Biography. Philip Chizhevsky: “The audience needs a current Philip Chizhevsky conductor biography

Philip Chizhevsky, conductor of the Questa Musica ensemble, told the site about what stands between classical and modern music, whether it is worth playing a symphony without a conductor, and what has never happened at the Bolshoi Theater.

KSENIA FERZ: Philip, what are your musical plans for the near future?

PHILIP CHIZHEVSKY: ~ Since this season I have been working at the Bolshoi Theatre. And next season, my orchestra Questa Musica and I will give concerts on historical instruments. You have already heard a concert in Moscow with: something similar will begin at the Bolshoi Theater, where, as you know, there has never been a performance of strange music, for example, Handel, on the instruments of that historical era to which this music belongs. We will have several projects with youth artists opera program, which is headed by Dmitry Yuryevich Vdovin.

I believe that any music should be performed authentically: both historical and modern, that is, in the manner and style of the era in which it was written. historical musical instruments: gut strings, low tuning and other attributes are not an end in itself for me. But if it is possible to use such instruments, and if there are musicians who own them, then this adds charm and flavor to the sound.

How are things with current classics? Do you work with modern Russian composers?

~ I have to carry out a big project of five operas contemporary composers. Now we have five names of leading avant-garde composers - quite young, all a little over 40: Sergei Nevsky, Dmitry Kurlyansky, Boris Filanovsky, Vladimir Rannev and Alexei Simak. It will be five performances to the libretto by Boris Yukhananov, who, in fact, will play the role of director. The program is quite voluminous: at first it will consist of 5 separate performances, and then it will be narrowed down to a marathon program of modern operas.

All the living composers with whom I have collaborated write in different styles: everyone is looking for their musical way. The pleasure that we get from performing high-quality music is easy to convey to the public. Feeling the forms of modern classical sounding is possible only by experience. We are pioneers in our era. In some decades, this music will be looked at as a classical repertoire: something will be forgotten, something will remain.

And how does the audience perceive new composers?

~I am happy to work with people who are responsible for the notes they write, and not just abstract, which is a common technique in contemporary art generally.

An interesting fact is that for an audience not prepared in a musical sense, but inquisitive, the emotion that they receive from what they listened to is important. We convey this emotion by playing a Mozart sonata or an avant-garde work - it does not matter. The audience needs current.

In modern classical music even non-musical instruments can be used: from wooden boxes to anvils. But for slim musical composition their parts have to be spelled out just as carefully as for the strings, for example.

On the one hand play contemporary music simpler: no one has done this before you - you do it as you want. When performing classical music, one should adhere to traditions and canons. But the moment of interpretations and transformations in music is also very important for me. Authentic performance is great, but music is not a vacuum, Mozart's masterpieces rush through the ages, so, in my opinion, it is important to bring in the nuances of modern reading, not forgetting the experience of previous generations. Then the music will breathe. And whether we are doing it right or wrong - time will tell, sweeping aside all unnecessary.

Please tell us about your profession as a conductor. In addition to directing the orchestra, does the conductor have the function of communicating with the public through plastique?

It doesn't matter which conductor - restrained or expressive - only the way the orchestra plays is important. If the plasticity of the conductor is justified, and the musicians understand him, then this good concert. Now almost any classic can be played without a conductor. At the beginning of the 20th century, there was the Persimfans orchestra, in which the conductor was replaced by the first violinist-accompanist: he showed the auftakt. With a conductor, one symphony takes three rehearsals, without a conductor - much more.

If we talk about classical music, then the function of a conductor is much wider. It lies not only in how he distributes the aftertaste, but in how he gives direction to this music, how he controls the breath of the orchestra. The orchestra can play rhythmically, perfectly in terms of all the nuances and touches, but the music will be absolutely dead - it will not be interesting to listen to. A conductor is needed in order to add fire, build phrases, round them out, put accents - control the movement.

In communication with each of my musicians of the Questa Musica ensemble, I insist that every time he performs the part as if no one had played it before him, even himself.

Ensemble's official website

Born in 1984 in Moscow. Graduated from the Moscow State Conservatory. P. I. Tchaikovsky in the specialties: choral conducting (class of Prof. S. S. Kalinin, 2008) and opera and symphony conducting (class People's Artist Russia prof. V.K. Polyansky, 2010). Laureate of the All-Russian Competition of Conductors (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the State Choir College of Music them. Gnesinykh, teacher of conducting. In 2008 he founded the Ensemble Questa Musica, with whom he performed a number of major projects in Russia and abroad.

Since 2011 she has been a teacher at the Moscow Conservatory. P. I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Choir of Russia (artistic director Valery Polyansky).

In September 2012 in Bolshoi Theater Philip Chizhevsky conducted the premiere of Sergei Nevsky's opera "Francis", and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Dido and Aeneas Purcell" with the State Orchestra of Russia in Perm. In 2013, together with the Ensemble Questa Musica, he staged I. Stravinsky's The Story of a Soldier (choreography by Oleg Glushkov). Since 2014 he has been a conductor of the Bolshoi Theatre. In 2014 he staged Mozart's opera Così fan tutte at the Buryat State academic theater opera and ballet (stage director Hans-Joachim Frei). Is music director the first Baroque Festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series The Drillers at the Stanislavsky Electrotheatre, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexei Syumak, Sergei Nevsky, Alexei Sysoev and Vladimir Rannev.

