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BIG THEATER, The State Academic Bolshoi Theater of Russia, a leading Russian theater that has played an outstanding role in the formation and development of the national tradition of opera and ballet art. Its origin is associated with the flourishing of Russian culture in the second half of the 18th century, with the emergence and development of professional theater. Created in 1776 by the Moscow philanthropist Prince P.V. Urusov and the entrepreneur M. Medox, who received a government privilege for the development of theatrical business. The troupe was formed on the basis of the Moscow theater troupe of N. Titov, theater artists of the Moscow University and serf actors P. Urusov. In 1778-1780 performances were given in the house of R.I. Vorontsov on Znamenka. In 1780, Medox built in Moscow on the corner of Petrovka, a building that became known as the Petrovsky Theater. It was the first permanent professional theatre. His repertoire consisted of drama, opera and ballet performances. Not only singers, but also dramatic actors took part in opera performances.

On the opening day of the Petrovsky Theater on December 30, 1780, a pantomime ballet was shown magic shop(post. J. Paradise). At that time, choreographers F. and C. Morelli, P. Penyucci, D. Solomoni worked in the theater, staging performances A celebration of female pleasures, The feigned death of Harlequin, or the Deceived Pantalone, Medea and Jason, Toilet of Venus. Ballets with national color were popular: rustic simplicity, Gypsy ballet, Capture of Ochakov. G. Raikov, A. Sobakina stood out from the dancers of the troupe. The ballet troupe was replenished with pupils of the ballet school of the Moscow Orphanage (since 1773), and serf actors of the troupe E.A. Golovkina.

The first Russian operas were also staged here: Melnik - a sorcerer, a deceiver and a matchmaker Sokolovsky (later edited by Fomin) libretto by Ablesimov, Trouble from the carriage Pashkevich, lib. princess, Saint Petersburg Gostiny Dvor Matinsky and others. Of the 25 Russian operas written in 1772-1782, more than a third were staged on the Moscow stage of the Petrovsky Theater.

In 1805 the building of the Petrovsky Theater burned down, and from 1806 the troupe passed into the administration of the Directorate of Imperial Theaters, played in various premises. The Russian repertoire was limited, giving way to Italian and French performances.

In 1825 prologue Celebration of the Muses staged by F. Gyllen-Sor, performances began in the new building of the Bolshoi Theater (architect O. Bove). In the 1830s and 1840s, the Bolshoi Ballet was dominated by the principles of Romanticism. The dancers of this direction are E. Sankovskaya, I. Nikitin. Great importance for the formation of national principles of performing arts had opera productions Life for the king(1842) and Ruslan and Ludmila(1843) M.I. Glinka.

In 1853, a fire destroyed the entire interior of the Bolshoi Theatre. The building was restored in 1856 by the architect A.K. Kavos. In the 1860s, the Directorate leases the Bolshoi Theater to the Italian entrepreneur Merelli for 4–5 performances a week: foreign repertoire is on.

Simultaneously with the expansion of the domestic repertoire, the theater staged the best works of Western European composers: Rigoletto, Aida, La Traviata G. Verdi, Faust, Romeo and Juliet C. Gounod, Carmen J. Bizet, Tannhäuser, Lohengrin, Valkyrie R. Wagner. ().

The history of the Bolshoi Theater includes the names of many outstanding opera singers, who from generation to generation passed on the traditions of Russian vocal school. A.O. Bantyshev, N.V. Lavrov, P.P. Bulakhov, A.D. Alexandrova-Kochetova, E.A. Lavrovskaya and others performed at the Bolshoi Theater. L.V. Sobinov, A.V. Nezhdanova opened new page in the history of the performing arts.

In the 2nd half of the 19th century. ballet art is associated with the names of choreographers: J. Perrot, A. Saint-Leon, M. Petipa; dancers - S. Sokolova, V. Geltser, P. Lebedev, O. Nikolaev, later - L. Roslavlev, A. Dzhuri, V. Polivanov, I. Khlyustin. The ballet repertoire of the Bolshoi Theater included the following performances: The Little Humpbacked Horse Puni (1864) Don Quixote Minkus (1869), Fern, or the night under Ivan Kupala Gerber (1867) and others.

In the 1900s, the operatic repertoire of the Bolshoi Theater was replenished with outstanding artistically productions: the first performances of Rimsky-Korsakov’s operas – Pskovityanka(1901), Sadko (1906), Mozart and Salieri(1901) with the participation of F.I. Chaliapin, Pan Governor(conducted by Rachmaninoff, 1904) Koschei the Immortal(with the participation of A.V. Nezhdanova, 1917); new productions were carried out: operas by Glinka - Life for the king(with the participation of Chaliapin and Nezhdanova, conducted by Rachmaninoff, 1904), Ruslan and Ludmila(1907), Mussorgsky - Khovanshchina(1912). Operas by young composers were staged - Raphael A.S. Arensky (1903), ice house A.N. Koreshchenko (1900), Francesca da Rimini Rachmaninoff (1906). In addition to Chaliapin, Sobinov, Nezhdanova on opera stage Such singers as G.A.Baklanov, V.R.Petrov, G.S.Pirogov, A.P.Bonachich, I.A.Alchevsky and others performed at the Bolshoi Theatre. A.A. Gorsky, who developed the traditions of Russian ballet and brought it closer to dramatic art. Together with Gorsky, the dancer and choreographer V.D.Tikhomirov worked, who brought up a whole generation of dancers. At that time, the ballet troupe worked: E.V. Geltser, A.M. Balashova, S.F. Fedorova, M.M. Mordkin, M.R. Reizen, later L.P. Zhukov, V.V. Kriger , A.I. Abramova, L.M. Bank. The performances were conducted by S.V. Rakhmaninov, V.I. Suk, A.F. Anders, E.A. Kuper, the theater decorator K.F. Golovin.

