The Bolshoi Theater when it was built. About the Bolshoi Theater

At the mere mention of the Bolshoi, theatergoers all over the world take their breath away and their hearts begin to beat faster. A ticket to his performance is the best gift, and each premiere is accompanied by a flurry of enthusiastic responses from both fans and critics. State Academic Bolshoi Theater of Russia has a solid weight not only in our country, but also abroad, because the best singers and dancers of their era have always performed on its stage.

How the Bolshoi Theater began

In the early spring of 1776, the Empress Catherine II by her highest decree she ordered to organize "theatrical ... performances" in Moscow. Hastened to fulfill the will of the empress Prince Urusov, who served as the provincial prosecutor. He began the construction of the theater building on Petrovka. The temple of art did not have time to open, as it died in a fire during the construction phase.

Then an entrepreneur got down to business Michael Maddox, under whose leadership a brick building was erected, decorated with white-stone decor and having a height of three floors. The theater, named Petrovsky, was opened at the very end of 1780. Its hall accommodated about a thousand spectators, and the same number of Terpsichore fans could watch performances from the gallery. Maddox owned the building until 1794. During this time, more than 400 performances were staged on the stage of the Petrovsky Theater.

In 1805, a new fire destroyed the already stone building, and for a long time the troupe wandered around the stages of the home theaters of the Moscow aristocracy. Finally, three years later, the famous architect K. I. Rossi completed the construction of a new building on Arbat Square, but he was not spared by the fire element. The new temple of musical art died in a big fire that happened in Moscow during the occupation of the capital by the Napoleonic army.

Four years later, the Moscow construction commission announced a competition for the best design of a new building for a musical theater. The competition was won by the project of the professor of the Imperial Academy of Arts A. Mikhailova... Later, the drawings were significantly modified by the architect who brought the idea to life. O. I. Bove.

Historic building on Teatralnaya square

During the construction of the new building, the foundations of the burnt-out Petrovsky Theater were partially used. Bove's idea was that the theater was to symbolize the victory over Napoleon in the Patriotic War of 1812. As a result, the building was a stylized temple in the Empire style, and the grandeur of the building was emphasized by the wide square, broken in front of the main facade.

The grand opening took place on January 6, 1825, and the audience attending the "Triumph of the Muses" performance celebrated the splendor of the building, the beauty of the scenery, adorable costumes and, of course, the unsurpassed skill of the leading actors in the first performance on the new stage.

Unfortunately, fate did not spare this building either, and after the fire of 1853, only a portico with a colonnade and external stone walls remained from it. Restoration work under the direction of the chief architect of the Imperial Theaters Albert Cavos lasted three years. As a result, the proportions of the building were slightly changed: the theater became much wider and more spacious. The façades were given eclectic features, and the sculpture of Apollo, which died in the fire, was replaced by a bronze quadriga. The premiere of Bellini's "Puritans" in the renovated building took place in 1856.

Bolshoi theater and modern times

The revolution brought many changes to all areas of life, and the theater was no exception. First, the Bolshoi was awarded the title of academic, and then they wanted to close it altogether, but the All-Russian Central Executive Committee issued a decree to preserve the theater. In the 1920s, the building underwent some renovations, which not only reinforced the walls, but also destroyed any opportunity for spectators to demonstrate their rank hierarchy.

The Great Patriotic War was a difficult time for the troupe. The theater was evacuated to Kuibyshev, and the performances were staged on the local stage. The artists made a significant contribution to the defense fund, for which the troupe was awarded gratitude from the head of state.

In the post-war years, the State Academic Bolshoi Theater was reconstructed several times. The last works were carried out on the historical stage from 2005 to 2011.

Repertoire past and present

In the first years of the theater's existence, its troupe did not attach too much importance to the content of the performances. The usual spectators of the performances were aristocrats who spent time in idleness and entertainment. Every evening up to three or four performances could be played on the stage, and, in order not to bore the small audience, the repertoire was changed very often. Benefits were also popular, which were organized by both famous and leading actors, and the second cast. The performances were based on the works of European playwrights and composers, but dance sketches on the themes of Russian folk life and life were also present in the repertoire.

In the 19th century, significant musical works began to be staged on the stage of the Bolshoi, which became historical events in the cultural life of Moscow. In 1842 they play for the first time "A Life for the Tsar" by Glinka, and in 1843 the audience applauded the soloists and ballet dancers A. Adana "Giselle"... The second half of the 19th century is marked by works Marius Petipa, thanks to which the Bolshoi is known as the first scene for "Don Quixote of La Mancha" by Minkus and "Swan Lake" by Tchaikovsky.

The heyday of the main Moscow theater falls on the late 19th - early 20th centuries. During this period, on the stage of the Bolshoi shine Chaliapin and Sobinov, whose names become known to the whole world. The repertoire is enriched opera "Khovanshchina" by Mussorgsky, for the conductor's stand stands Sergei Rachmaninoff and the great Russian artists Benoit, Korovin and Polenov take part in the work on the scenery for the performances.

The Soviet era brought many changes to the theater scene. Many performances are subjected to ideological criticism, and the choreographers of the Bolshoi are striving to find new forms in the art of dance. The opera is represented by works by Glinka, Tchaikovsky, Mussorgsky and Rimsky-Korsakov, but the names of Soviet composers are increasingly appearing on posters and program covers.

After the end of the war, the most significant premieres of the Bolshoi Theater were "Cinderella" and "Romeo and Juliet" by Prokofiev... The incomparable Galina Ulanova shines in the lead roles in ballet performances. In the 60s, the audience conquers Maya Plisetskaya dancing Carmen Suite, and Vladimir Vasiliev in the role of Spartacus in A. Khachaturian's ballet.

In recent years, the troupe has been increasingly resorting to experiments, which are not always unambiguously evaluated by the audience and critics. Drama and film directors are involved in the production of the performances, the scores are returning to the author's editions, the concept and style of the scenery are increasingly becoming the subject of fierce controversy, and the performances are broadcast in cinemas around the world and on Internet channels.

During the existence of the Bolshoi Theater, many interesting events were associated with it. Outstanding people of their time worked in the theater, and the main building of the Bolshoi became one of the symbols of the Russian capital:

- At the time of the opening of the Petrovsky Theater, its troupe consisted of about 30 artists and a little more than a dozen accompanists. Today, about a thousand artists and musicians serve in the Bolshoi Theater.

At different times on the stage of the Bolshoi performed Elena Obraztsova and Irina Arkhipova, Maris Liepa and Maya Plisetskaya, Galina Ulanova and Ivan Kozlovsky. During the existence of the theater, more than eighty of its artists were awarded the title of national, and eight of them were awarded the title of Hero of Socialist Labor. Ballerina and choreographer Galina Ulanova was awarded this honorary title twice.

