Vasily Geroselo. Frankly about life, theater and showbiz

19.06.2019

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Vasily Geroselo: "My theater is the whole globe"

Our conversation with Bariton Vasily Geroselo took place in Tel Aviv, during the tour of the tour of the Mariinsky Theater in Israel. Heroselo's voice is now known worldwide, he performs on the best platforms. At the same time, often and with constant pleasure works with the Mariinsky Theater, the theater in which his career began.

The questions asked the chief editor of MMB Boris Lifanovsky.

First of all, tell me a little about yourself. How did you get that you chose this particular profession, how did you get to Peter?

Where did I born? There is such the most famous corner of Western Ukraine - the city of Chernivtsi. There is a village Vamovitsa village - it is literally a few kilometers from Bukovina.

Many people begin to engage in very beautiful, and I started with Haltur: Weddings, funeral, something else ... But nevertheless. He began to play on all sorts of folk instruments, including the accordion, Bayan, which is still ... Well, the harmonichene, then the pipe, a saxophone ... In short, on all these tools where you could play at weddings. At the same time, naturally, the school. And after that I act to the Chernivtsi Music School at the Folk Faculty, I study there literally one year - and immediately the army. In the army, I play in the spirit of the orchestra, playing Bariton (now, by the way, I also sing a baritone), and at the same time I play the solo guitar, as it was then accepted, with long hair ... then my service ends, and again - In the evening, restaurants, day - funeral. After that, I arrived at the Vocal Faculty of the same school in Chernivtsi, studied a year there, in my opinion, or a half - and entered the Leningrad Conservatory. Just so, without a diploma. There I studied in the classroom at Nina Alexandrovna Serval, who was very grateful - she made a man of me, of course. And from the third course I already sing in the Mariinsky Theater, the first of my party was Valentin in Faust.

I have the feeling that the Mariinsky Theater offers enough hard, extreme, if so to speak, working conditions. How do you feel in such conditions? Or does it not concern you, and are you already to some extent determining the rhythm of work?

I want to say to you honestly: in my opinion, the whole world is now working in extreme conditions. And the Mariinsky Theater, of all theaters of the former Soviet Union and the current Russia, almost the only one now works as well as working around the world. So I'm used to you already, because I have been driving for many years and has been working for many years. If someone cannot withstand such a rhythm, then immediately comes from the distance.

Well, and if you compare the work here and work in some West Theater - there are differences?

In general, of course, this theater works on international standards. The only thing perhaps a serious difference is that here we are all saying in our native language, in Russian ...

Such maybe an uncomfortable question ... it doesn't seem to you that such complex conditions that are sometimes made in the theater somewhere, somewhere, in which they come to, apparently, including singers that all this affects as a performance? Have you ever thought after the premiere that in general the result could be better? I am not talking about personal results in this case, and more about the whole ...

Generally speaking, of course, the less work, the better the quality. But I was still lucky, and lucky in particular with the Mariinsky Theater, because in whatever I have been produced, I just worked from "a" to "I". Now I have been on the contract for several years now, but, nevertheless, and then, when I was in the state, and now I think we worked completely as well as in the West. How much is put, so much rehearsed, so ... no, I think everything is fine.

You spend a lot of time out of this theater and out of Russia. In addition to Marinki, what else is the place of work, you can call more or less permanent? What does it take place with Vasily Gerlelo when he does not speak with the Mariinsky Theater?

You know, I work in the Metropolitan, I work in Vienna, in Covent Garden, at Opera Bastil, in Mauche Opera, in La Rock ... That is, if I work outside the Mariinsky Theater, then, of course, I work in any That other theater. And there is no permanent theater, and ... and until it should be! Because for now, if you can work like this, it's completely different. No, no, my theater is the whole globe.

In this case, you apparently have to work with different conduirs. What did it be for the conductions, and which of them is particularly remembered?