Since 2016 Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque music festival in Linz (Austria). Together with the violinist Roman Mints, he recorded the music of Leonid Desyatnikov ("Sketches to Sunset" and "Russian Seasons"). Is artistic director II International Festival Orthodox singing "Illuminator" (Father Valaam). Within the framework of the V Festival of Contemporary Music "Another Space", together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen's "Groups" for three orchestras and three conductors. Twice nominated for the theater award "Golden Mask" for the best work of a conductor (2013 opera "Francis" by S. Nevsky, Bolshoi Theater and 2016 opera series "Sverliytsy", Stanislavsky Electrotheatre)

Theater Award Jury Member Golden Mask» 2017

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestr, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, Theater Orchestra " New Opera"(chief conductor Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia(artistic director Yuri Bashmet), Russian Philharmonic (artistic director Dmitry Yurovsky), State Symphony Orchestra. E.F. Svetlanova (artistic director Vladimir Yurovsky), Musica Viva (artistic director Alexander Rudin).

Born in 1984 in Moscow. He graduated from the Moscow Conservatory with a degree in choral conducting (class of Stanislav Kalinin) and opera and symphony conducting (class of Valery Polyansky). In 2008 he became a laureate All-Russian competition conductors in Moscow, at the same time he founded the ensemble Questa Musica, with which he works in Russia and abroad. In 2013, with this group, he presented a production of Stravinsky's "The Tale of a Soldier" in theater center on Strastnoy (choreography by Oleg Glushkov), and in 2016 he took part in the Baroque music festival in Linz (Austria). He led the choir of the Gnesins State Music College, where he also taught conducting.

In 2011 he became the conductor of the State Academic Symphony Choir of Russia (artistic director - Valery Polyansky). Assisted Gennady Rozhdestvensky in the preparation of subscription concerts of the group, participated together with the Orchestra of the Capella in holding the First All-Russian music competition, for which he was awarded the gratitude of the Minister of Culture Russian Federation. Conducted the premiere of Michael Nyman's Prologue to Dido and Purcell's Aeneas in Perm. In 2012, he directed the premiere performance of Sergei Nevsky's opera Francis at the Bolshoi Theater of Russia. For this work, he was nominated for the Golden Mask National Theater Award. In 2014 he was a full-time conductor of the Bolshoi Theater, since 2015 he has been an invited conductor. Musical director of the 1st Baroque Festival of the Bolshoi Theatre. In 2014 he staged Mozart's opera All Women Do This at the Buryat State Academic Opera and Ballet Theater (stage director Hans-Joachim Frei). In June 2015, together with director Boris Yukhananov, he staged the opera series The Drillers at the Stanislavsky Electrotheatre, for which he was again nominated for the Golden Mask.

Within the framework of the V festival "Another Space", together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen's Groups (2016). Member of the jury for the Golden Mask award (2017). Musical director of Handel's oratorio "The Triumph of Time and Insensibility" musical theater named after Stanislavsky and Nemirovich-Danchenko (2018). Collaborates with Russian and foreign orchestras, including the State Orchestra of Russia named after E.F. Svetlanov, the National Philharmonic Orchestra of Russia, "New Russia", "Russian Philharmonic", the orchestra of the Moscow theater "Novaya Opera", Moscow chamber orchestra musica viva, Philharmonic Orchestra Brno, Brandenburg State Symphony Orchestra, Lithuanian Chamber Orchestra and New Tokyo City Orchestra. With the violinist Roman Mints, he recorded Leonid Desyatnikov's compositions "Sketches to Sunset" and "Russian Seasons". Since 2011 he has been teaching at the Moscow Conservatory.

conductor

Born in 1984 in Moscow. Graduated from the Moscow State Conservatory. P. I. Tchaikovsky in the specialties: choral conducting (class of Prof. S. S. Kalinin, 2008) and opera and symphony conducting (class of People’s Artist of Russia Prof. V. K. Polyansky, 2010). Laureate of the All-Russian Competition of Conductors (Moscow, 2008).

From 2008 to 2011 - Artistic director and conductor of the choir of the State Musical College. Gnesinykh, teacher of conducting.

In 2008 he founded the ensemble Questa Musica, with whom he has performed a number of

major projects in Russia and abroad.

Since 2011 she has been a teacher at the Moscow Conservatory. P. I. Tchaikovsky.

Since 2011 - conductor of the State Academic Symphony Choir of Russia (artistic director Valery Polyansky).