An ancient chariot with four harnessed horses, called a quadriga, was often depicted on various buildings and structures. Such chariots were used in ancient Rome during triumphal processions. The Bolshoi Theater Quadriga was made by a renowned sculptor Peter Klodt... No less famous of his works are sculptural images of horses on the Anichkov Bridge in St. Petersburg.

In the 30-50s. the last century, the main artist of the Bolshoi was Fedor Fedorovsky- a student of Vrubel and Serov, who worked at the beginning of the century with Diaghilev in Paris. It was he who, in 1955, created the Bolshoi's famous brocade curtain, called the "golden" one.

- In 1956 the ballet troupe went to London for the first time... This is how a series of famous tours of the Bolshoi began in the countries of Europe and the world.

Great success on the stage of the Bolshoi was Marlene Dietrich... The famous German actress performed in the building on Theater Square in 1964. She brought her famous show "Marlene Expirience" to Moscow and was invited to bow two hundred times during her performances.

Soviet opera singer Mark Reisen set a Guinness record on the stage of the Bolshoi. In 1985, at the age of 90, he performed the role of Gremin in the play "Eugene Onegin".

In Soviet times, the theater was twice awarded the Order of Lenin.

The building of the historical stage of the State Academic Bolshoi Theater is on the list of cultural heritage sites of the peoples of Russia.

The last reconstruction of the main building of the Bolshoi cost 35.4 billion rubles. The works lasted six years and three months, and on October 28, 2011, the theater was inaugurated after renovation.

New stage

In 2002, on Bolshaya Dmitrovka Street, the New Stage of the Bolshoi Theater was opened. The premiere was the production of Rimsky-Korsakov's opera The Snow Maiden. The new stage served as the main stage during the reconstruction of the main building, and in the period from 2005 to 2011, the entire repertoire of the Bolshoi was staged on it.

After the grand opening of the renovated main building, the New Stage began to receive touring troupes from theaters in Russia and around the world. From the permanent repertoire on Bolshaya Dmitrovka, the operas The Queen of Spades by Tchaikovsky, The Love for Three Oranges by Prokofiev and The Snow Maiden by N. Rimsky-Korsakov are still staged. Fans of ballet can see D. Shostakovich's "The Bright Stream" and J. Bizet and R. Shchedrin's "Carmen Suite" on the New Stage.

Bolshoi theater: history of creation

The date of birth of the theater is 1776. It was on this day that Prince Peter Urusov received permission from Catherine II to host balls and masquerades, as well as various performances and other events. At first, the number of artists did not exceed fifty people. The history of the building of the Bolshoi Theater in Moscow is especially interesting. At that time, the troupe did not have a space for performances, and all performances were held in the Vorontsovs' house. Then the audience saw the opera “Rebirth” for the first time. Later, the construction of the building itself began, and since the facade of the building was directed to Petrovskaya Street, the theater received the appropriate name - Petrovsky. H. Roseberg became the architect. Mostly musical performances were shown here - it is not surprising that over time the theater began to be called the Opera House.

Bolshoi Theater: the story of the first fire

1805 is a fatal year for the Bolshoi Theater. At this time, a fire broke out, which completely destroyed the creation of H. Roseberg. The theater troupe had to seek shelter in other cultural institutions. Then their performances took place in the house of Apraksin, Pashkov, in the new Arbat theater.

Early 19th century

The new building project was developed by A. Mikhailov, and O. Bove was engaged in its implementation. Soon a new building appeared on the site of the fire, which surpassed the previous building in its scale and grandeur. In size, it was second only to the “La Scala” theater in Milan.

Second fire

In 1853, a fire broke out again, the causes of which are still unknown. The flames of fire destroyed almost the entire building in a short time. The theater suffered colossal damage. Two years later, the construction of a new cultural institution under the leadership of A. Cavos has already begun on this site. The famous sculptor P. Klodt and the professional painter Kozroe-Dusi from Venice took part in the process of creating the famous statues and the curtain.

Mid-19th century - first half of the 20th century

This time is characterized by a creative upsurge. The art of music is becoming increasingly popular at the Bolshoi Theater. The main vocalists are such famous opera singers as F. Chaliapin, A. Nezhdanova, L. Sobinov. The reperutar theater is changing, new interesting works appear.

The Great Patriotic War

The work of the Bolshoi Theater was suspended. Part of the team was sent to Samara. Those who stayed in the capital continued to give performances. The performances were often interrupted due to the bombing: the audience hid in protective structures. During the war, one of the shells destroyed the front of the theater. A year later, it was already restored.

Soviet times

At this time, the number of performances on the stage of the Bolshoi Theater increased several times. A new rehearsal hall was built in the building, which is located at the very top. At that time, there were many flaws in the structure of the building - it was necessary to reanimate the foundation and solve the problem with the number of seats in the hall. It was decided to restore the Bolshoi and erect the New Stage. It was possible to start fulfilling the task only in 1993. In 2005 the theater was closed for renovation.

Currently, the Bolshoi Theater has three spacious halls, each of which corresponds to modern trends. Thanks to the repairs carried out, new visual and acoustic structures were installed within the walls of the theater, made using the latest technologies. The sizes of the scenes are striking in their scale and monumentality.

GRAND THEATRE Russian State Academic Theater (Bolshoi Theater), one of the oldest theaters in the country (Moscow). Academic since 1919. The history of the Bolshoi Theater dates back to 1776, when Prince P. V. Urusov received the government privilege "to be the owner of all theatrical performances in Moscow" with the obligation to build a stone theater "so that it could serve as an ornament for the city, and, moreover, a house for public masquerades, comedies. and comic operas ”. In the same year, Urusov invited M. Medox, a native of England, to participate in the expenses. The performances were staged in the Opera House on Znamenka, which was in the possession of Count R. I. Vorontsov (in the summertime, in the "voxal" owned by Count A. S. Stroganov "near the Andronikov Monastery"). Opera, ballet and drama performances were staged by actors and musicians who graduated from the theatrical troupe of Moscow University, the serf troupes of N. S. Titov and P. V. Urusov.

