov, 1964; “The Rite of Spring” by I. F. Stravinsky, 1965). The performances of Yu. N. Grigorovich became a new word. Among his innovative productions, created in collaboration with S. B. Virsaladze: “ Stone Flower" Prokofiev (1959), "The Legend of Love" by A. D. Melikov (1965), "The Nutcracker" by Tchaikovsky (1966), "Spartacus" by A. I. Khachaturian (1968), "Ivan the Terrible" to music Prokofiev (1975). These large-scale, dramatic performances with large crowd scenes required special style performance - expressive, sometimes grandiloquent. In the 1960s and 1970s, the leading artists of the Bolshoi Theater were regular performers in Grigorovich's ballets: M. M. Plisetskaya, R. S. Struchkova, M. V. Kondratiev, N. V. Timofeeva, E. S. Maksimova, V. V. Vasiliev, N. I. Bessmertnova, N. B. Fadeechev, M. Liepa, M. L. Lavrovsky, Yu. K. Vladimirov, A. B. Godunov and others. regularly perform abroad, where he gained wide popularity. The next two decades were the heyday of the Bolshoi Theater, rich in bright personalities, demonstrating its staging and performing style all over the world, which was oriented towards a wide and, moreover, international audience. However, the predominance of Grigorovich's productions led to the monotony of the repertoire. Old ballets and performances by other choreographers were performed less and less frequently, comedy ballets, traditional for Moscow in the past, disappeared from the stage of the Bolshoi Theater. The troupe no longer needed both characteristic dancers and mime artists. In 1982, Grigorovich staged his last original ballet, The Golden Age by D. D. Shostakovich, at the Bolshoi Theatre. Separate performances were staged by V. V. Vasiliev, M. M. Plisetskaya, V. Bokkadoro, R. Petit. In 1991, the ballet " Prodigal son» Prokofiev directed by J. Balanchine. However, until the mid-1990s, the repertoire was almost not enriched. Among the performances staged at the turn of the 20th and 21st centuries: Tchaikovsky's Swan Lake (1996, staged by V.V. Vasilyev; 2001, staged by Grigorovich), Giselle by A. Adam (1997, staged by Vasiliev), "Daughter Pharaoh" by C. Pugny (2000, staged by P. Lacotte based on Petipa), "The Queen of Spades" to the music of Tchaikovsky (2001) and "Notre Dame Cathedral" by M. Jarre (2003; both choreographed by Petit), "Romeo and Juliet by Prokofiev (2003, choreographer R. Poklitaru, director D. Donnellan), midsummer night"to the music of F. Mendelssohn and D. Ligeti (2004, choreographer J. Neumeier), "The Bright Stream" (2003) and "Bolt" (2005) by Shostakovich (choreographer A. O. Ratmansky), as well as one-act ballets J. Balanchine, L. F. Myasina and others. Among the leading dancers of the 1990-2000s: N. G. Ananiashvili, M. A. Aleksandrova, A. A. Antonicheva, D. V. Belogolovtsev, N. A. Gracheva, S. Yu. Zakharova, D. K. Gudanov, Yu. V. Klevtsov, S. A. Lunkina, M. V. Peretokin, I. A. Petrova, G. O. Stepanenko, A. I. Uvarov, S. Yu. Filin, N. M. Tsiskaridze.
E. Ya. Surits.
Lit .: Pogozhev V.P. 100th anniversary of the organization of the imperial Moscow theaters: In 3 books. St. Petersburg, 1906-1908; Pokrovskaya 3. K. Architect O. I. Bove. M., 1964; Zarubin V. I. The Bolshoi Theater - The first productions of operas on the Russian stage. 1825-1993. M., 1994; he is. Bolshoi Theater - Bolshoi theatre: The first performances of ballets on the Russian stage. 1825-1997. M., 1998; "Serving the Muses..." Pushkin and the Bolshoi Theatre. M., ; Fedorov V.V. Repertoire of the Bolshoi Theater of the USSR 1776-1955: In 2 vols. N.Y., 2001; Berezkin V. I. Artists of the Bolshoi Theater: [In 2 volumes]. M., 2001.
The Soviet era was generous with talents. The names of brilliant Soviet pianists, violinists, cellists, singers and, of course, conductors have entered the history of world culture. At this time formed contemporary performance about the role of the conductor - leader, organizer, master.
