Chief conductor of the big. Music Director and Chief Conductor of the Bolshoi Theater appointed

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. Over the years, the student orchestra was led by N. A. Rimsky-Korsakov and A. K. Glazunov. When the conducting department was created at the Conservatory, fruitful creative cooperation began with the 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 of the 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, the 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 the gold medal of the International Competition. G. von Karajan. For a long time he directed the State Symphony Orchestra of the Latvian USSR. Since 1976 he has taught at the Latvian Conservatory. In 1991-1996 was the musical director and chief conductor of the Moscow Philharmonic Symphony Orchestra, 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. He was Principal Guest Conductor of the Netherlands Philharmonic Orchestra. 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 made recordings of works by M. Glinka, A. Lyadov, R. Gliere, S. Rachmaninov, P. Tchaikovsky, D. Shostakovich, A. Dvorak and many others. Mussorgsky at the San Francisco Opera (USA), Iolanthe by P. Tchaikovsky at the Welsh National Opera (Great Britain), Carmen by G. Bizet at the English National Opera, Lady Macbeth of the Mtsensk District by D. Shostakovich at the Komish 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 in the 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. The performances were staged at the Opera House on Znamenka, which was owned by Count R. I. Vorontsov (in the summer - in the “voxal” owned by 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, the project for the reconstruction of the Theater Square by the architect O. I. Bove was adopted; 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 was inscribed in the rectangular volume of the building, the stage room 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 crowned 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. The reconstruction significantly changed its 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, a branch of the Bolshoi Theater worked (in the premises of the former S.I. Zimin Opera on Bolshaya Dmitrovka). In 1920, a concert hall, the so-called Beethoven Hall, was opened in the former imperial foyer. During the Great Patriotic War, part of the Bolshoi Theater staff 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 of the Kremlin Palace of 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 of Cultural Heritage of the 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 of the 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, the artistic director, stage designer and chief designer was S.M. Barkhin, the musical director was 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 music director and chief conductor - 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. For over 30 years, the work of the 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 homeland" (1839). In the 1840s, Russian classical operas A Life for the Tsar (1842) and Ruslan and Lyudmila (1846) by M. I. Glinka were staged. 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 Russian musical culture at the Bolshoi Theater is associated with the first production on the big opera stage of Eugene Onegin (1881), as well as other works by Tchaikovsky, operas by St. Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky, with a conductor activities of Tchaikovsky. At the same time, the best works of foreign composers were staged - 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), The 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 Opera Studio operated at the Bolshoi Theater 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. Since 1943, the Bolshoi Theater has been associated with the name of director B. A. Pokrovsky, who for over 50 years determined the artistic level of 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). 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 post 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, the operatic repertoire policy has been determined by an orientation towards rarely performed works: Tchaikovsky's The Maid of Orleans (1990, for the first time on the stage of the Bolshoi Theatre), Mlada, The Night Before Christmas and The Golden Cockerel by Rimsky-Korsakov, "Aleko" and "The Miserly Knight" by 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 were performed (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): the entrepreneurial principle of working on a performance, inviting performers on a contract basis (with a gradual reduction in the main troupe), the rental of foreign performances (“Force of Destiny” and “Falstaff” by G. Verdi; “Adrienne Lecouvreur” 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 Theatre), The Fiery Angel by S. S. Prokofiev (for the first time at the Bolshoi Theatre) and The Flying Dutchman by R. Wagner (both 2004), "Children of Rosenthal" by L. A. Desyatnikov (2005).

N. N. Afanas'eva.

Bolshoi Ballet. In 1784, the troupe of the Petrovsky Theater included students of the ballet class, opened in 1773 in the Orphanage. 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 the ballet troupe in 1812-39, was of the greatest importance. 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 established itself 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 the 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 the music of E. Grieg (1913), reworkings of classical ballets (Don Quixote by L. Minkus, Swan Lake by P. I. Tchaikovsky, Giselle by A. Adam) were also of great importance. 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 of dance movements and the formation 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 dramatic 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. Kasatkina and V. Yu. Vasilev staged one-act ballets at the Bolshoi Theater (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: "The Stone Flower" by 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 the music of Prokofiev (1975). These large-scale, dramatic performances with large crowd scenes required a special style of 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, Prokofiev's ballet The Prodigal Son directed by J. Balanchine entered the repertoire. However, until the mid-1990s, the repertoire was almost not enriched. Among the performances staged at the turn of the 20th-21st centuries: Tchaikovsky's Swan Lake (1996, staged by V.V. Vasiliev; 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), "A Midsummer Night's Dream" to music by F. Mendelssohn and D. Ligeti (2004, choreographer J. Neumeier), "Bright Stream" (2003 year) and “Bolt” (2005) by Shostakovich (choreographer A. O. Ratmansky), as well as one-act ballets by J. Balanchine, L. F. Myasin 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. Uvar ov, 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.