After October revolution 1917 The Bolshoi Theater occupied a prominent place in cultural life countries. In 1920 the theater was awarded the title of academic. In 1924, a branch of the Bolshoi Theater was opened in the premises of the former Zimin Private Opera (it worked until 1959). Along with the preservation of the classical repertoire, operas and ballets by Soviet composers were staged: Decembrists V.A.Zolotareva (1925), Breakthrough S.I. Pototsky (1930), Troupe artist I.P. Shishova (1929), son of the sun S.N. Vasilenko (1929), Mother V.V. Zhelobinsky (1933), Bela An. Alexandrova (1946), Quiet Don (1936) and Upturned virgin soil(1937) I.I. Dzerzhinsky, Decembrists Yu.A. Shaporina (1953), Mother T.N. Khrennikova (1957), The Taming of the Shrew V.Ya.Shebalina, War and Peace S.S. Prokofiev (1959). On the stage of the Bolshoi Theater and its branch there were operas by composers of the peoples of the USSR: Almast A.A. Spendiarova (1930), Abesalom and Eteri Z.P. Paliashvili (1939).

The performing culture of the Bolshoi Opera Company in the years Soviet power represented by the names of K.G. Derzhinskaya, N.A. Obukhova, V.V. Barsova, E.A. Stepanova, I.S. Kozlovsky, A.S. Pirogov, M.O. S.Ya. Lemesheva, G.M. P. Ognevtseva.

Significant stages in the history of Soviet choreography were the productions of ballets by Soviet composers: Red poppy(1927, 1949) R. M. Gliere, Flames of Paris(1933) and Bakhchisarai fountain(1936) B.V. Asafyeva, Romeo and Juliet Prokofiev (1946). The glory of the Bolshoi Ballet is associated with the names of G.S. Ulanova, R.S. Struchkova, O.V. Lepeshinsky, M.M. Plisetskaya, A.N. .M.Messerer, Yu.G.Zhdanova, N.B.Fadeecheva and others ()

Conducting art of the Bolshoi Theater is represented by the names of N.S. Golovanov, S.A. Samosud, L.P. Steinberg, A.Sh. Melik-Pashaev, Yu.F. E.F. Svetlanova, A.M. Zhyuraitis and others. In the opera direction of the Bolshoi Theater - V.A. Lossky, L.V. Baratov, B.A. Pokrovsky. Ballet performances were staged by A.A. Gorsky, L.M. Lavrovsky, V.I. Vainonen, R.V. Zakharov, Yu.N. Grigorovich.

The staging culture of the Bolshoi Theater of those years was determined by the artistic and decorative design of F.F. Fedorovsky, P.V. Williams, V.M. Dmitriev, V.F. Ryndin, B.A. Messerer, V.Ya. ).

In 1961, the Bolshoi Theater received a new stage - the Kremlin Palace of Congresses, which contributed to the wider activities of the ballet troupe. At the turn of the 1950s and 1960s, E.S. Maksimova, N.I. Bessmertnova, E.L. Ryabinkina, N.I. Sorokina, V.V. Vasiliev, M.E. Liepa, M. L. Lavrovsky, Yu. V. Vladimirov, V. P. Tikhonov.

In 1964, Yu.N. Grigorovich became chief choreographer, whose name is associated with a new milestone in the history of the Bolshoi Ballet. Almost every new performance was marked by new creative search. They appeared in sacred spring I.F. Stravinsky (choreographer N. Kasatkina and Vasiliev, 1965) Carmen suite Bizet-Shchedrin (A. Alonso, 1967), Spartacus A.I. Khachaturian (Grigorovich, 1968), Icarus S.M. Slonimsky (Vasiliev, 1971), Anna Karenina R.K. Shchedrina (M.M. Plisetskaya, N.I. Ryzhenko, V.V. Smirnov-Golovanov, 1972), Those enchanting sounds... to music by G. Torelli, A. Corelli, J.-F. Rameau, W.-A. Mozart (Vasiliev, 1978), Gull Shchedrin (Plisetskaya, 1980), Macbeth K. Molchanova (Vasiliev, 1980) and others.

In the opera troupe of those years, the names of G.P. Vishnevskaya, I.K. Arkhipova, E.V. Obraztsova, M. Kasrashvili, Z. Sotkilava, V. N. Redkin, V. A. Matorin, T. S. Erastova , M.A. Shutova, E.E. Nesterenko and others.

The general trend of the Bolshoi Theater in the 1990s–2000s was to invite foreign directors and performers to stage productions at the Bolshoi Theatre: ballets Cathedral of Notre Dame, Three cards(R. Petit, 2002–2003), Light stream D. D. Shostakovich (A. Ratmansky, 2003), operas by G. Verdi Force of Destiny(P.-F. Maestrini, 2002) and Nabucco(M.S. Kislyarov), Turandot G. Puccini (2002), The Rake's Adventures I.F. Stravinsky (D. Chernyakov), Love for three oranges S.S. Prokofiev (P. Ustinov). During this period, ballets were resumed Swan Lake Tchaikovsky, Raymond A.K. Glazunova, The legend of love A.D. Melikov (staged by Grigorovich), operas Eugene Onegin Tchaikovsky (B. Pokrovsky), Khovanshchina Mussorgsky, Ruslan and Ludmila(A. Vedernikova), Player Prokofiev (Rozhdestvensky).

The Bolshoi Ballet Company is represented by the names of: N. Tsiskaridze, M. Peretokin, A. Uvarov, S. Filin, N. Gracheva, A. Goryacheva, S. Lunkina, M. Alexandrova and others. Opera - I. Dolzhenko, E. Okolisheva , E. Zelenskaya, B. Maisuradze, V. Redkin, S. Murzaev, V. Matorin, M. Shutova, T. Erastova and others. The opera troupe of the theater has a trainee group.

The post of artistic director of the theater in the 1990s was occupied by V. Vasiliev and G. Rozhdestvensky, since 2001 the chief conductor and musical director of the Bolshoi Theater is A. A. Vedernikov, the conductors of opera and ballet performances are P. Sh. Sorokin, A. A. Vedernikov , A.A.Kopylov, F.Sh.Mansurov, A.M.Stepanov, P.E.Klinichev.