These were great people! This and Valera Gergiev, it was Schola deceased, and Jedi, and Chung, and Abbado ... Bernard Hightink! This is my happiness that it turns out to work with such great people, it turns out to learn something from them, take something ... have to be said, can be caught in such good borscht. It's all from God, God gives me communication with such amazing musicians.

Tell me, what is included in your nearest plans, including with Gergiev?

With Gergiev, I think we have a lot in front. The closest perspective is the concert execution of Iolanta Tchaikovsky in the Big Hall of St. Petersburg Philharmonic. Then I should have "Don Carlos" in the Metropolitan. Then, I hope we will have "White Nights" with him, if he invited me. Then I, in my opinion, with Temirkanov something, although I'm afraid to make it up ...

In general, many new things should happen in the sense of the repertoire, because now I sing a lot of Italian music, more Verdi, more Donizetti, although I do not forget, of course, about Rossini and Mozart. But in the near future I will have a lot of such music, which almost does not fit in Russia, like, for example, Simeon Bokkanto, Rigoletto, "Two Foskari" - these are the operas that people may not even hear But, nevertheless, there is such music from the Great Composer.

But in May I want to ask my colleagues from the Mariinsky Theater to go with me to Chernivtsi and give there several solo concerts. That is, to make such a small festival to and in Ukraine know that there is a Mariinsky Theater, that in general there are good singers in Russia that can show something and maybe something to teach.

Iolaant December 24 is a one-time project, or is it, how often does Gergiev, running in some future setting?

No, no, this is just one performance ... By the way, I already sang with him already "Iolanta" in Carnegie Hall. There was such a case, I flew from Vienna to New York and immediately went to the scene to sing Robert. Now a similar situation ( from Tel Aviv to Peter - B.L.), True, there is a night in stock. There I sang immediately from the plane. So far I do not know how it will be, although the day on the same day should be a rehearsal ... In any case, at least I will have time to sleep.

Tell me how interesting is it interesting to you in the opera of her theater side and how do you have relationships with directors?

I want to say that a good director is one of the key components of a successful production. And it is always very nice to work with such a director. What is "good director" we ourselves do not always understand, but, nevertheless, if a good director comes across, it can be seen immediately: it's easy to work, you see that you can do something, which never did and maybe , never even do it.

And now there are such directors. For example, Shaf, who put in the Mariinsky Theater "Don Juan". Unfortunately, this is not music for me. I mean that there is no longer written if you use our musical jargon.

Recently, I worked with Lvom Dodin - this is the famous our, Russian, director. Just we, together with Galyuzine, sang a "peak lady", which Dodin set. We showed it in many theaters, including in Paris, in Amsterdam, back in several cities. Very interesting setting.

In addition, I participated in the productions of the "peak lady" and "the forces of fate" Verdi, who did the famous English director Moshinsky.

And, of course, Jura Alexandrov, who has already set several performances in the Mariinsky Theater, I think, also a wonderful director, talent with a capital letter ...

And at the beginning of my career, I sang Dario Fo! This is a famous man - the laureate of the Nobel Prize, director, screenwriter, actor ... He helped me so much in life! I do not mean "pushed", and helped me to liberately as an actor. I sang in his formulation of the Seville Village in Amsterdam, and he forced me to take a completely different look at very many things in a professional plan. I felt a living person, a living vocalist on stage. I became another person, not Vasya Gerlelo, and the real Figaro! It was noticeable for me, and, as far as I know, for the hall. Fiction!

Whose opinion in a professional is you listening to yourself? And how much do you still need if you need, in the "ear on the part"?

It is always very important to me. For example, I always listen to what the Orchestra says, my orchestrants. This is one of the most important estimates. I know my orchestra loves me, and I personally also have a big sympathy to the orchestra, and to our, and to others, by the way, orchestras.

The assessment of the choir is important, because there are also people with beautiful voices. I'm talking now not only about the Mariinsky Theater, but also about the theater that the "earthly ball". I listen, of course, to the opinion of the conductors ... and in general to all theatrical professionals. It is very important, especially if a professional "with a capital letter". Because a person, the artist must necessarily try to learn from everyone who can teach something. Every day I think, analyze what he does. Every morning to wake up, thanks God for the fact that everything is fine, for what is still alive - and start first. Without this, there is simply no professional growth.