After the Opera House burned down in 1780, a theater building in the style of Catherine's classicism, the Petrovsky Theater, was erected on Petrovka Street in the same year in 5 months (architect H. Roseberg; see Medox Theater). From 1789 he was under the jurisdiction of 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 and continued to perform in different premises. In 1816, the project of rebuilding the Theater Square by the architect O. I. Bove was adopted; In 1821, Emperor Alexander I approved the project of a new theater building by the architect A.A.Mikhailov. T. n. The Bolshoi Petrovsky Theater in the Empire style was built by Bove according to this project (with some changes and using the foundations of the Petrovsky Theater); opened in 1825. A horseshoe-shaped auditorium was inscribed in the rectangular volume of the building, the stage space was equal in area to the hall and had large lobbies. The main façade was accented by a monumental 8-column Ionic portico with a triangular pediment topped with a sculptural alabaster group called the Quadriga of Apollo (placed against the background of a semicircular niche). The building became the main compositional dominant of the Teatralnaya Square ensemble.

After the fire of 1853, the Bolshoi Theater was rebuilt according to the project of the architect A. K. Kavos (with the replacement of the sculptural group with work in bronze by P. K. Klodt), the 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. It remained in this form until 2005, with the exception of minor 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 Bolshaya Dmitrovka). In 1920, a concert hall was opened in the former imperial foyer of the theater - the so-called. Beethovensky (in 2012 the historical name "Imperial Foyer" was returned to him). During the Great Patriotic War, part of the Bolshoi Theater staff was evacuated to Kuibyshev (1941–43), some gave performances in the branch office. In 1961–89, some of the performances of the Bolshoi Theater took place on the stage of the Kremlin Palace of Congresses. During the reconstruction of the main building of the theater (2005–11), performances were staged only on the New Stage in a specially constructed building (designed by the architect A. Maslov; has been in operation since 2002). The main (so-called Historical) stage of the Bolshoi Theater was opened in 2011, since that time the 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 imperial theaters were reorganized, the positions of chief conductor (bandmaster; I.K. Altani, 1882-1906), chief director (A.I.Bartsal, 1882-1903) and chief choirmaster (U.I. . Avranek, 1882-1929). The decoration of the performances became more complicated and gradually went beyond the simple decoration of the stage; KF Waltz (1861-1910) became famous as the chief machinist and decorator.

Later, the musical directors were: chief conductors - V. I. Suk (1906–33), A. F. Arends (chief conductor of the 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 Bolshoi theater, artistic director of the orchestra M. F. Ermler (1998–2000), artistic director G. N. Rozhdestvensky (2000–01), musical director and chief conductor A. A. Vedernikov (2001–09), musical director L. A Desyatnikov (2009–10), music directors and chief conductors - V.S. Sinai(2010–13), T. T. Sokhiev (since 2014).

Principal 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 chorus masters: 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; in 1995–2003, artistic director of the choir), V. V. Borisov (from 2003).

Principal 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, set designer) ; Head of the Artists' Service - 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).

The artistic directors of the opera troupe: B.A. Rudenko ( 1995–99), V. P. Andropov (2000–02), M. F. Kasrashvili(in 2002-14 she headed creative collectives of the opera troupe), L.V. Talikova (since 2014, head of the opera company).

Opera at the Bolshoi Theater

In 1779 on the stage of the Opera House on Znamenka appeared one of the first Russian operas, The Miller, the Sorcerer, the Deceiver, and the Matchmaker (text by A. O. Ablesimov, music by M. M. Sokolovsky). The Petrovsky Theater staged the allegorical prologue "Wanderers" (text by Ablessimov, music by E. I. Fomin), performed on the opening day of December 30, 1780 (January 10, 1781), opera performances "Misfortune from the carriage" (1780), "The Miser" (1782 ), "St. Petersburg Guest House" (1783) V. A. Pashkevich. The development of the opera house was influenced by the tours of the Italian (1780–82) and French (1784–1785) troupes. The troupe of the Petrovsky Theater consisted of actors and singers E.S. Sandunova, M.S. Sinyavskaya, A.G. Ozhogin, P.A. the prologue "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 opera repertoire. More than 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 a composer, author of the operas "Pan Tvardovsky" (1828), "Vadim, or the Awakening of 12 Sleeping Virgins" (1832), "Askold's Grave "(1835)," Longing for the Homeland "(1839). In the 1840s. staged Russian classical operas "A Life for the Tsar" (1842) and "Ruslan and Lyudmila" (1846) by MI Glinka. In 1856 the newly rebuilt Bolshoi Theater was opened with V. Bellini's opera Puritans performed by an Italian troupe. 1860s marked by the strengthening of Western European influence (the new Directorate of Imperial Theaters favored Italian opera and foreign musicians). Among the Russian operas, there have been staged “Judith” (1865) and “Rogneda” (1868) by A. N. Serov, “Mermaid” by A. S. Dargomyzhsky (1859, 1865), since 1869 there have been operas by P. I. Tchaikovsky. The rise of Russian musical culture at the Bolshoi Theater is associated with the first production of Eugene Onegin (1881) on a large opera stage, as well as other works by Tchaikovsky, operas by Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky. At the same time, the best works of foreign composers were staged - W. A. ​​Mozart, G. Verdi, C. Gounod, J. Bizet, R. Wagner. Among the singers of the con. 19 - early. 20th centuries: M.G. Gukov, E.P. Kadmina, N.V. Salina, A.I.Bartsal, I.V. Gryzunov, V.R. Petrov, P.A.Khokhlov. The conducting 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. Shalyapin, 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 the 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 and 30s. performances were conducted by N. S. Golovanov, A. Sh. Melik-Pashaev, A. M. Pazovsky, S. A. Samosud, B. E. Khaikin, V. V. Barsova, K. G. Derzhinskaya, E. D. Kruglikova, M. P. Maksakova, N. A. Obukhova, E. A. Stepanova, A. I. Baturin, I. S. Kozlovsky, S. Ya. Lemeshev, M. D. Mikhailov, P. M Nortsov, A. Pirogov. Premieres of Soviet operas took place: "The Decembrists" by V. A. Zolotarev (1925), "Son of the Sun" by S. N. Vasilenko and "Dumb Artist" by I. P. Shishov (both 1929), "Almast" by A. A. Spendiarov ( 1930); in 1935 the opera Lady Macbeth of the Mtsensk District by D. D. Shostakovich was staged. In the end. 1940 staged Wagner's Valkyrie (directed by S. M. Eisenstein). The last pre-war production - "Khovanshchina" by Mussorgsky (13.2.1941). Between 1918 and 1922 the Bolshoi Theater had an Opera Studio under the direction of KS Stanislavsky.