The modern building of the Bolshoi Theater is the main building of the architectural ensemble Theater Square(architect A.K. Kavos). According to the internal arrangement, the theater consists of a five-tiered auditorium that can accommodate more than 2,100 spectators and is distinguished by high acoustic qualities (the length of the hall from the orchestra to the back wall is 25 m, the width is 26.3 m, and the height is 21 m). The stage portal is 20.5 x 17.8 m, the depth of the stage is 23.5 m. Above the stage there is a scoreboard for titles.

In 2003 performance Snow Maiden Rimsky-Korsakov (staged by D. Belov) a new stage of the Bolshoi Theater was opened. The premieres of 2003 were ballet Light stream Shostakovich, opera The Rake's Adventures Stravinsky and opera Macbeth Verdi.

Nina Revenko

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)

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. 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 a magnificent eight-column theater with the chariot of the god Apollo over the portico arose on Theater Square - the Bolshoi Petrovsky Theater, the construction of which became a real event for Moscow early XIX century. A beautiful building in a 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, a pupil of the St. Petersburg ballet school, a student of Sh. Didlo, who headed the Moscow ballet even before the Patriotic War of 1812, created original performances: “Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard”, “Three Belts, or the 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 a new period begins in its history - 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 participation in the performances of guest performers Osip Petrov and Ekaterina Semyonova, who were 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 destroyed the theater of Osip Bove in 1853. 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, with the enthusiasm of the new converts, preferred the Italian opera to the Russian one. 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," 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, full of real tragic force performer”, 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, ended in failure. Each new premiere caused only irritation of the public and the press. The auditorium at 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 the entire 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. In a splendid professional uniform came to the end of the XIX century and the ballet of the Bolshoi Theater. 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 of the opera troupe, so far their talents have not had a worthy application: secondary empty ballet extravaganzas by Jose Mendes reigned on the stage.

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 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 arrange symphony concerts at the Bolshoi Theater. 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. On March 6, by order of the Commissioner of the Provisional Committee of the 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; the ludicrous part from the economic and service, and L. V. Sobinov headed the actual artistic part Bolshoi Theatre.

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 the February Revolution took place, 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 endless 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 composition and members of the Theater School to make every effort for a successful graduation theater season And school year school and to prepare, on the basis of mutual trust and comradely unity, the forthcoming 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 G. 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, to which you provided such moral support at a difficult moment.

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 of 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.

A new regulation on the management of theaters was issued on May 7, 1917 and assumed separate management of the Maly and Bolshoi Theaters, and Sobinov was called the commissioner for the Bolshoi Theater and Theater School, and not a commissioner, 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. One of these days, a new general regulation on the management of theaters, known to Yuzhin, will be released, meeting the wishes of 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 of the October Revolution, on October 9, 1917, the Political Directorate of the Military Ministry sent 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.

BIG THEATER

The oldest opera and ballet theater in Russia. The official name is the State Academic Bolshoi Theater of Russia. In colloquial speech, the theater is simply called Big.

Hall of the Bolshoi Theatre:

Russia. Large linguo-cultural dictionary. - M .: State Institute of the Russian Language. A.S. Pushkin. AST-Press. T.N. Chernyavskaya, K.S. Miloslavskaya, E.G. Rostova, O.E. Frolova, V.I. Borisenko, Yu.A. Vyunov, V.P. Chudnov. 2007 .

See what the "GRAND THEATER" is in other dictionaries:

Big theater- The building of the Main Stage of the Bolshoi Theater Location Moscow, Coordinates 55.760278, 37.618611 ... Wikipedia

Grand Theatre- Big theater. Moscow. Bolshoi Theater (State Academic Opera and Ballet Theater of Russia) (, 2), the largest center of Russian and world musical culture. The history of the Bolshoi Theater dates back to 1776 (see). Original name Petrovsky ... Moscow (encyclopedia)

Grand Theatre- State Academic Bolshoi Theater of the USSR (SABT), presenter soviet theater opera and ballet, the largest center of Russian, Soviet and world musical theatrical culture. The modern theater building was built in 1820 24 ... ... Art Encyclopedia

Grand Theatre- Big theater. Theater Square on the opening day of the Bolshoi Theater on August 20, 1856. Painting by A. Sadovnikov. BOLSHOY THEATER State Academic Theater (GABT), Opera and Ballet Theatre. One of the centers of Russian and world musical theater ... ... Illustrated Encyclopedic Dictionary

BIG THEATER- State Academic (GABT), Opera and Ballet Theatre. One of the centers of Russian and world musical theatrical culture. Founded in 1776 in Moscow. Modern building from 1824 (architect O. I. Bove; reconstructed in 1856, architect A. K. ... ... Russian history

BIG THEATER- State Academic (GABT), Opera and Ballet Theatre. One of the centers of Russian and world musical theatrical culture. Founded in 1776 in Moscow. Modern building from 1824 (architect O.I. Bove; reconstructed in 1856, architect A.K. ... ... Modern Encyclopedia

BIG THEATER- State Academic (GABT), Founded in 1776 in Moscow. Modern building from 1825 (architect O. I. Bove; reconstructed in 1856, architect A. K. Kavos). Foreign and first Russian operas and ballets were staged by M. I. Glinka, A. S. ... ... Big Encyclopedic Dictionary

Grand Theatre- This term has other meanings, see Bolshoi Theater (meanings). Bolshoi Theater ... Wikipedia

Grand Theatre- GREAT THEATER, State Order of Lenin Academic Bolshoi Theater of the USSR (GABT), leading Soviet music. t r, who played an outstanding role in the formation and development of nat. traditions of ballet art. Its occurrence is associated with the flourishing of Russian ... ... Ballet. Encyclopedia

BIG THEATER- State Order of Lenin Academic Bolshoi Theater of the USSR, the oldest Russian. muses theater, the largest center of muses. theater culture, the building was also a venue for congresses and celebrations. meeting and other societies. events. Main … Soviet historical encyclopedia