The opinion of critics is important for you now?

You know, because there are different critics ... "And who judges?" - This is also necessary to take into account. There are such, the opinion of which is really important, but there are completely stupid. It depends on who writes: if a person writes "from Sokhi", not even understanding what he writes ... He may not have been on the performance, but still writes - the same catastrophe! Now, unfortunately, less and fewer significant names in this area, but there is certainly there are understanding critics, and, of course, they must be listened to them. And yet, unfortunately, a lot of outstanding junk, a lot of amateur, who etching artists life, just to earn their three kopecks. Gross them price, but, unfortunately, it is often reflected on us.

And among singers, it is generally made to give each other professional advice, share experiences?

For example, I personally never do it. But if something advised me, I, of course, I definitely listen if this is a real singer, a real professional. I'm all for it". I accept any criticism, any tips, and ready to try many things on yourself before reaching the scene. I believe that there is nothing wrong with it: if we give each other to give advice, then, maybe it is better to sing?

Interestingly, for the pretty long, as I understand it, the time you work in the West, someone have someone learned someone?

Large! I learned very much in Gino Begga, this is such a famous baritone. And in some others too. And in general, I still continue to learn - I do it every day!

I want to say that this is the happiness that we have opened this way that we can ride the world absolutely free and communicate with people. I know many great singers, I sing with many, and, of course, they learned a lot, and I think that I will learn more.

What is the role of a pianist in your life? Which of the pianists do you perform, and how much do you manage to give solo concerts?

If we talk about pianists, then I work, for example, with Marina Mishchuk from Peter, I have one beautiful Italian pianist ...

In general, I believe that the opera singer must definitely give solo concerts and have a chamber program. It seems to me that in no case cannot be limited by the Opera Frames. Because chamber music can give such paints, such a subtle understanding of some things, such professional qualities that can not be purchased, if you sing only the opera. And I see that many opera singers are not enough such qualities. Of course, what we do in chamber music can and you need to be transferred to the opera, this is much enriched, so you can make a lot of very expensive finds.

As for solo concerts, I will have one solo concert on June 10 in the Small Hall of St. Petersburg Philharmonic, and the Other June 25 within the framework of the "White Nights" with a well-deserved team. In the spring there will still be solo concerts in London and in Milan. Now there is a new concert hall, and I will sing there.

Have you ever experienced the fear of the scene?

He is experiencing when you are not in shape. When you feel that you are bothering, and you need to sing, but there are no replacements, there is no insurance. And you have to go out, and on the stage you do not sound anything ...

By the way, I recently sang a "peak lady", just in the formulation of a diving, to the Opera Bastil, and, unfortunately, Yeletsky became ill. I had to sing Tomsk, and it turned out that two parties had to sing in one evening - and Tomsk, and Yeletsky.

How, they should appear together on stage?

Yes, together, but here Quintet, who is scared ... "- it's somehow stuck it somehow, and then Aria already ... sang at first ( sings - B.L.)"The poor fellow, the poor fellow ...", and then "you are so sad, dear ...". And they had no time to be afraid.

And when was it terrible when I just started singing, or now?

Yes, it is always responsible, it does not depend on some points, regalia ... The experience, of course, comes with time: Now I already know that if something does not get out there, I will somehow schit. In this sense, it used to be much harder, but now is also not easy. Always not easy. Although now I already know the scene, I know what I can do and myself, and the public ... somehow so ... explain that it was so necessary! This all comes with age, I still sing for quite a few years.

You were not going to do pedagogy?

I do not want it yet. I still have a young man - you need to sing, work, and then ... and then I'm not sure that I can teach something with my character. This is also talent from God, and not always those who sing well can teach well.

But I do not want to speak in advance, because life is still unknown, as it will work.