In September 1943, the Bolshoi Theater opened the season in Moscow with the opera Ivan Susanin by M. I. Glinka. In the 1940s and 1950s. staged Russian and European classical repertoire, as well as operas by composers from Eastern Europe - B. Smetana, S. Moniuszko, L. Janacek, F. Erkel. Since 1943, the name of the director BA Pokrovsky has been associated with the theater, who for more than 50 years determined the artistic level of opera performances; his staging of the operas "War and Peace" (1959), "Semyon Kotko" (1970) and "The Gambler" (1974) by S. Prokofiev, "Ruslan and Lyudmila" by Glinka (1972), "Othello" by G. Verdi (1978). In general, for the opera repertoire of the 1970s - early. 1980s stylistic variety is characteristic: from the 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. ("The Rhine Gold" by R. Wagner, 1979) to the Soviet opera ("Dead Souls" by RK 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, M. O Reisen, Z. L. Sotkilava, A. A. Eisen, conducted by E. F. Svetlanov, G. N. Rozhdestvensky, K. A. Simeonov and others. I. Simonov began a period of instability; Until 1988, only a few opera productions were performed: "The Legend of the Invisible City of Kitezh and the Maiden Fevronia" (director R. I. Tikhomirov) and "The Tale of Tsar Saltan" (director G. P. Ansimov) by N. A. Rimsky-Korsakov, " Werther "J. Massenet (director E. Obraztsova)," Mazepa "P. I. Tchaikovsky (director S. F. Bondarchuk).

From the end. 1980s operatic repertoire policy was determined by the orientation towards rarely performed works: "The Beautiful Miller Woman" by G. Paisiello (1986, conductor V. Ye. 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. Titel), Tchaikovsky's Maid of Orleans (1990, for the first time on this stage; conductor Lazarev, director Pokrovsky), Aleko and The Covetous Knight S. V. Rachmaninov (both 1994, conductor Lazarev, director N.I. Kuznetsov). Among the productions - the opera "Prince Igor" by A. P. Borodin (edited by E. M. Levashev; 1992, joint production with the Theater "Carlo Felice" in Genoa; conductor Lazarev, director Pokrovsky). During these years, a massive departure of singers began abroad, which (in the absence of the position of chief director) led to a decrease in the quality of performances.

In 1995–2000, the repertoire was based on 19th-century Russian operas, among the productions: "Ivan Susanin" by M. I. Glinka (resumption of the production by L. V. Baratov 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 in the original language at the Bolshoi Theater. B. Rudenko initiated a concert performance of the operas Lucia di Lammermoor by G. Donizetti (conducted by P. Feranets) and Norma by V. Bellini (conducted by Chistyakov; both 1998). Among other operas: "Khovanshchina" by M. P. Mussorgsky (1995, conductor M. L. Rostropovich, director B. A. Pokrovsky), "The Players" by D. D. Shostakovich (1996, concert performance, for the first time on this stage, conductor Chistyakov), the most successful production of these years - "The Love for Three Oranges" by S. S. Prokofiev (1997, director P. Ustinov).

In 2001, for the first time at the Bolshoi Theater, the opera "Nabucco" by G. Verdi (conductor M. F. Ermler, director M. S. Kislyarov) was staged; Prokofiev (directed by A. Titel). Fundamentals of the repertoire and personnel policy (since 2001): an entrepreneurial principle of work on a performance, inviting performers on a contract basis (with the gradual reduction of the main troupe), rental of foreign performances ("The Force of Destiny" by G. Verdi, 2001, rent of a production of the San Carlo Theater ", Naples); "Adrienne Lecouvreur" by F. Chilea (2002, for the first time on this stage, in a stage version of La Scala Theater), Verdi's "Falstaff" (2005, rent of a performance from La Scala, director J. Strehler). Among Russian operas, the staged "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), "The Fiery Angel" (2004, for the first time at the Bolshoi Theater; conductor Vedernikov, director F. Zambello).

In 2002, the New Stage was opened, the first performance was "The Snow Maiden" by N. A. Rimsky-Korsakov (conductor N. G. Alekseev, director D.V. Belov). Among the productions: "The Adventures of a Rake" by I.F. Stravinsky (2003, for the first time at the Bolshoi Theater; conductor A.V. Titov, director D.F. Chernyakov), "The Flying Dutchman" by R. Wagner in the 1st edition (2004, together withBavarian State Opera;conductor A.A. Vedernikov, director P. Konvichny). A subtle minimalist stage solution distinguished the production of the opera "Madame Butterfly" by G. Puccini (2005, director and artist R. Wilson ). 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), the 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. Panny, director E. Nekrosius ), “Children of Rosenthal” by L. A. Desyatnikov (2005, world premiere; conductor Vedernikov, director Nekroshus), “Eugene Onegin” by Tchaikovsky (2006, conductor Vedernikov, director Chernyakov), “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” 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 Bolshoi Theater has launched a Youth Opera Program, whose participants have been on probation for 2 years and take part in the theater's performances. Since 2010, foreign directors and performers are sure to be present in all productions. In 2010, the operetta "The Bat" by I. Strauss (for the first time on this stage), the opera "Don Giovanni" by W. A. ​​Mozart (together with the International Festival in Aix-en-Provence, Theater "Real" in Madrid and the Canadian Opera in Toronto; conductor Currentzis, director and artist Chernyakov), in 2011 - opera "The Golden Cockerel" by N. A. Rimsky-Korsakov (conductor V. Sinaisky, director K. Serebrennikov).

The first production on the Main (Historical) Stage, opened after reconstruction in 2011, - "Ruslan and Lyudmila" by M. I. Glinka (conductor V. M. Yurovsky, director and artist D. F. Chernyakov) - due to the shocking stage design opera was accompanied by a scandal. As a "counterbalance" to it, in the same year, the production of "Boris Godunov" by M.P. Mussorgsky was resumed in the version of N.A.Rimsky-Korsakov (1948, director L.V. Baratov). In 2012, the first staging of the opera Rose Chevalier by R. Strauss (conductor V. Sinaisky, director S. Lawless) was staged in Moscow, the first stage performance of the opera "Child and Magic" by M. Ravel at the Bolshoi Theater (conductor A. A. Soloviev, director and artist E. Macdonald), "Prince Igor" by A.P. Borodin was again staged (in a new version by P.V. Karmanov, consultant V.I. Martynov , conductor Sinaiski, director Yu. NS. Lyubimov), as well as "The Enchantress" by P. I. Tchaikovsky, "Somnambula" by V. Bellini and others. The Tsar's Bride "by Rimsky-Korsakov (conducted by G.N. Rozhdestvensky, staged based on the scenography of F.F. Bolshoi Theater - "The Story of Kai and Gerda" by S. P. Banevich. Among the productions of recent years - "Rodelinda" by G. F. Handel (2015, for the first time in Moscow, together withEnglish National Opera;conductor K. Mulds, director R. Jones), "Manon Lescaut" by G. Puccini (for the first time at the Bolshoi Theater; conductor J. Binyamini, director A. Ya. Shapiro), "Billy Budd" by B. Britten (for the first time at the Bolshoi Theater together with the 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 of the ballet class opened in 1773 in the Orphanage. The first choreographers were Italians and French (L. Paradise, F. and C. Morelli, P. Pinucci, J. Solomoni). The repertoire included their own productions and transferred 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. the activities of A.P. Glushkovsky, who headed the ballet troupe from 1812–39. He staged performances of various genres, including on the plots of Alexander Pushkin ("Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard" by F. E. Scholz, 1821; "The Black Shawl, or Punished Infidelity" to the combined music , 1831), and also transferred to the Moscow stage many of the Petersburg works of Sh.L. Didlo... Romanticism took root on the stage of the Bolshoi Theater thanks to the choreographer F. Gullen-Sor, who worked here in 1823–39 and brought over from Paris a number of ballets (La Sylphide by J. Schneitzhofer, choreography by F. Taglioni, 1837, and others). 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 by J. Zh. Perrault("Esmeralda" by Ch. Punya, and others).