Books

• Big theater. Culture and politics. New History Volkov Solomon Moiseevich. The Bolshoi Theater is one of the most famous brands in Russia. In the West, the word Bolshoi does not need to be translated. Now it seems like it's always been that way. Not at all. For many years the main musical…

BIG THEATER Russian State Academic (SABT), 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 stone theater, "so that the city can serve as an ornament, and moreover, a home 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, owned by Count R. I. Vorontsov (in summer time- 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 Opera House burned down 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). From 1789 it was administered by the Board of Trustees. In 1805 the building of the Petrovsky Theater burned down. In 1806, the troupe came under the jurisdiction of the Directorate of the Moscow Imperial Theaters, continued to perform in different rooms. In 1816, a project for the reconstruction of 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. T. n. The 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 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 a fire in 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. In this form, it was preserved until 2005, with the exception of small internal and external reconstructions (the auditorium can accommodate over 2000 people). In 1924–59, a branch of the Bolshoi Theater worked (in the premises of the former Operas by S. I. Zimin on Big Dmitrovka). In 1920, in the former imperial foyer of the theater, a concert hall- so-called. Beethovensky (in 2012 the historical name "Imperial Foyer" was returned to it). During the Great Patriotic War, part of the Bolshoi Theater staff was evacuated to Kuibyshev (1941-43), 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 of the main building of the theater (2005–11), performances were performed only on the New Stage in a specially built building (designed by architect A.V. Maslov; functioning since 2002). The main (so-called Historical) stage of the Bolshoi Theater was opened in 2011, since that time performances have been staged on two stages. In 2012, concerts began in the new Beethoven Hall.

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 (1901-17). In 1882, the reorganization of the imperial theaters was carried out, and the positions of chief conductor (choirmaster; this became I. K. Altani, 1882–1906), chief director (A. I. Bartsal, 1882–1903) and chief choirmaster (U. Avranek, 1882-1929). The design of performances became more complicated and gradually went beyond simple decoration scenes; C. F. Waltz (1861–1910) became famous as the chief machinist and decorator.

In the future, the musical directors were: chief conductors - V. I. Suk (1906–33), A. F. Arends ( chief conductor ballet, 1900–24), S. A. Lynching(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 (1965–70), Yu. I. Simonov (1970–85), A. N. Lazarev (1987–95), artistic director of the orchestra P. Feranets (1995–98), musical director of the theater, artistic director of the orchestra M. F. Ermler (1998–2000), artistic director G. N. Rozhdestvensky (2000–01), music director and chief conductor A. A. Vedernikov (2001–09), music director L. A. Desyatnikov (2009–10), music directors and chief conductors V.S. Sinai(2010–13), T.T. Sokhiev (since 2014).

Main directors: V.A. Lossky (1920–28), N. V. Smolich (1930–36), B. A. Mordvinov (1936–40), L. V. Baratov (1944–49), I. M. Tumanov (1964–70), B. A. Pokrovsky (1952, 1955 – 63, 1970–82); head of the director's group G.P. Ansimov (1995–2000).

Principal choirmasters: V. P. Stepanov (1926–36), 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), V. V. Borisov (since 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) , V. F. Ryndin (1953–70), N. N. Zolotarev (1971–88), V. Ya. Leventhal (1988–95), S. M. Barkhin (1995–2000; also artistic director, stage designer) ; head of the service of artists - A. Yu. Pikalova (since 2000).

Artistic director of the theater in 1995-2000 - V. V. Vasiliev . General directors - A. G. Iksanov (2000–13), V. G. Urin (since 2013).

Artistic directors of the opera troupe: B.A. Rudenko ( 1995–99), V. P. Andropov (2000–02), M. F. Kasrashvili(in 2002–14 led creative teams of the opera troupe), L. V. Talikova (since 2014, head of the opera company).

Opera at the Bolshoi Theater

In 1779, one of the first Russian operas, Melnik, a Sorcerer, a Deceiver and a Matchmaker, appeared on the stage of the Opera House on Znamenka (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 tour of the Italian (1780–82) and French (1784–1785) troupes had an influence on the development of the opera house. 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 A. N. Verstovsky, inspector of the Directorate of Imperial Theaters and composer, author of the operas Pan Tvardovsky (1828), Vadim, or the Awakening of 12 Sleeping Virgins (1832), Askold's Grave "(1835)," Homesickness "(1839). In the 1840s the 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 opened with V. Bellini's opera I Puritani performed by an Italian troupe. 1860s 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, and operas by P. I. Tchaikovsky were staged from 1869. The rise of Russian musical culture at the Bolshoi Theater is associated with the first production of Eugene Onegin (1881) on the grand opera stage, as well as other works by Tchaikovsky, operas by St. Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky. At the same time the best works foreign composers- W. A. ​​Mozart, G. Verdi, C. Gounod, J. Bizet, R. Wagner. Among the singers 19 - beg. 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 (1904–06) became a milestone for the 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. AND. 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) and L. V. Baratov, artist F. F. Fedorovsky. In the 1920s–30s. The performances were conducted by N. S. Golovanov, A. Sh. Melik-Pashaev, A. M. Pazovsky, S. A. Samosud, B. E. Khaykin, 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, and 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 was staged. Mtsensk district» D. D. Shostakovich. In con. 1940 The Valkyrie by Wagner was staged (director S. M. Eisenstein). The last pre-war production was Mussorgsky's Khovanshchina (13.2.1941). In 1918–22, the Opera Studio functioned 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-50s. 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 name of director B. A. Pokrovsky has been associated with the theater. 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), Otello by G. Verdi are considered standard (1978). In general, for the operatic repertoire of the 1970s - early. 1980s style diversity is characteristic: from operas of the 18th century. (“Julius Caesar” by G. F. Handel, 1979; “Iphigenia in Aulis” by K. V. Gluck, 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 of the 1950s-70s. sang 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, and M. O Reizen, Z. L. Sotkilava, A. A. Eizen, conducted by E. F. Svetlanov, G. N. Rozhdestvensky, K. A. Simeonov and others. With the exclusion of the position of chief director (1982) and the departure of Yu. I. Simonov began a period of instability; until 1988, only a few opera productions were staged: “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” (directed by R. I. Tikhomirov) and “The Tale of Tsar Saltan” (directed by G. P. Ansimov) by N. A. Rimsky-Korsakov, “ Werther" by J. Massenet (director E. V. Obraztsova), "Mazepa" by P. I. Tchaikovsky (director S. F. Bondarchuk).