With a new chief conductor, the Bolshoi Theater will be happy with Gergiev and will decide on a three-year planning

The Bolshoi Theater has acquired a new musical director and chief conductor. As Izvestia predicted, on Monday morning Vladimir Urin brought 36-year-old Tugan Sokhiev to reporters.

Having listed the various advantages of the young maestro, the general director of the Bolshoi Theater explained his choice, including civil considerations.

— It was fundamentally important for me that it was a conductor of Russian origin. A person who could communicate with the team in the same language, Urin reasoned.

The head of the theater also talked about the similarity of tastes that showed up between him and the new musical director.

- It was important to understand what principles this person professes and how he sees modern musical theater. Despite the very serious difference in age between me and Tugan, our views are very similar,” the CEO assured.

Tugan Sokhiev immediately reciprocated the compliments of Vladimir Urin.

— The invitation was unexpected for me. And the main circumstance that convinced me to agree is the personality of the current director of the theater, ”Sokhiev admitted.

The contract with Tugan Sokhiev was concluded for a period from February 1, 2014 to January 31, 2018 - almost until the end of the director's term of Urin himself. The latter emphasized that the contract was signed directly with the conductor, and not with his concert agency.

Due to numerous commitments over the coming months and years, the new music director will be brought on board gradually. According to the general director, until the end of the current season, Sokhiev will come to the Bolshoi for several days every month, start rehearsals in July, and make his debut in front of the audience of the Bolshoi Theater in September.

In total, in the 2014/15 season, the conductor will present two projects, the names of which have not yet been disclosed, and he will begin full-scale work in the theater a season later. The scope of Sokhiev's activities in 2014, 2015 and 2016 is detailed in the contract, said Vladimir Urin.

“I'll be here more and more every month,” Sokhiev promised. - For the sake of this, I will reduce Western contracts to the maximum. I am ready to give the Bolshoi Theater as much time as necessary.

Vladimir Urin made it clear that he is not jealous of his new colleague for his foreign orchestras, the current engagements with which will expire only in 2016. Moreover, the CEO believes that "contracts should be extended, but to a lesser extent."

Dates from the distant future became the leitmotif of the press conference. Urin confessed to an ambitious plan that once attracted his predecessor Anatoly Iksanov: to expand repertoire planning at the Bolshoi to a three-year period. This idea, if successful, can be a real salvation for the theater: after all, it is the “myopia” of the Bolshoi Theater’s plans that does not allow it to invite first-rate stars whose schedules are scheduled at least 2-3 years in advance.

Answering questions of an artistic nature, Tugan Taimurazovich appeared as a moderate and cautious person. He has not yet decided for himself what is better - a repertoire system or a stagione.He is interested in the ballet part of the life of the Bolshoi Theater, but does not intend to interfere in the activities of Sergei Filin ("Kthere will be no conflicts,” Vladimir Urin inserted). He will lead the Bolshoi Orchestra out of the pit onto the stage to "add splendor to the theatre," but it seems that he is not going to focus on symphonic programs, like Valery Gergiev.

The name of Gergiev, Sokhiev's influential patron during the early years of his international career, became another refrain of the press conference. The owner of the Mariinsky Theater is gaining more and more outposts in the leading Russian theaters: two years ago, his pupil Mikhail Tatarnikov headed the Mikhailovsky Theater, now it's the Bolshoi's turn.

With Tugan Sokhiev, Gergiev is united not only by his small homeland (Vladikavkaz), but also by his alma mater - the St. Petersburg Conservatory, class of the legendary Ilya Musin (n. and the question of Izvestia whether he believes in the existence of the St. Petersburg school of conducting, Sokhiev answered: “Well, I’m sitting in front of you”).

- When making a decision, I consulted with close people: with my mother and, of course, with Gergiev. Valery Abisalovich reacted very positively, for which I am grateful to him. It would be a dream for the Bolshoi Theater if Valery Abisalovich found time to conduct here.From today, we can already talk to him about this,” Sokhiev said.

Help "Izvestia"

A native of North Ossetia, Tugan Sokhiev chose the profession of conductor at the age of 17. In 1997, he entered the St. Petersburg Conservatory, having studied for two years with Ilya Musin, then moved to the class of Yuri Temirkanov.

In 2005, he became Principal Guest Conductor of the National Orchestra of the Capitole of Toulouse, and from 2008 to this day he has led this famous French orchestra. In 2010, Sokhiev began to combine work in Toulouse with the direction of the German Symphony Orchestra in Berlin.

As a guest conductor, Tugan Sokhiev has already performed with almost all the best orchestras in the world, including the Berlin and Vienna Philharmonic, the Amsterdam Concertgebouw, the Chicago Symphony, the Bavarian Radio Orchestra and others. In the list of his operatic conquests are projects at the New York Metropolitan Opera, Madrid's Teatro Real, Milan's La Scala and the Houston Grand Opera.