From ser. 19th century romantic ballets began to lose their significance, despite the fact that the troupe retained the artists who gravitated towards them: P.P. Lebedeva, O. N. Nikolaeva, in the 1870s. - A.I.Sobeschanskaya. During the 1860s and 90s. at the Bolshoi Theater, several choreographers were replaced, leading the troupe or staging individual performances. In 1861–63, K. Blasis, who gained fame only as a teacher. The most repertoire in the 1860s. there were ballets by A. Saint Leone, who transferred from St. Petersburg the play "The Little Humpbacked Horse" by Ch. Punya (1866). A significant achievement of the theater is the ballet "Don Quixote" by L. F. Minkus, staged by M. I. Petipa in 1869. In 1867–69 he staged several productions by SP Sokolov (Fern, or Night on Ivan Kupala by Yu. G. Gerber, and others). In 1877, the famous choreographer V. Reisinger, who came from Germany, became the director of the 1st (unsuccessful) version of P. I. Tchaikovsky's Swan Lake. In the 1880s-90s. the choreographers at the Bolshoi Theater were J. Hansen, H. Mendes, A. N. Bogdanov, I. N. Khlyustin... To the end. 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. Tchaikovsky (only in 1899 the ballet The Sleeping Beauty was transferred to the Bolshoi Theater by A. A. Gorsky), the best productions of Petipa and L. I. Ivanova... The question of liquidating the troupe, which was reduced by half in 1882, was even raised. The reason for this was partly the little attention of the Directorate of Imperial Theaters to the troupe (then considered provincial), talented leaders who ignored the traditions of 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 work contributed to the revival and flourishing of the Bolshoi Theater ballet. The choreographer strove to fill the ballet with dramatic content, achieved the logic and harmony of the action, the accuracy of the national flavor, and historical authenticity. Gorsky began his choreographer's work in Moscow with reworkings of other people's ballets [Don Quixote by LF Minkus (based on the St. Petersburg production by MI Petipa), 1900; Swan Lake (based on a Petersburg performance by Petipa and L. I. Ivanov, 1901] These productions largely retained the structural forms of academic ballet (variations, small ensembles, corps de ballet numbers), and in Swan Lake, St. Petersburg choreography was also preserved. The most complete embodiment of Gorsky's ideas was obtained in the mimodrama "Gudula's Daughter" by A. Yu. Simon (1902). Gorsky's best original productions were "Salambo" by AF Arends (1910), "Love is Fast!" To music by E. Grieg (1913 Alterations of classical ballets were also of great importance.However, discoveries in the field of direction and character dance, innovative drawings of mass numbers that violated the traditional symmetry, were sometimes accompanied in them by an unjustified diminution of the rights of classical dance, unmotivated changes in the choreography of predecessors, an eclectic combination of techniques coming from various artistic trends of the first decades of the 20th century Gorsky's associates 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. Geltser and V.D. Tikhomirov, dancers A. E. Volinin, L. L. Novikov, but in general Gorsky did not strive for close cooperation with artists of the academic direction. Towards the end of his creative career, the Bolshoi Theater troupe, which was consistently rebuilt under his influence, had largely lost the skills to perform large performances of the old repertoire.

In the 1920s and 30s. there was a tendency to return to the classics. At that time, the ballet was in fact (and from 1925 in office) supervised by V.D.Tikhomirov. He returned the choreography of M. I. Petipa to Act 3 of La Bayadère by L. F. Minkus (1923), resumed in his own versions, close to the classical Petersburg ones, the ballets The Sleeping Beauty (1924), Esmeralda (1926, new musical edition by R. M. Glier).

1920s in Russia - the time of searching for new forms in all types of art, including dance. However, innovative choreographers were rarely admitted to the Bolshoi Theater. In 1925 K. Ya. Goleizovsky staged on the stage of the theater branch the ballet "Joseph the Beautiful" by S. N. Vasilenko, which contained many innovations in the selection and combination of dance movements and the formation of groups, with the constructivist design of B.R. Erdman... The officially recognized achievement was considered the production of V. D. Tikhomirov and L. A. Laschilin "Red Poppy" to the music of R. M. Glier (1927), where the topical content was clothed in a traditional form (ballet "dream", canonical pas de de, extravaganza elements). The traditions of A.A. Gorsky's work were continued at this time by I.A. Moiseev who staged VA Oransky's ballets The Football Player (1930, together with Lashchilin) ​​and Three Fat Men (1935), as well as a new version of Salammbo by AF Arends (1932).

From the end. 1920s the role of the Bolshoi Theater - now the capital's "main" theater of the country - is growing. In the 1930s. ballet masters, teachers and artists were transferred here from Leningrad, the best performances were transferred. M. T. Semyonova and A.N. Ermolaev became leading performers along with Muscovites O.V. Lepeshinskaya, A. M. Messerer, MM. Gabovich... The Leningrad teachers E.P. Gerdt, A. M. Monakhov, V. A. Semyonov, choreographer A. I. Chekrygin. This contributed to the improvement of the technical skill of the Moscow ballet, the stage culture of his performances, but at the same time, to some extent led to the loss of his own Moscow performing style and staging traditions.

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

Since the 1930s. and up to mid. 1950s the main trend in the development of ballet was its rapprochement with the realistic drama theater. K ser. 1950s the drum ballet genre has outlived its usefulness. A group of young choreographers appeared, striving for transformations, the return to the choreographic performance of its specifics, the disclosure of images and conflicts by means of dance. In 1959, one of the first-borns of a new direction was transferred to the Bolshoi Theater - the ballet "Stone Flower" by S. S. Prokofiev, choreography by Yu. N. Grigorovich and design by S. B. Virsaladze(the premiere took place in 1957 at the Leningrad State Academic Theater of Opera and Ballet). In the beginning. 1960s N. D. Kasatkina and V. Yu. Vasilev staged at the Bolshoi Theater one-act ballets by NN Karetnikov (Vanina Vanini, 1962; Geologists, 1964), IF Stravinsky (The Sacred Spring, 1965).