From con. 1980s the operatic repertoire policy was determined by the orientation towards rarely performed works: “The Beautiful Miller’s Girl” by G. Paisiello (1986, conductor V. E. Weiss, director G. M. Gelovani), N. A. Rimsky-Korsakov’s opera “The Golden Cockerel” (1988, conductor E. F. Svetlanov, director G. P. Ansimov), Mlada (1988, for the first time on this stage; conductor A. N. Lazarev, director B. A. Pokrovsky), The Night Before Christmas (1990, conductor Lazarev, director A. B. Titel), Tchaikovsky’s Maid of Orleans (1990, for the first time on this stage; conductor Lazarev, director Pokrovsky), Aleko and “ Miserly knight» S. V. Rachmaninov (both 1994, conductor Lazarev, director N. I. Kuznetsov). Among the productions is the opera "Prince Igor" by A. P. Borodin (edited by E. M. Levashov; 1992, joint production with the theater "Carlo Felice" in Genoa; conductor Lazarev, director Pokrovsky). 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 1995–2000, the basis of the repertoire was Russian operas of the 19th century, among the productions: “Ivan Susanin” by M. I. Glinka (resumption of the production by L. V. Baratov in 1945, director V. G. Milkov), “Iolanta” by P. I. Tchaikovsky (director G. P. Ansimov; both 1997), Francesca da Rimini by S. V. Rachmaninov (1998, conductor A. N. Chistyakov, director B. A. Pokrovsky). Since 1995, foreign operas have been performed at the Bolshoi Theater in their original language. On the initiative of B. A. Rudenko, a concert performance of the operas “Lucia di Lammermoor” by G. Donizetti (conductor P. Feranets) and “Norma” by V. Bellini (conductor Chistyakov; both 1998) took place. Among other operas: "Khovanshchina" by M. P. Mussorgsky (1995, conductor M. L. Rostropovich, director B. A. Pokrovsky), "Players" by D. D. Shostakovich (1996, concert performance, for the first time on this stage, conductor Chistyakov), the most successful production of these years is “The Love for Three Oranges” by S. S. Prokofiev (1997, director P. Ustinov).

In 2001, the opera Nabucco by G. Verdi was staged for the first time at the Bolshoi Theater (conductor M. F. Ermler, director M. S. Kislyarov), under the direction of G. N. Rozhdestvensky, the premiere of the 1st edition of the opera The Gambler by S. S. Prokofiev (directed by A. B. Titel). 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), rental of foreign performances (Force of Destiny by G. Verdi, 2001, rental of a production of the San Carlo Theater ", Naples); "Adrienne Lecouvreur" F. Cilea (2002, for the first time on this stage, in the stage version of the theater "La Scala"), "Falstaff" by Verdi (2005, rental of the performance of the theater "La Scala", director J. Strehler). Of the domestic operas, Ruslan and Lyudmila by M. I. Glinka (with the participation of "historical" instruments in the orchestra, conductor A. A. Vedernikov, director V. M. Kramer; 2003), "Fiery Angel" by S. S. Prokofiev (2004, for the first time at the Bolshoi Theatre; conductor Vedernikov, director F. Zambello).

Opened in 2002 new stage, the first performance is The Snow Maiden by N. A. Rimsky-Korsakov (conductor N. G. Alekseev, director D. V. Belov). Among the productions: "The Rake's Adventures" by I. F. Stravinsky (2003, for the first time at the Bolshoi Theater; conductor A. V. Titov, director D. F. Chernyakov), " Flying Dutchman» R. Wagner in the 1st edition (2004, together withBavarian State Opera;conductor A. A. Vedernikov, director P. Konvichny). A subtle minimalist stage design distinguished the production of the opera Madama Butterfly by G. Puccini (2005, director and artist R. Wilson ). The vast experience of conducting work on the music of P.I. Tchaikovsky brought M.V. Pletnev in the production of The Queen of Spades (2007, director V. V. Fokin). For the production of "Boris Godunov"M. P. Mussorgsky in the version of D. D. Shostakovich (2007) was invited director A. N. Sokurov , for whom it was the first experience in the opera house. Among the productions of these years are the opera Macbeth by G. Verdi (2003, conductor M. Panni, director E. Necroshus ), “Children of Rosenthal” by L. A. Desyatnikov (2005, world premiere; conductor Vedernikov, director Nekroshyus), “Eugene Onegin” by Tchaikovsky (2006, conductor Vedernikov, director Chernyakov), “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” N A. Rimsky-Korsakov (2008, together with the Lirico Theater in Cagliari, Italy; conductor Vedernikov, director Nekroshus), Wozzeck by A. Berg (2009, for the first time in Moscow; conductor T. Currentzis, director and artist Chernyakov).

Since 2009, the Youth Opera Program has been operating at the Bolshoi Theater, the participants of which are trained for 2 years and take part in theater performances. Since 2010, foreign directors and performers have been present in all productions. In 2010, the operetta Die Fledermaus by I. Strauss was staged (for the first time on this stage), the opera Don Giovanni by W. A. ​​Mozart (together with the International Festival in Aix-en-Provence, the Real Theater in Madrid and the Canadian opera house in Toronto; conductor Currentzis, director and artist Chernyakov), in 2011 - the opera The Golden Cockerel by N. A. Rimsky-Korsakov (conductor V. S. Sinaisky, director K. S. Serebrennikov).