What were they, musical leaders Soviet era?
Five portraits from the gallery of outstanding conductors.
NIKOLAY GOLOVANOV (1891–1953) 
Already at the age of six, during a walk, Nikolai tried to conduct a military orchestra. In 1900, the young music lover was admitted to the Synodal School. Here his vocal, conducting and composing abilities were revealed.
Having already become a mature master, Golovanov with big love writes about the years of teaching: “The Synodal School gave me everything - moral principles, life principles, the ability to work a lot and systematically, instilled a sacred discipline.
After several years of work as a regent, Nikolai entered the composition class of the Moscow Conservatory. In 1914 he graduated from it with a small gold medal. Throughout his life, Nikolai Semenovich wrote spiritual chants. He continued to work in this genre even when religion was proclaimed "the opium of the people."
Fragment of the performance of Tchaikovsky's overture "1812"
In 1915 Golovanov was admitted to the Bolshoi Theatre. It all began with a modest position as assistant choirmaster, and in 1948 he became chief conductor. Relations with the famous theater were not always smooth: Nikolai Golovanov had to endure many insults and disappointments. But not they remained in history, but brilliant interpretations of Russian opera and symphonic classics, bright premieres works of contemporary composers and the first radio broadcasts classical music in the USSR with his participation.
Conductor Gennady Rozhdestvensky recalls the master like this: “He couldn't stand the middle. Indifferent middle. And in nuance, and in phrasing, and in relation to the case.
Although Golovanov did not have students-conductors, his interpretations of Russian classics became models for young musicians. Alexander Gauk was destined to become the founder of the Soviet conducting school.
ALEXANDER GAUK (1893–1963) 
Alexander Gauk studied at the Petrograd Conservatory. He studied composition in the class of Alexander Glazunov, conducting - in the class of Nikolai Tcherepnin.
In 1917, the musical and theatrical period of his life began: he worked at the Petrograd Theater of Musical Drama, and then at the Leningrad Opera and Ballet Theater.
In the 1930s, symphonic music was at the center of Gauk's interests. For several years he led the symphony orchestra of the Leningrad Philharmonic, and in 1936 he headed the newly created State Symphony Orchestra of the USSR. He did not miss the theater, he only regretted that he did not have a chance to stage his favorite " queen of spades» Tchaikovsky.
A. Honegger
Pacific 231
In 1953, Gauk became the chief conductor of the Bolshoi Symphony Orchestra of the USSR State Radio and Television. This work was very intense and interesting. The orchestra played programs, as they say, in live. In 1961, the maestro was "politely" retired.
Joy for Gauk was pedagogical activity. Evgeny Mravinsky, Alexander Melik-Pashaev, Evgeny Svetlanov, Nikolai Rabinovich - they were all students of the maestro.
Evgeny Mravinsky, already a renowned master himself, will write to his teacher in a congratulatory letter: "You are our only conductor who carries the traditions of a real great culture."
EUGENE MRAVINSKY (1903-1988) 
Mravinsky's whole life was connected with Petersburg-Leningrad. He was born into a noble family, but difficult years he had to deal with "non-noble" affairs. For example, work as an extra at the Mariinsky Theatre. An important role in his fate was played by the personality of the head of the theater - Emil Cooper: "It was he who introduced into me that" grain of poison ", which for the rest of my life connected me with the art of conducting."
For the sake of music, Mravinsky left the university and entered the Petrograd Conservatory. At first, the student was diligently engaged in composition, and then became interested in conducting. In 1929, he came to Gauk's class and very quickly mastered the basics of this complex (or "dark" as Rimsky-Korsakov used to say) business. After graduating from the conservatory, Mravinsky became an assistant conductor at the Leningrad Opera and Ballet Theatre.
In 1937 the first meeting of the conductor with the music of Dmitri Shostakovich took place. Mravinsky was entrusted with the premiere of his Fifth Symphony.
At first, Shostakovich was even frightened by the conductor’s method of work: “About every measure, about every thought, Mravinsky made me a real interrogation, demanding from me an answer to all the doubts that arose in him. But already on the fifth day of our joint work, I realized that this method is definitely the right one.”