Are there any concerts that you want to go as a listener? Let's just say "to whom" would you like to go?

There are, very often. I adore symphonic music. Vienna Philharmonic love very much - this is a stunning, great orchestra! Chicago symphony orchestra love. I love jazz. I do not like this cheap pop. By the way, I love Cello scary - we are in some sense brothers, baritone and cello.

And in general, as can the musician do not go to concerts, do not love it - then it turns out, he loves himself, so what? It is impossible! Then it's just a fool. Of course, it happens, there is not enough time, but there is always good for something good and you need to find time.

In our country now lives at all. And many today have tremendous stress.

At one time, art, including music, of course, somehow helped a person to protect themselves from despair. But now it becomes or increasingly elite, inaccessible, or turns around almost non-profanation. As a musician, you do not feel that there are some revelation from you? Is there any additional responsibility related to this?

Of course, I say "yes"! After all, we are all living people! And in the West, I want to do something, but when I come home, I want to do even more, and not only like a singer! I feel it on myself, because still we have a very difficult thing ...

I recently flew to St. Petersburg from Munich and was supposed to sing Rodrigo to "Don Carlos" directly from the plane. It is terrible, of course. And they tell me: "Maybe you will rest, maybe you don't need, we have a replacement ..." I ?? You know, I don't sing because of money! I can't just take and refuse.

I am sure we really have responsibility to these offended people. Offended ... I do not know how to say: the government, the system, God ... We are obliged to do it. Sometimes they say that there is better sausage than art - I'm not sure about it. Better still, both and more together ...

With the Russian Museum there is a gymnasium - I found my scholarship for children who learn well. I give them money, although, of course, this is not all that they need. But still it is extremely important that the children feel that they are needed that they are not alone.

In the end, we are young people, we can still, we must do something!

In conclusion, tell me about your family.

I have a wife, Alenka, we are with her together for seventeen years. She is a wonderful woman, the best woman in the world. And we have a son, Andryusha, our, so to speak, the invention with her ... God for themselves health! It is very important that our brother is lucky to the musician with his family. And with such a rear, like me, I can not be afraid for my future!

In 1990, as a student of the 4th year of the Conservatory, was invited to the troupe of the Mariinsky Theater.

People's Artist of Russia

Honored Artist of Ukraine

Winner of the World Competition of Opera Singers BBC Cardiff Singer Of The World (1993)

Laureate of the International Competition of Young Opera Singers. ON THE. Roman Corsakov (I Prize, St. Petersburg, 1994)

Laureate of the Highest Theater Prize of St. Petersburg "Golden Sofit" (1999)

Winner of the Fortissimo Music Prize established by the St. Petersburg State Conservatory. ON THE. Roman Corsakov (Nomination "Executive Mastery")

Vasily Geroselo was born in the village of Vasovovitsy Chernivtsi region (Ukraine). In 1991 he graduated from the St. Petersburg State Conservatory. ON THE. Roman Corsakov (class N.A. Serval). In 1990, as a student of the 4th year of the Conservatory, was invited to the troupe of the Mariinsky Theater.

Among the parties performed on the stage of the Mariinsky Theater:

Pastor (Hvenshchina)

Clichelov ("Boris Godunov")

Onegin ("Eugene Onegin")

Robert ("Iolanta")

Tomsk and Yeletsky ("Peak Lady")

Pantalon ("Love for three oranges")

Napoleon ("War and Peace")

Figaro ("Seville Berber")

Henry Ashton ("Lucia di Lammermur")

Georges Zhermon ("Traviata")

Renato ("Masquerade")

Don Carlos ("Power of Fate")

marquis di Pose ("Don Carlos")

Macbeth (Macbeth)

Amonastro ("Aida")

Ford (Falstaff)

Marseille ("Bohemia")

Sharples (Madame Batterflay)

Valentine (Faust)

Count Almaviva ("Wedding Figaro")

Also, the repertoire of the singer includes the duke's party ("stingy knight"), a young Balearo ("Salamo"), Papageno ("Magic Flute"), Julia Caesar ("Julius Caesar"), Simon Bokkankra ("Simon Bokkanta"), Richard Fort ( "Puritan"), Alfio ("Rural Honor"), Filippo Maria Visconti (Beatrice Di Tenda), Tonyo ("Payatse"), Don Carlos ("Ernani"), Count Di Luna (Troubadour).