Sokhiev regularly conducts at the Mariinsky Theatre. Repeatedly toured in Moscow, but never worked at the Bolshoi Theater.

According to Izvestia, Tugan Sokhiev will become the new musical director and chief conductor of the Bolshoi Theatre. Official sources in the Bolshoi Theater do not confirm the appointment until Monday, when the general director of the theater Vladimir Urin will introduce the conductor to the Bolshoi team and journalists.

It took Urin exactly seven weeks to urgently search for a new face for the Bolshoi Theater - a short time, given the extreme complexity of negotiations with in-demand musicians in the middle of the season. 36-year-old Tugan Sokhiev was mentioned among the most likely candidates in early December last year.

A native of Vladikavkaz, Sokhiev chose the profession of conductor at the age of 17. In 1997, he entered the St. Petersburg Conservatory, having studied for two years with the legendary Ilya Musin, and then moved to the class of Yuri Temirkanov.

His international career began in 2003 at the Welsh National Opera, but the very next year, Sokhiev left the post of music director - as reported by the media, due to disagreements with his subordinates.

In 2005, he became Principal Guest Conductor of the National Orchestra of the Capitole of Toulouse, and from 2008 to this day he has led this famous French orchestra. In 2010, Sokhiev began to combine work in Toulouse with the direction of the German Symphony Orchestra in Berlin. Whether the conductor intends to terminate the contract with any of these groups, or will divide the time between the three cities, is still unknown.

As a guest conductor, Tugan Sokhiev has already managed almost all the best orchestras in the world, including the Berlin and Vienna Philharmonic, the Amsterdam Concertgebouw, the Chicago Symphony, the Bavarian Radio Orchestra and others. In the list of his opera achievements, performances at the New York Metropolitan Opera, Madrid Teatro Real, Milan's La Scala and the Houston Grand Opera.

Sokhiev constantly conducts at the Mariinsky Theatre, with the head of which, Valery Gergiev, he has a long friendship. Repeatedly toured in Moscow, but never performed at the Bolshoi Theater.

Izvestia's sources in the Bolshoi Theater report that part of the orchestral and opera groups wanted to see Pavel Sorokin, the staff conductor of the Bolshoi Theater, as their new leader. However, Vladimir Urin opted for an international star.

With the advent of Sokhiev, an interesting parallel will appear between the largest theaters in the country, the Bolshoi and the Mariinsky: both creative teams will be headed by people from North Ossetia and heirs of the St. Petersburg conducting school, students of Ilya Musin.

Vladimir Urin had to solve an unexpected and acute personnel problem after the former chief conductor of the Bolshoi Theater Vasily Sinaisky submitted a letter of resignation on December 2, without completing preparations for the most important premiere of Verdi's Don Carlos. Sinaisky explained his demarche by the impossibility of working with the new general director - "it was simply impossible to wait," he told Izvestia |

MOSCOW, December 2 - RIA Novosti. The chief conductor of the Bolshoi Theater, Vasily Sinaisky, who has held this post since 2010, has resigned, General Director of the Bolshoi Theater Vladimir Urin told RIA Novosti.

“On December 2, 2013, Sinaisky submitted a letter of resignation through the personnel department. After a conversation with him, I decided to grant his request. Since December 3, 2013, Vasily Serafimovich Sinaisky has not been working at the Bolshoi Theater of Russia,” Urin said.

He expressed regret that Sinaisky made such a decision in the middle of the season, in fact two weeks before the premiere of Verdi's Don Carlos, where he was the musical director of the production and conductor.

"The further creative plans of the theater were also connected with him. Nevertheless, he is a free man and has the right to make decisions himself," added the general director of the Bolshoi Theater.

The head of the editorial office Culture RIA Novosti Dmitry Khitarov:"I think that the departure of Sinaisky is a serious problem for the Bolshoi Theatre. The season is in full swing, in two weeks they were expecting an important premiere - the opera Don Carlos by Verdi, Vasily Serafimovich was its musical director and conductor. What will happen to this production, which promised to become yet another gem of the Bolshoi, it is not yet clear. It is doubly unfortunate that all this happened right now, when the situation in the theater, after a difficult, nervous year, seemed to be leveling off. "

What is Basil of Sinai famous for?

Vasily Sinaisky was born on April 20, 1947. In 1970 he graduated from the Leningrad Conservatory in the class of symphony conducting. Then he continued his studies in graduate school. In 1971-1973 he worked as the second conductor of the symphony orchestra in Novosibirsk.