After this premiere, Shostakovich's music will become a constant companion of the maestro's life.
In 1938, Mravinsky won the First All-Union Conducting Competition and was immediately appointed head of the Leningrad Philharmonic Orchestra. Many of the orchestra's artists were much older than the conductor, so they did not hesitate to give him "valuable instructions". But very little time will pass, a working atmosphere will be established at the rehearsals, and this team will become the pride of the national culture.
Rehearsal of the Leningrad Philharmonic Orchestra
Not so often in the history of music there are examples when a conductor has been working with one group for several decades. Yevgeny Mravinsky led the Philharmonic Orchestra for half a century, his younger colleague Yevgeny Svetlanov led the State Orchestra for 35 years.
Dmitri Shostakovich, Symphony No. 8
EVGENY SVETLANOV (1928–2002) 
For Svetlanov, the Bolshoi Theater was native in a special sense of the word. His parents are soloists of the opera troupe. The future maestro made his debut on the famous stage at a tender age: he played the little son of Cio-Cio-san in Puccini's opera Madama Butterfly.
Almost immediately after graduating from the conservatory, Svetlanov comes to the Bolshoi Theater, mastering all theatrical classics. In 1963 he became the chief conductor of the theatre. Together with him, the troupe goes on tour to Milan, to La Scala. Svetlanov brings Boris Godunov, Prince Igor, Sadko to the judgment of the demanding public.
In 1965, he headed the State Symphony Orchestra of the USSR (the same one that was once led by his teacher Alexander Gauk). Together with this team, which became academic in 1972, Svetlanov implemented a large-scale project - “Anthology of Russian symphonic music in gramophone." The significance of this work was very precisely defined by the musical director of Radio France, Rene Goering, who worked a lot with the conductor: “This real feat Svetlanov, another evidence of his greatness.
M. Balakirev, symphony No. 2, final
Working with GASO, the conductor does not forget about the Bolshoi Theatre. In 1988, the production of The Golden Cockerel (directed by Georgy Ansimov) became a real sensation. Svetlanov invited the "non-opera" singer Alexander Gradsky to the super-complex part of the Astrologer, which added even more originality to the performance.
Concert "Hits of the outgoing century"
Among the most important achievements of Evgeny Svetlanov is the introduction a wide range listeners to music outstanding composer Nikolai Myaskovsky, very rarely performed by Soviet orchestras.
The return to the concert stage of little-known compositions has become one of the key tasks for maestro Gennady Rozhdestvensky.
GENNADY Rozhdestvensky (Born in 1931) 
Conductors who play instruments or compose music are not uncommon. But conductors who can talk about music are rare. Gennady Rozhdestvensky is a real unique person: he can tell and write about musical works different eras.
Rozhdestvensky studied conducting from his father - famous conductor Nikolay Anosov. Mom, singer Natalya Rozhdestvenskaya, did a lot to develop her son's artistic taste. Not yet graduating from the conservatory, Gennady Rozhdestvensky was admitted to the Bolshoi Theater. His debut was Tchaikovsky's Sleeping Beauty. In 1961, Rozhdestvensky led the Grand Symphony Orchestra of the Central Television and Radio Broadcasting. At this time, the conductor's repertoire preferences emerged.
He mastered the music of the 20th century with great interest, and also introduced the public to "non-hit" compositions. Musicologist, Doctor of Arts Viktor Zukkerman admitted in a letter to Rozhdestvensky: “I have long wanted to express deep respect and even admiration for your selfless, perhaps even selfless activity in performing either undeservedly forgotten or little-known works.”
A creative approach to the repertoire determined the work of the maestro with other orchestras - well-known and not so well-known, youth and "adults".
All aspiring conductors dream of studying with Professor Rozhdestvensky: for 15 years he has been the head of the Department of Opera and Symphony Conducting at the Moscow Conservatory.
The professor knows the answer to the question “Who is a conductor?”: “This is a medium between the author and the listener. Or, if you like, some kind of filter that passes the flow emitted by the score through itself, and then tries to convey this to the audience.