From the end. 1950s The Bolshoi Ballet Company began performing regularly abroad, where it gained wide popularity. The next two decades were the heyday of the theater, rich in bright individuals, demonstrating its staging and performing style all over the world, which was oriented towards 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 directed the ballet troupe from 1964–95, began his career with the transfer of AD 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. Khachaturyan (1968), "Ivan the Terrible" to music by S. S. Prokofiev (1975), "Angara" by A. Ya. Eshpai (1976), "Romeo and Juliet" by Prokofiev (1979). In 1982, Grigorovich staged his last original ballet at the Bolshoi Theater, The Golden Age by Dmitry Shostakovich. These large-scale performances with large crowd scenes required a special style of performance - expressive, heroic, sometimes pompous. Along with composing his own performances, Grigorovich was actively involved in editing the classical heritage. Two of his productions of The Sleeping Beauty (1963 and 1973) were based on the original by MI Petipa. Grigorovich significantly rethought "Swan Lake" by Tchaikovsky (1969), "Raymonda" by AK Glazunov (1984). The production of La Bayadère by L. F. Minkus (1991, edited by the State Academic Opera and Ballet Theater) returned to the repertoire a play that had not been shown on the Moscow stage for many years. Less fundamental changes were made to Giselle (1987) and Le Corsaire (1994, based on K.M. , Yu.K. Vladimirov, A. B. Godunov and others. However, the predominance of Grigorovich's productions had a downside - it led to the monotony of the repertoire. The focus exclusively on classical dance and, within its framework, on the vocabulary of a heroic plan (big jumps and adagio poses, acrobatic supports), with almost complete exclusion from the performances of characteristic, historical, everyday, grotesque numbers and pantomime scenes, narrowed the creative possibilities of the troupe. In new productions and editions of legacy ballets, characteristic dancers and mimists were practically not involved, which naturally led to the decline of the art of characteristic dance and pantomime. Old ballets and performances by other choreographers were performed less and less frequently, and comedy ballets traditional in the past for Moscow disappeared from the Bolshoi Theater stage. During the years of Grigorovich's leadership, productions by N.D. Kasatkina and V. Yu. Vasilev ("The Rite of Spring" by I. F. Stravinsky), V. I. Vainonen ("The Flame of Paris" by B. V . Asafiev), A. Alonso ("Carmen Suite" by J. Bizet - RK Shchedrin), A. I. Radunsky ("The Little Humpbacked Horse" by Shchedrin), LM Lavrovsky ("Romeo and Juliet" by 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 mid. 1990s major contemporary choreographers did not work at the Bolshoi Theater. Some performances were staged by V.V. Vasiliev, M.M. Plisetskaya, A.B. Ashton[“A Vain Precaution” by F. (LF) Gerold, 2002], J. Neumeier("A Midsummer Night's Dream" to music by F. Mendelssohn and D. Ligeti, 2004). The greatest French choreographers P. Lacotte(“Pharaoh's Daughter” by Ch. Punya, based on the play by MI Petipa, 2000) and R. Petit (“The Queen of Spades” to music by PI Tchaikovsky, 2001). From the classics of the 19th and 20th centuries. During these years, LM Lavrovsky's “Romeo and Juliet” and the old Moscow edition of Don Quixote were restored. VV Vasiliev (artistic director - theater director in 1995–2000) prepared his own versions of classical performances (Swan Lake, 1996; Giselle, 1997). All R. 2000s the repertoire includes new productions of S. Prokofiev's ballets (Romeo and Juliet by R. Poklitaru and D. Donnellan, 2003; Cinderella by Y. M. Possokhov and Y. O. Borisov, 2006) and D. D. Shostakovich ("Bright Stream", 2003; "Bolt", 2005; both - directed 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 to the Moscow stage his performances: "Lea" to the music of L. Bernstein (2004), "Playing cards" by I. F. Stravinsky (2005), "The Flame of Paris" by B. V. Asafiev ( 2008, using fragments of choreography by V. I. Vainonen), "Russian Seasons" to the music of L. A. Desyatnikov (2008).

Since 2007, the Bolshoi Theater began work on the restoration of classical ballets based on historical materials. It was especially active in 2009–11, when the artistic director of the troupe was a connoisseur of the old choreography of Y. P. Burlak: Le Corsaire by A. Adam (2007, directors A.O. Ratmansky and Burlak after M.I. 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 Ch. Punya (2009, directed by Burlak and V.M. Medvedev after Petipa), “Petrushka” by I.F. Stravinsky (2010, directed by Vikharev based on the edition of MALEGOT).

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

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

It is generally accepted that the Bolshoi Theater was founded in March 1776, when the well-known philanthropist, Moscow prosecutor Prince Pyotr Urusov received the highest permission "to contain ... all kinds of theatrical performances." Urusov and his companion Mikhail Medox created the first permanent troupe in Moscow.

Initially, the theater did not have its own building and most often gave performances in Vorontsov's house on Znamenka. But already in 1780, according to the project of H. Roseberg, at the expense of Medox, a special stone building was built on the site of the modern Bolshoi Theater. According to the name of the street on which the theater was located, it became known as "Petrovsky".

The repertoire of this first professional theater in Moscow consisted of drama, opera and ballet performances. Operas enjoyed particular attention, so the Petrovsky Theater was often called the Opera House.

In 1805, the building burned down, and until 1825 the performances were again staged at different venues.

In the 1820s, the square in front of the former Petrovsky Theater was reconstructed. As conceived by the architect, a whole classical ensemble appeared here, the dominant of which was the building of the Bolshoi Theater (1824). It partially included the walls of the burnt-out Petrovsky Theater.

The eight-column building in the classical style with the chariot of the god Apollo over the portico, decorated in red and gold tones inside, according to contemporaries, was the best theater in Europe and was second only to the Milanese La Scala in scale. It opened on January 6 (18), 1825.

But this theater also suffered the fate of its predecessor: on March 11, 1853, for an unknown reason, a fire broke out in the theater. Costumes, decorations, the troupe's archive, part of the music library, rare musical instruments were destroyed, and the building itself was damaged.