In 1973, after winning the Herbert von Karajan International Competition for Youth Orchestras in West Berlin, Sinaisky invited Kirill Kondrashin to be his assistant in the Moscow Philharmonic Orchestra. In subsequent years, Sinaisky was Artistic Director and Principal Conductor of the State Symphony Orchestra of the Latvian USSR, Principal Conductor of the State Small Symphony Orchestra of the USSR, Artistic Director and Principal Conductor of the Moscow Philharmonic Orchestra, Principal Conductor of the Latvian National Orchestra and Principal Guest Conductor of the Philharmonic Orchestra of the Netherlands.

In 1995 he became Principal Guest Conductor of the BBC Philharmonic Orchestra. As a conductor of the BBC Orchestra, he regularly participates in the BBC Proms and also performs at the Bridgewater Hall in Manchester. In 2000-2002 he was Artistic Director and Principal Conductor of the State Academic Symphony Orchestra of the Russian Federation (former Evgeny Svetlanov Orchestra). In September 2010, he became chief conductor and musical director of the Bolshoi Theatre. In October of this year, he was offered to become a participant in the competition for the position of conductor of the State Symphony Orchestra of St. Petersburg.

What scandals have unfolded around the Bolshoi Theater recently

Loud scandals at the Bolshoi Theater are not uncommon. One of the most resonant in recent times has been the departure from the theater of Nikolai Tsiskaridze. In early June, it became known that the Bolshoi Theater decided not to renew contracts with Tsiskaridze, which expired on June 30, as an artist and teacher-tutor, and notified him about it.

The invitation to cooperate with Tugan Sokhiev is the first personnel move of the new director of the theater, Vladimir Urin. forced move ( the previous conductor and music director of the theatre, Vasily Sinaisky, left with a scandal in the middle of the season, two weeks before the important premiere of Verdi's Don Carlos, and a replacement had to be found incredibly urgently. - Approx. ed.). But successful, reasonable and very balanced. Sokhiev's name was heard more often than others in conversations about who could replace Sinaisky, along with the names of two more young conductors, Vasily Petrenko and Dmitry Yurovsky. And it was obvious to many that Petrenko had a contract with the Mikhailovsky Theater, and the young Yurovsky had yet to grow and grow. In general, Sokhiev remains - reliable and proven. So this news did not become a bolt from the blue.

In general, the reputation of Sokhiev, the current director of the National Orchestra of the Capitole of Toulouse and the German Symphony Orchestra of Berlin, pleasantly surprises with the normal - and not insane, as is often the case with us - the course of events. He gradually became an important figure in the West, without breaking with his St. Petersburg roots, in particular with the Mariinsky Theatre, where he worked at the Academy of Young Singers and accepted full-time conducting in 2005, having already made his debut on the stages of the Welsh National Opera (La Boheme, 2002) and at the Metropolitan Opera (Eugene Onegin, 2003). Then there were the Houston Opera, La Scala, the Real Madrid Theater, the Munich Opera. And a hell of a lot of first-class orchestras, from London to Berlin and Vienna Philharmonic. He often chooses the Russian repertoire, so for the upcoming concert with the Philadelphia Symphony, the former orchestra of the legendary Eugene Ormandy, he is preparing Pictures at an Exhibition. That is, there he is Russian, in our country he is, as it were, Western.

Influential European magazines call the young maestro a miracle figure, his career develops at an incredible speed, while Sokhiev did not become conceited, did not get carried away and does not even particularly boast of belonging to the great St. Petersburg conducting school. And he could: in St. Petersburg, his conservative mentors were Ilya Musin and Yuri Temirkanov, and his godfather in the theater was Valery Gergiev. His modesty, professional adequacy and diplomacy are almost Martian features in our latitudes, where whatever the conductor is, the Musician Muzykantovich. And the Big One was obviously lucky with him; Moreover, the theater could only dream of such a conductor. And the fact that Vladimir Urin managed to negotiate with him, and even in such a short time, in a situation of unprecedented time trouble, is almost unbelievable. It's not even about the encouraging (and not sunset) age of the 36-year-old conductor taken on a four-year contract. It's a matter of absolutely hitting the bull's-eye.

If earlier the chief directors of the Bolshoi were chosen either on the basis of fame and merit (Gennady Rozhdestvensky, Vasily Sinaisky), or from those who are at hand and ready to plow as much as possible (Alexander Vedernikov, under whom Nikolai Alekseev worked as the main invitee on the same grounds), then Sokhiev, perhaps, is capable of becoming at the Bolshoi not a star or a victim, but a qualified accomplice in artistic policy. Evidence of this is the period stipulated by him (until September) for a gradual entry into the working process; the announced volume of own projects in the next season (2 projects, which ones are not yet reasonably announced). And an implicit but implied plan of cooperation with Valery Gergiev, in the implementation of which Sokhiev will grow from an opera conductor with an enviable reputation to a full-fledged opera intendant. And this means that after the expiration of the director's contract in 2018, Vladimir Urin will have someone to leave the Bolshoi Theater to.