In September 2012, the Bolshoi Theater conducted by Philip Chizhevsky hosted the premiere of Sergei Nevsky's opera "Francis", and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Dido and Aeneas Purcell" with the State Orchestra of Russia in Perm. In 2013, together with the Ensemble Questa Musica, he staged I. Stravinsky's The Story of a Soldier (choreography by Oleg Glushkov). Since 2014 he has been a conductor of the Bolshoi Theatre. In 2014 he staged Mozart's opera "Così fan tutte" at the Buryat State Academic Opera and Ballet Theater (stage director Hans-Joachim Frei). He is the musical director of the first Baroque festival at the Bolshoi Theater (season 2014/2015).

In June 2015, together with director Boris Yukhananov, he staged the opera series The Drillers at the Stanislavsky Electrotheatre, which includes world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexei Syumak, Sergei Nevsky, Alexei Sysoev and Vladimir Rannev.

Since 2016 Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo).

In February 2016, with Questa Musica, he took part in the Baroque music festival in Linz (Austria). Together with the violinist Roman Mints, he recorded the music of Leonid Desyatnikov ("Sketches to Sunset" and "Russian Seasons"). He is the artistic director of the II International Festival of Orthodox Singing "Illuminator" (Fr. Valaam). Within the framework of the V Festival of Contemporary Music "Another Space", together with V. Yurovsky and F. Ibragimov, he performed the Russian premiere of Stockhausen's "Groups" for three orchestras and three conductors.

Twice nominated for the theater award "Golden Mask" for the best work of a conductor (2013 opera "Francis" by S. Nevsky, Bolshoi Theater and 2016 opera series "Sverliytsy", Stanislavsky Electrotheatre)

Jury member of the theater award "Golden Mask" 2017

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestr, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia (artistic director Yuri Bashmet), Russian Philharmonic Society (artistic director Dmitry Yurovsky), State Symphony Orchestra. E.F. Svetlanova (artistic director Vladimir Yurovsky), Musica Viva (artistic director Alexander Rudin).

Born in 1984 in Moscow. Graduated from the Moscow State Conservatory. P.I. Tchaikovsky in the specialties: choral conducting (class of Prof. S.S. Kalinin, 2008) and opera and symphony conducting (class of People's Artist of Russia Prof. V.K. Polyansky, 2010). Laureate of the All-Russian Competition of Conductors (Moscow, 2008).

From 2008 to 2011 - artistic director and conductor of the choir of the State Music College. Gnesinykh, teacher of conducting. In 2008, he founded the ensemble Questa Musica, with which he carried out a number of major projects in Russia and abroad.

Since 2011 - a teacher at the Moscow State Conservatory. P.I. Tchaikovsky. Since 2011 - conductor of the State Academic Symphony Choir of Russia (art director Valery Polyansky).

In September 2012, the Bolshoi Theater conducted by Philip Chizhevsky hosted the premiere of Sergei Nevsky's opera "Francis", and in October 2012 - the premiere performance of Michael Nyman's opera "Prologue to Dido and Aeneas Purcell" with the State Orchestra of Russia in Perm. In 2013, together with the Ensemble Questa Musica, he staged I. Stravinsky's The Story of a Soldier (choreography by Oleg Glushkov). Since 2014 he has been a conductor of the Bolshoi Theatre. In 2014, he staged Mozart's opera "So Do All Women, or the School of Lovers" at the Buryat State Academic Opera and Ballet Theater (directed by Hans-Joachim Frei). He is the musical director of the first Baroque Festival at the Bolshoi Theater (season 2014/15).

In June 2015, together with director Boris Yukhananov, he staged the opera series The Drillers at the Stanislavsky Electrotheatre, which included world premieres of operas by leading Russian composers: Dmitry Kurlyandsky, Boris Filanovsky, Alexei Syumak, Sergei Nevsky, Alexei Sysoev and Vladimir Rannev.

Since 2016 Philip Chizhevsky has been collaborating with Tokio New Sity Orchestra (Japan, Tokyo). In February 2016, with Questa Musica, he took part in the Baroque music festival in Linz (Austria). Together with violinist Roman Mints, he recorded the music of Leonid Desyatnikov ("Sketches to Sunset" and "Russian Seasons"). He is the artistic director of the II International Festival of Orthodox singing "Illuminator" (Fr. Valaam). Within the framework of the 5th Festival of Contemporary Music "Another Space", together with Vladimir Yurovsky and Fuad Ibragimov, he performed the Russian premiere of Stockhausen's "Groups" for three orchestras and three conductors. In 2013 and 2016 was nominated for the theater award "Golden Mask" in the nomination " best job conductor".

Jury member of the theater award "Golden Mask" 2017

Collaborates with leading Russian and foreign orchestras, including: Tokio New City Orchestr, Brno Philharmonic Orchestra (chief conductor - Alexander Markovits), Brandenburgische Staatsorchester (artistic director Howard Griffiths), Lithuanian Chamber Orchestra, New Opera Theater Orchestra ( chief conductor - Jan Latham-Koenig), National Philharmonic Orchestra of Russia (artistic director Vladimir Spivakov), New Russia (artistic director Yuri Bashmet), Russian Philharmonic (artistic director Dmitry Yurovsky), State Symphony Orchestra. E.F. Svetlanova (artistic director Vladimir Yurovsky), Musica Viva (artistic director Alexander Rudin).