Its restoration was led by Albert Kavos. He took as a basis the volumetric-spatial structure of Beauvais, but increased the height of the building, changed the proportions and reworked the decor; cast-iron galleries with lamps appeared on the sides. Kavos changed the shape and size of the main auditorium, which can accommodate up to 3 thousand people. Apollo's alabaster group that adorned the Bove Theater died in a fire. To create a new one, Kavos invited the famous Russian sculptor Pyotr Klodt, the author of the famous equestrian groups on the Anichkov Bridge over the Fontanka River in St. Petersburg. Klodt created a sculptural group with Apollo, now famous all over the world.

The new Bolshoi Theater was rebuilt in 16 months and opened on August 20, 1856 for the coronation of Alexander II.

In this form, the theater existed until the end of the twentieth century. In 2005, the most ambitious restoration and reconstruction of the Bolshoi Theater began. The restoration project has been revised several times. The renovated Bolshoi Theater opened on October 11, 2011.

The history of the Bolshoi Theater, which celebrates its 225th anniversary, is as majestic as it is confusing. From it, you can create an apocryphal and an adventure novel with equal success. The theater was repeatedly burned down, rebuilt, rebuilt, its troupe merged and separated.

Born Twice (1776-1856)

The history of the Bolshoi Theater, which celebrates its 225th anniversary, is as majestic as it is confusing. From it, you can create an apocryphal and an adventure novel with equal success. The theater was repeatedly burned down, rebuilt, rebuilt, its troupe merged and separated. And even the Bolshoi Theater has two dates of birth. Therefore, its centenary and bicentennial anniversaries will not be divided by a century, but by only 51 years. Why? Initially, the Bolshoi Theater counted its years from the day when an eight-column theater full of splendor with the chariot of the god Apollo over the portico arose on Teatralnaya Square - the Bolshoi Petrovsky Theater, the construction of which became a real event for Moscow at the beginning of the 19th century. The beautiful building in the classical style, inside decorated in red and gold tones, according to contemporaries, was the best theater in Europe and was second only to Milan's La Scala in scale. Its opening took place on January 6 (18), 1825. In honor of this event, the prologue "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 muses on the ruins of the Medox theater, created a new wonderful art - the Bolshoi Petrovsky Theater.

However, the troupe, by whose forces it was shown, which caused universal delight, "Triumph of the Muses", 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, there followed the highest permission "to contain all kinds of theatrical performances for him, as well as concerts, voxals and masquerades, and besides him, no one should be allowed any such amusements 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 the obligation to build a permanent theater building for the troupe. Alas, the first Russian theater in Moscow on Bolshaya Petrovskaya Street burned down even before it opened. This led to the decline of the prince's affairs. He handed over the affairs to his companion, the Englishman Michael Medox, an active and enterprising man. It was thanks to him that in the wasteland, regularly flooded by Neglinka, despite all the fires and wars, the theater grew up, eventually losing its geographical prefix Petrovsky and remaining in history just like the Bolshoi.

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

Bolshoi theater in the middle of the 19th century

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

The ballet repertoire was as rich and diverse as the operatic one. The head of the troupe, Adam Glushkovsky, a pupil of the St. Petersburg ballet school, a student of S. Didlo, who headed the Moscow ballet even before the Patriotic War of 1812, created distinctive performances: "Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard", "Three Belts, or Russian Sandrillon "," Black Shawl, or Punished Infidelity ", brought the best performances of Didlo to the Moscow stage. They showed the excellent training of the corps de ballet, the foundations of which were laid by the choreographer himself, who also stood at the head of the ballet school. The main parts in the performances were performed by Glushkovsky himself and his wife Tatyana Ivanovna Glushkovskaya, as well as the Frenchwoman Felitsata Gyullen-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. Despite the fact that it was already possible to get from one Russian capital to another by train, Muscovites had to wait for new products for several years. "A 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 from the first act they were convinced that this opera was solving a problem that was important for art in general and for Russian art in particular, namely: the existence of the Russian opera, Russian music ... With Glinka's opera is what has long been looking for 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 not only a matter of talent, but genius! " - exclaimed the outstanding writer, one of the founders of Russian musicology V. Odoevsky.

Four years later, the first performance of Ruslan and Lyudmila took place. But both of Glinka's operas, despite favorable reviews from critics, did not last long in the repertoire. They were not even saved by participation in performances by guest performers - Osip Petrov and Ekaterina Semenova, temporarily ousted from St. Petersburg by Italian singers. But decades later, it was “A 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 according to tradition, each theatrical season, the Bolshoi Theater opened one of Glinka's operas.

On the ballet stage, by the middle of the century, performances on Russian themes created by Isaac Ablets and Adam Glushkovsky were also supplanted. Western romanticism ruled the ball. "Sylphide", "Giselle", "Esmeralda" appeared in Moscow almost 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 was able to outshine Catherine Bank, who performed in the same performances as visiting celebrities.

In order to accumulate strength before the next ascent, the Bolshoi Theater had to go through many shocks. And the first of them was a fire that destroyed Osip Bove's theater in 1853. Only a burnt skeleton remained of the building. The sets, costumes, rare instruments, and a music library were lost.

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

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

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

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

In the middle of the century, the Bolshoi Ballet featured Marfa Muravyova, Praskovya Lebedeva, Nadezhda Bogdanova, Anna Sobeshchanskaya, 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 situation. Unlike St. Petersburg, where a single artistic will of the choreographer prevailed, ballet Moscow in the second half of the century was left without a talented leader. Arrivals by A. Saint-Leon and M. Petipa (who staged Don Quixote at the Bolshoi Theater in 1869 and debuted in Moscow before the fire, in 1848) were short-lived. The repertoire was filled with occasional one-day performances (the exception was Sergei Sokolov's "Fern, or Night on Ivan Kupala", which lasted a long time in the repertoire). Even the production of Swan Lake (choreographer - Wenzel Reisinger) by P. Tchaikovsky, who created his first ballet especially 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 provided a solid income, became empty. In the 1880s, there was a serious question about the liquidation of the troupe.

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

On the eve of the new XX century

Approaching the turn of the century, the Bolshoi Theater lived a stormy life. At this time, Russian art was approaching one of the peaks of its heyday. Moscow was at the center of a seething artistic life. A few steps from Teatralnaya Square, the Moscow Public Art Theater opened, the whole city was eager to see the performances of the Mamontov's Russian private opera and the symphony meetings of the Russian Musical Society. Not wanting to lag behind and lose viewers, the Bolshoi Theater was rapidly making 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 led the choir. The professionalism of these groups, which had grown significantly not only in quantity (each had about 120 musicians), but also in quality, invariably aroused admiration. Outstanding masters shone in the Bolshoi Opera Company: Pavel Khokhlov, Elizaveta Lavrovskaya, Bogomir Korsov continued their careers, Maria Deisha-Sionitskaya came from St. Petersburg, Lavrenty Donskoy, a native of Kostroma peasants, became the leading tenor, Margarita Eichenwald was just beginning her journey.