The first production on the Main (Historical) stage, opened after reconstruction in 2011, is Ruslan and Lyudmila by M. I. Glinka (conductor V. M. Yurovsky, director and artist D. F. Chernyakov) - because of the shocking stage solution opera was accompanied by scandal. In "counterbalance" to it, in the same year, the production of "Boris Godunov" by M. P. Mussorgsky, edited by N. A. Rimsky-Korsakov (1948, director L.V. Baratov). In 2012, the first production of the opera The Rosenkavalier by R. Strauss was staged in Moscow (conductor V. S. Sinaisky, director S. Lawless), the first stage performance of the opera The Child and the Magic by M. Ravel at the Bolshoi Theater (conductor A. A. Solovyov, director and artist E. MacDonald), again staged “Prince Igor” by A. P. Borodin (in a new edition by P. V. Karmanova, consultant V. I. Martynov , conductor Sinaiski, director Y. P. Lyubimov), as well as "The Enchantress" by P. I. Tchaikovsky, "La Sonnambula" by V. Bellini and others. The Tsar's Bride" by Rimsky-Korsakov (conductor G. N. Rozhdestvensky, based on the set design by F. F. Fedorovsky, 1955), "The Maid of Orleans" by P. I. Tchaikovsky (concert performance, conductor T. T. Sokhiev), for the first time in Bolshoi Theater - "The Story of Kai and Gerda" by S. P. Banevich. Among the productions recent years– “Rodelinda” by G. F. Handel (2015, for the first time in Moscow, together withEnglish National Opera;conductor C. Moulds, director R. Jones), Manon Lescaut by G. Puccini (for the first time at the Bolshoi Theater; conductor J. Biniamini, director A. Ya. Shapiro), Billy Budd by B. Britten (for the first time at the Bolshoi with English National Opera andGerman Opera in Berlin;conductor W. Lacey, director D. Alden; both 2016).

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, J. solomoni). The repertoire included their own productions and rescheduled performances by J.J. Noverra, genre comedy ballets.

In the development of the ballet art of the Bolshoi Theater in the first third of the 19th century. highest value had the activity of A.P. Glushkovsky, who led the 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; “Black Shawl, or Punished Infidelity” to the combined music , 1831), and also transferred to the Moscow stage many of the St. Petersburg works of Sh. L. Didlo. Romanticism established itself on the stage of the Bolshoi Theater thanks to the choreographer F. Güllen Sor, who worked here in 1823–39 and transferred a number of ballets from Paris (La Sylphide by J. Schneitzhoffer, choreography by F. Taglioni, 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 1850 by the Austrian dancer F. Elsler, thanks to which the ballets of J. J. Perrot("Esmeralda" C. Pugni, and others).

From Ser. 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. at the Bolshoi Theater, several choreographers who led the troupe or staged individual performances were replaced. In 1861–63, K. blasis who gained fame only as a teacher. The most repertoire in the 1860s. there were ballets by A. Saint Leon, who moved from St. Petersburg the play "The Little Humpbacked Horse" by C. Pugni (1866). Significant achievement theater - the ballet "Don Quixote" by L. F. Minkus, staged by M. I. Petipa in 1869. In 1867–69, S. P. Sokolov staged several productions (“Fern, or Night at Ivan Kupala” by Yu. G. Gerber, and others). In 1877, the well-known choreographer V. Reisinger, who arrived from Germany, became the director of the first (unsuccessful) edition of P. I. Tchaikovsky's Swan Lake. In the 1880s–90s. choreographers at the Bolshoi Theater were J. Hansen, H. Mendes, A. N. Bogdanov, I. N. Khlyustin. To con. In 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: Moscow did not see P. I. Tchaikovsky (only in 1899 the ballet The Sleeping Beauty was transferred to the Bolshoi Theater by A. A. Gorsky), the best productions Petipa and L.I. Ivanova. The question was even raised about the liquidation of the troupe, which in 1882 was halved. The reason for this was partly the little attention of the Directorate of the Imperial Theaters to the troupe (which was then considered provincial), 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. 20th century

In 1902, the ballet troupe was headed by A. A. Gorsky. His activities contributed to the revival and flourishing of the Bolshoi Ballet. The choreographer strove to fill the ballet with dramatic content, achieved the logic and harmony of the action, the accuracy of the national color, and historical authenticity. Gorsky began his work as a choreographer in Moscow with revisions of other people's ballets [Don Quixote by L. F. Minkus (based on the St. Petersburg production of M. I. Petipa), 1900; Swan Lake (based on the St. Petersburg production by Petipa and L. I. Ivanov, 1901]. In these productions, the structural forms of academic ballet (variations, small ensembles, corps de ballet numbers) were largely preserved, and in Swan Lake, St. Petersburg choreography was also preserved. Gorsky's ideas were most fully embodied in the mime-drama The Daughter of Gudula by A. Yu. Simon (1902).Gorsky's best original productions were Salambo by A. F. Arends (1910), Love is Fast! to music by E. Grieg (1913). ) were also of great importance classical ballets. However, findings in the field of directing and characteristic dance, innovative drawings of mass numbers that violated traditional symmetry were sometimes accompanied in them by an unjustified derogation of the rights of classical dance, unmotivated changes in the choreography of predecessors, an eclectic combination of techniques coming from various artistic movements of the first decades of the 20th century. Gorsky's like-minded people were the leading dancers of the theater M. M. Mordkin, V. A. Karalli, A. M. Balashova, S. V. Fedorova, masters of pantomime V. A. Ryabtsev, I. E. Sidorov. E.V. also worked with him. Geltzer and V.D. Tikhomirov, dancers A. E. Volinin, L. L. Novikov, but in general, Gorsky did not seek close cooperation with artists of the academic direction. By the end of it creative activity the troupe of the Bolshoi Theater, which was successively reorganized under his influence, largely lost the skills to perform large performances of the old repertoire.

In the 1920s and 30s. there has been a return to the classics. The direction of the ballet at that time was actually (and from 1925 in office) carried out by V. D. Tikhomirov. He returned the choreography of M. I. Petipa to the 3rd act of La Bayadère by L. F. Minkus (1923), resumed in his own editions, close to the classical Petersburg ones, the ballets The Sleeping Beauty (1924), Esmeralda (1926, new musical edition by R. M. Glier).