The film "Triangles of Life"
(with fragments of the conductor's performances), in three parts
Years of longing for a strong conductor's hand, slightly dampened with a variety of appointments, again entered the phase of exacerbation at the Bolshoi Theater. Two weeks before the premiere of Verdi's opera Don Carlos (in fact, the first full-fledged opera premiere of the season), the music director and chief conductor Vasily Sinaisky, who, in fact, led this production, left his post. Now the name of the musical director is not on the theater website. All hope for the second conductor invited to this production, the American Robert Trevino.
But you still have to live somehow. It is unlikely that the new director Vladimir Urin will try experimental formats, like his predecessor Anatoly Iksanov, who for some time lasted without a chief conductor at all, but only with a conductor's board. So again the question arises - who? Charismatic, with strong nerves, not afraid of publicity, secularism and mass media, not tired, with Western horizons, but also understanding Russian specifics. And so that at least some alternative to Gergiev ..
Tugan Sokhiev
Born in Vladikavkaz (1977), graduated from the St. Petersburg Conservatory under Ilya Musin. Since 2005 he has been working at the Mariinsky Theater. Since 2008 - music director National Orchestra Capitol of Toulouse. Since 2010 - Principal Conductor of the Deutsches Symphony Orchestra, the second orchestra in Berlin. All signs of a stellar takeoff. He did not conduct at the Bolshoi Theatre.
Alexander Lazarev
Born in Moscow (1945). Graduated from the Moscow Conservatory. In 1987-1995 he was the chief conductor and musical director of the Bolshoi Theatre, and this time is still perceived by part of the team as golden age. More than anyone, it is personified with "former greatness." Collaborates with many Western orchestras. In 2012 he put in Grand Opera"Enchantress".
Alexander Vedernikov
Born in Moscow (1964). Graduated from the Moscow Conservatory. Worked in BSO Vladimir Fedoseev. In 1995-2004 headed the Moscow orchestra "Russian Philharmonic". 2001-2009 - Musical director and chief conductor of the Bolshoi Theater, where he was listed as a reformist. He did not leave the theater amicably, although in 2011 he returned to conduct the ballet to the music of Leonid Desyatnikov's Lost Illusions. Currently, he has mainly Western engagements.
Vladimir Yurovsky
Born in Moscow (1972), moved to Germany in 1990, where he completed his education. He started his career as a conductor early and successfully. From 2001 to 2013 - Artistic Director of the Glyndebourne Opera Festival. Since 2007 - Principal Conductor of the London Philharmonic Orchestra. Since 2011 - artistic director of GASO. Prior to that, he collaborated a lot with the RNO of Mikhail Pletnev. Flame Illuminator. The idol of the advanced Moscow public. Last season he made his debut at the Bolshoi Theater with the opera Ruslan and Lyudmila, but disagreements prevented him from working there further.
Dmitry Yurovsky
Younger brother of Vladimir Yurovsky. Born in Moscow (1979), moved to Germany in 1990. He studied conducting at the Hans Eisler School of Music in Berlin. Since 2011 - chief conductor of the Royal Flemish Opera in Antwerp, as well as the Moscow Russian Philharmonic Orchestra. On tour in London and Madrid, he conducted "Eugene Onegin" of the Bolshoi Theater.
Teodor Currentzis
Born in Athens (1972), in 1994 he came to St. Petersburg to study conducting with Ilya Musin. In 2004-2011 headed the Novosibirsk Opera and Ballet Theatre. Since 2011 - Perm theater opera and ballet. Some of the musicians from the orchestra he created moved with him from Novosibirsk to Perm MusicaAeterna. Revolutionary. Guru. Mainstream fighter. At the Bolshoi he released two works - Wozzeck and Don Giovanni, but it seems that they did not agree with the theater in character.
Vasily Petrenko
Born in St. Petersburg (1976). He graduated from the choral school and the St. Petersburg Conservatory. He worked imperceptibly in St. Petersburg, but as soon as he began his Western career, he made people talk about himself. Since 2005 - Principal Conductor of the Liverpool Orchestra. Since 2008 - Principal Conductor of the National Youth Orchestra of Great Britain. From this season - the chief conductor of the Oslo Philharmonic Orchestra, after which you can already jump to the class A team. The only position in your homeland is the chief guest conductor Mikhailovsky Theater, with the very first production, he just got into the list of nominees for the Golden Mask. I did not work with the Bolshoi Theatre.