This made it possible to include in the repertoire virtually all world classics - operas by G. Verdi, V. Bellini, G. Donizetti, C. Gounod, J. Meyerbeer, L. Delibes, R. Wagner. Tchaikovsky's new works regularly appeared on the stage of the Bolshoi Theater. With difficulty, but nevertheless, 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 - Nights before Christmas by N. Rimsky - Korsakov.

In the same year he appeared 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 came to the troupe, thanks to whom the opera of the Bolshoi Theater reached enormous heights in the next century. The ballet of the Bolshoi Theater came to the end of the 19th century in excellent professional form. The Moscow Theater School, which produced well-trained dancers, worked without interruption. Caustic feuilleton reviews, such as those posted in 1867: "And what kind of corps de ballet sylphs are now? .. all so well-fed, as if they deigned to eat pancakes, and drag their legs as they got" - have become irrelevant. The brilliant Lydia Gaten, who for two decades had no rivals and carried the entire ballerina repertoire on her shoulders, was replaced by several world-class ballerinas. One after another, Adelina Dzhuri, Lyubov Roslavleva, Ekaterina Geltser made their debuts. 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, their talents did not have a worthy application so far: secondary empty ballets-extravaganzas of Jose Mendes reigned on the stage.

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

In 1899 Fyodor Chaliapin joined the troupe.

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

The year 1917 has come

By the beginning of 1917, nothing at the Bolshoi Theater foreshadowed revolutionary events. True, there were already some self-governing bodies, for example, the corporation of orchestra artists, headed by the accompanist of the group of 2 violins, Y. K. Korolev. Thanks to the active efforts of the corporation, the orchestra obtained the right to organize symphony concerts at the Bolshoi Theater. The last of them took place on January 7, 1917 and was dedicated to the work of S. Rachmaninoff. The author was conducting. The performances included "The Cliff", "Isle of the Dead" and "The Bells". 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 Don Carlos by G. Verdi, which was the first production of this opera on the Russian stage.

After the February Revolution and the overthrow of the autocracy, the management of the St. Petersburg and Moscow theaters remained common and was concentrated in the hands of their former director V.A.Telyakovsky. On March 6, by order of the commissar of the interim committee of the State Duma, N.N. Lvov, A.I. 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 of the Bolshoi Theater, and this election was approved by the Ministry of the Provisional Government. March 12, received the news; the artistic part from the economic and service, and L.V. Sobinov headed the actual artistic part of the Bolshoi Theater.

I must say that "Soloist of His Majesty", "Soloist of the Imperial Theaters" L. Sobinov broke the contract with the Imperial Theaters back in 1915, was unable to fulfill all the whims of the management, and appeared in performances of the Theater of Musical Drama in Petrograd, then 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 made a speech:

Citizens and citizens! With today's performance, our pride, the Bolshoi Theater, opens the first page of its new free life. Under the banner of art, bright minds and pure, warm hearts were united. Art sometimes inspired fighters with ideas and gave them wings! The same art, when the storm calms down, forcing the whole world to tremble, will glorify and sing the praises of 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 Theater, this marvelous temple of art, will become a temple of freedom in the new life.

On March 31, L. Sobinov was 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 to a strike. In protest against the encroachment on the theater's autonomy, the troupe suspended the performance of the play "Prince Igor" and asked the Moscow Council of Workers 'and Soldiers' Deputies to support the demands of the theater collective. The next day, a delegation from the Moscow City Council was sent 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 the director, as the best and staunch 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 of April 6, L. Sobinov addressed the collective with the following appeal: “I am making a special request to my comrades, artists of the opera, ballet, orchestra and chorus, to all the production, artistic, technical and service personnel, artistic, pedagogical the staff and members of the theatrical school to make every effort for the successful completion of the theatrical season and academic year of the school and for preparation on the basis of mutual trust and comradely unity of the forthcoming work in the next theatrical year. "

In the same season, on April 29, the 20th anniversary of the debut of L. Sobinov at the Bolshoi Theater was celebrated. The opera "The Pearl Seekers" was performed by J. Bizet. The stage mates warmly greeted the hero of the day. Without making up, in a suit of Nadir, Leonid Vitalievich made a response speech.

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

On the difficult birthdays of Russian freedom, our theater, which until then had represented an unorganized assembly of people who "served" in the Bolshoi Theater, merged into a single whole and founded its future on an elective basis as a self-governing unit.

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

It would seem to live and rejoice. The representative of the Provisional Government, appointed to liquidate the affairs of the Ministry of the Court and Appanages, went to meet us - he welcomed our work and, at the request of the whole troupe, gave me, the elected manager, the rights of a commissioner 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 was needed authoritative and close to the theater. Such a person was found. It was Vladimir Ivanovich Nemirovich-Danchenko.

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

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

Less than three days later, attempts began to end our self-government.

Our elected offices have been postponed, and a few days ago we were promised a new regulation on the management of theaters. We still do not know by whom and when it was developed.

The telegram dully says that it meets the wishes of the theater workers, which we do not know. We did not participate, were not invited, but on the other hand, we know that the recently thrown off the orderly bonds are again trying to confuse us, again the commanding discretion argues with the will of the organized whole, and the quieted ordering rank raises its voice, accustomed to shouts.

I could not take responsibility for such reforms and resigned the power of the director.

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

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 prevent the Petrograd reformers from administering administrative experiments.

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

Some of the points in 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 the Theater School, and not a commissar, that is, in fact, a director, according to the order of March 31.

Referring to the telegram, Sobinov has in mind the telegram he received from the Commissar of the Provisional Government for the department of the former. court and appanages (this included the stables department, and winemaking, and a card factory) F.A. Golovin.

And here is the text of the telegram itself: “I am very sorry that you resigned your powers by 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, which meets the wishes of the theater workers. Commissioner Golovin ".

However, L.V.Sobinov does not cease to lead the Bolshoi Theater, works in contact with the Moscow Council of Workers 'and Soldiers' Deputies. On May 1, 1917, he himself took part in a performance for the benefit of the Moscow Council at the Bolshoi Theater and performed excerpts from Eugene Onegin.

Already on the eve of the October Revolution, on October 9, 1917, the Political Directorate of the War Ministry sent the following letter: “Commissioner of the Moscow Bolshoi Theater L.V. Sobinov.

According to the petition of the Moscow Council of Workers 'Deputies, you are appointed commissar over the theater of the Moscow Council of Workers' Deputies (formerly Zimin Theater). "

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