1920s in Russia it 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 theater branch, which contained many innovations in the selection and combination of dance movements and the formation of groups, with constructivist design by 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, where the topical content was clothed in a traditional form (ballet “dream”, canonical pas de de, elements of extravaganza). The traditions of A. A. Gorsky’s creativity were continued at that time by I. A. Moiseev, who staged the ballets V. A. Oransky "Football Player" (1930, together with Lashchilin) ​​and "Three Fat Men" (1935), as well as new version"Salambo" by A. F. Arends (1932).

From con. 1920s the role of the Bolshoi Theater - now the capital, the "main" theater of the country - is growing. In the 1930s choreographers, teachers and artists were transferred here from Leningrad, the best performances were transferred. M. T. Semyonov and A.N. Ermolaev became leading performers along with Muscovites O.V. Lepeshinskaya, A. M. Messerer, MM. Gabovich. Leningrad teachers E.P. came to the theater and school. Gerdt, A. M. Monakhov, V. A. Semyonov, choreographer A. I. Chekrygin. This contributed to the improvement of the technical skills of the Moscow ballet, the stage culture of its performances, but at the same time, to some extent, led to the loss of its own Moscow performing style and staging traditions.

In the 1930s - 40s. The repertoire includes the ballets "The Flames of Paris" by B.V. Asafiev in the choreography of V.I. Vainonen and masterpieces of drama ballet - "The Fountain of Bakhchisarai" by Asafiev in the choreography of R.V. Zakharova and "Romeo and Juliet" by S. S. Prokofiev in the choreography of L. M. Lavrovsky(moved to Moscow in 1946, after G.S. Ulanova), as well as the work of choreographers who continued the traditions of Russian academicism in their work: Vainonen (The Nutcracker by P.I. Tchaikovsky) F.V. Lopukhov(“Bright Stream” by D. D. Shostakovich), V. M. Chabukiani(“Laurencia” by A. A. Crane). In 1944, Lavrovsky, who took the post of chief choreographer, staged Giselle by A. Adam at the Bolshoi Theater.

Since the 1930s and to ser. 1950s the main trend in the development of ballet was its convergence with realistic drama theater. K ser. 1950s the genre of drama ballet has become obsolete. A group of young choreographers appeared, striving for transformations, returning to the choreographic performance of its specificity, revealing images and conflicts by means of dance. In 1959, one of the first-born of a new direction, the ballet " Stone Flower» S. S. Prokofiev in the choreography of Yu. N. Grigorovich and design by S. B. Virsaladze(the premiere took place in 1957 in the Leningrad GATOB). In the beginning. 1960s N.D. Kasatkina and V. Yu. Vasilev staged at the Bolshoi Theater one-act ballets by N. N. Karetnikov (Vanina Vanini, 1962; Geologists, 1964), I. F. Stravinsky (The Rite of Spring, 1965).

From con. 1950s The ballet troupe of the Bolshoi Theater began to perform regularly abroad, where it gained wide popularity. The next two decades - the heyday of the theater, rich in bright personalities, demonstrating its staging and performing style all over the world, which focused on a wide and, moreover, international audience. The performances shown on the tour influenced the foreign editions of the classics, as well as the original work of the European choreographers K. Macmillan, J. Cranko and etc.

Yu. N. Grigorovich, who led ballet troupe in 1964–95, began his work with the transfer of A. D. Melikov’s “Legend of Love” (1965), which he had previously staged in Leningrad and Novosibirsk (both 1961). In the next 20 years, a number of original productions appeared, created in collaboration with S. B. Virsaladze: The Nutcracker by P. I. Tchaikovsky (1966), Spartacus by A. I. Khachaturian (1968), Ivan the Terrible to music by S. S. Prokofiev (1975), "Angara" by A. Ya. Eshpay (1976), "Romeo and Juliet" by Prokofiev (1979). In 1982, Grigorovich staged his last original ballet, The Golden Age by D. D. Shostakovich, at the Bolshoi Theatre. These large-scale performances with large mass stages required a special style of performance - expressive, heroic, sometimes pompous. Along with composing his own performances, Grigorovich was actively engaged in editing the classical heritage. Two of his productions of The Sleeping Beauty (1963 and 1973) were based on the original by M. I. Petipa. Grigorovich significantly rethought "Swan Lake" by Tchaikovsky (1969), "Raymond" by A. K. Glazunov (1984). The production of La Bayadère by L. F. Minkus (1991, edited by GATOB) returned to the repertoire a performance that had not been staged on the Moscow stage for many years. Less fundamental changes were made to Giselle (1987) and Le Corsaire (1994, according to the version by K. M. , Yu.K. Vladimirov, A. B. Godunov etc. However, the predominance of Grigorovich's productions had a downside - it led to the monotony of the repertoire. Orientation exclusively to classical dance and within its framework - on the vocabulary of a heroic plan (large jumps and adagio poses, acrobatic lifts) with the almost complete exclusion from the productions of characteristic, historical, everyday, grotesque numbers and pantomime scenes, narrowed the creative possibilities of the troupe. In the new productions and editions of heritage ballets, character dancers and mime artists were practically not involved, which naturally led to the decline of the art of character dance and pantomime. Old ballets and performances by other choreographers were performed less and less frequently, and comedy ballets, traditional for Moscow in the past, disappeared from the stage of the Bolshoi Theatre. During the years of Grigorovich's leadership, those who did not lose their artistic value productions by N. D. Kasatkina and V. Yu. Vasilyev (“The Rite of Spring” by I. F. Stravinsky), V. I. Vainonen (“The Flames of Paris” by B. V. Asafiev), A. Alonso (“Carmen Suite” J. Bizet - R.K. Shchedrin), A.I. Radunsky (“The Little Humpbacked Horse” by Shchedrin), L. M. Lavrovsky (“Romeo and Juliet” by S. S. Prokofiev), the old Moscow editions of Tchaikovsky’s “Swan Lake” and “Don Quixote” by Minkus, which were the pride of the troupe, also disappeared. Until ser. 1990s there were no major contemporary choreographers working at the Bolshoi Theatre. Individual performances were staged by V.V. Vasiliev, M.M. Plisetskaya, A.B. Ashton [« A futile precaution» F. (L. F.) Herold, 2002], J. Neumeier(“A Midsummer Night's Dream” to music by F. Mendelssohn and D. Ligeti, 2004). Especially for the Bolshoi Theater, ballets were composed by the largest French choreographers P. Lacotte(“The Pharaoh’s Daughter” by C. Pugna, based on the performance by M. I. Petipa, 2000) and R. Petit (“The Queen of Spades” to music by P. I. Tchaikovsky, 2001). From the classics of the 19th–20th centuries. during these years, L. M. Lavrovsky's Romeo and Juliet, the old Moscow edition of Don Quixote, were restored. Own editions of classical performances (Swan Lake, 1996; Giselle, 1997) were prepared by V.V. Vasiliev (artistic director - director of the theater in 1995-2000). All R. 2000s new productions of ballets by S. S. Prokofiev (“Romeo and Juliet” by R. Poklitaru and D. Donnellan, 2003; “Cinderella” by Yu. M. Posokhov and Yu. O. Borisov, 2006) and D. D. Shostakovich appeared in the repertoire ("Svetly Stream", 2003; "Bolt", 2005; both - staged by A. O. Ratmansky ), carried out using modern expressive means of choreography.

A significant place in the repertoire of the first years of the 21st century. occupied the works of Ratmansky (in 2004–09 artistic director of the Bolshoi Ballet). In addition to those listed above, he staged and transferred his performances to the Moscow stage: “Lea” to the music of L. Bernstein (2004), “Playing Cards” by I. F. Stravinsky (2005), “The Flames of Paris” by B. V. Asafiev ( 2008, using fragments of the choreography by V. I. Vainonen), "Russian Seasons" to the music of L. A. Desyatnikov (2008).

Since 2007, the Bolshoi Theater has begun work on the restoration of classical ballets based on historical materials. It was especially active in 2009–11, when artistic director of the troupe was a connoisseur of the old choreography of Y. P. Burlak: Le Corsaire by A. Adam (2007, directed by A. O. Ratmansky and Burlak after M. I. Petipa), Grand classical pas from the ballet Paquita by L. F. Minkus ( 2008, directed by Burlak after Petipa), Coppelia by L. Delibes (2009, directed by S. G. Vikharev after Petipa), Esmeralda by C. Pugna (2009, directed by Burlak and V. M. Medvedev after Petipa), Petrushka » I. F. Stravinsky (2010, directed by Vikharev based on the editorial board of MALEGOTH).

In 2009, Yu. N. Grigorovich returned to the Bolshoi Theater as choreographer, he resumed several of his performances (Romeo and Juliet, 2010; Ivan the Terrible, 2012; Legend of Love, 2014; "Golden Age", 2016), prepared new edition"Sleeping Beauty" (2011).

Since the late 2000s in area contemporary repertoire there has been a turn towards larger plot performances(“Lost Illusions” by L. A. Desyatnikov, choreography by A. O. Ratmansky, 2011; “Onegin” to music by P. I. Tchaikovsky, choreography by G. Cranko, 2013; “Marco Spada, or the Daughter of a Bandit” by D. Aubert in choreography by P. Lacotte, 2013, The Lady with the Camellias to music by F. Chopin, choreography by J. Neumeier, 2014, The Taming of the Shrew to music by D. D. Shostakovich, choreography by J. C. Maillot, 2014, A Hero of Our Time » I. A. Demutsky, choreography by Y. M. Posokhov, 2015; Romeo and Juliet by S. S. Prokofiev, choreography by Ratmansky, 2017; 2nd (2007) and 1st (2013) degrees, Order of the Holy Apostle Andrew the First-Called (2017).

The Bolshoi Theater is the largest in Russia and one of the most significant opera and ballet theaters in the world. It is customary to start the history of the theater from March 1776, when the provincial prosecutor, Prince Pyotr Vasilievich Urusov, received the highest permission of Empress Catherine II "to maintain ... theatrical performances of all kinds, as well as concerts, vocals and masquerades." The prince began the construction of the theater, which - at the location on Petrovka Street (on the right bank of the Neglinka) - was named Petrovsky. However, the Urusov Theater burned down even before its opening, and the prince handed over the business to his partner, the English businessman Michael Medox. It was Medox who built the Bolshoi Petrovsky Theatre. The Petrovsky Theater of Medox stood for 25 years - in 1805 the building burned down. In 1821, the construction of the next building of the theater began according to the project of O. Bove and the rector of the St. Petersburg Academy A. Mikhailov. March 11, 1853 the theater burned down; the fire preserved only the stone outer walls and the colonnade of the main entrance. Within three years, the theater was restored under the guidance of the architect A.K. Kavos. Instead of the alabaster sculpture of Apollo that died in the fire, a bronze quadriga by Peter Klodt was placed above the entrance portico. The theater reopened on August 20, 1856.

The five-tier hall of the Bolshoi Theater is famous for its excellent acoustics and can accommodate up to 2,150 people. The hall is decorated with gilded stucco and red velvet, which gives it a special splendor and solemnity.

Important role in the history of the Bolshoi Theater, opera and ballet performances to the music of Pyotr Tchaikovsky were played, among which are Eugene Onegin, The Queen of Spades, Iolanthe, Swan Lake, Sleeping Beauty. The Bolshoi Theater is associated with the names of famous artists - Anton Rubinstein, Pyotr Tchaikovsky, Sergei Rachmaninov, Fyodor Chaliapin, Galina Ulanova, Maya Plisetskaya and many others.

The Bolshoi Theater Orchestra is one of the best symphony orchestras in the world. Today, his repertoire includes ballet and opera performances performed by brilliant masters of art.