With the troupe of the Mariinsky Theater Vasily Geroselo tours in Spain, Italy, Scotland (Edinburgh Festival), Finland (Festival in Mikkeli), France and Portugal. Invited by the largest opera house theaters of the world, among which Opera Bastil (Paris), Dresden Zemperoper, Berlin Deutsche Opero and Pathersoper, Metropolitan Opera (New York), Vienna Polloper, Royal Opera House Covent Garden (London), La Phenic Theater (Venice ), Canadian National Opera (Toronto), Teatro Colon (Buenos Aires), San Paolo Theater (Brazil), Santiago de Chile Opera, La Scala (Milan), Opera Houses of Amsterdam and Bergen.

The singer leads an active concert activity. He participated in the concert of the Young Soloists of the Pacific Ocean in the Opera House of San Francisco, performed a chamber solo program at the Shatle Theater, sang at the Belcanto concert with the Belgian symphony orchestra. He performed in New York (Carnegie Hall) and London (Royal Albert Hall), with Dallasky and New York symphony orchestras. Gives solo concerts on the stage of the Mariinsky Theater Concert Hall. Often performs with charitable concerts on the scenes of St. Petersburg.

Member of many international festivals, including the VII International Festival "Music of Big Hermitage", XIV International Music Festival "Palaces of St. Petersburg", Festival "Stars of White Nights" and the Moscow Easter Festival. Speakers with world-famous conductions - Valery Gergiev, Riccardo Muti, Mung-Vun Chung, Claudio Abbado, Bernard Heptikom, Fabio Liasu and many others.

AIF-Petersburg: - Vasily, I will not hide that the reason for the interview was not only a birthday, but also on April 1 - so I want to talk to a fun, optimistic person. Such even among St. Petersburg celebrities a little.

It categorically disagrees that there are few people of merry and optimistic people among Petersburgers. At a recent concert - such bright parties in the hall, no one was seen! These residents of the Northern Capital are that. Because if the city survived the blockade, I did not give up war, then you need to take an example from older generations. No despondency, better life - only life!
And everything else is a fuss of fuss.

Well, about April first - to play people loved in his youth, it is very difficult to dilute. Although ... everything is ahead. I would like someone to play me, wore, not for money (smiles). While this was not, and indeed, I am a lucky man, although it was born on March 13th. Someone considers this number "hellish dozen", and I heard that it is holy, because it is 12 apostles and Jesus Christ.

AiF-Petersburg:- both to the number 13 different attitude and politics. You have chosen a neutral position, you often emphasize that apolitically, but can you hide from problems? Some looped on the negative so much that they fall into depression.

From me you will not wait! Yes, I and the word "depression" did not know so long ago ( smiles). Of course, to burn out what is happening in the country and in the world, I can not, I see that there was just a demon in people. But - Take yourself in your hands, respect each other. The mood is on bright thoughts, love and joy.

"The word" depression "did not know so long ago." Foto: www.russianlook.com

AiF-Petersburg:- Your words could seem too declarative and idealistic if I didn't know that you yourself live according to these principles. How to manage?

It is necessary to start with yourself, and everything will change. Something is wrong? Vini yourself. And we love everything to dump on loved ones and distant. And hope for a "good uncle." Unfortunately, modern person does not want to take responsibility, especially men. You look at how many families live a civil marriage. Because men are afraid to marry. And this is not an Orthodox, not in Christian, but no one! If you are a man - be real, and nonsense does not need to be engaged.

I am friends with the guys from our armed forces, sang on submarines, on ships, in parts - here are real guys there. Music love, serious education has: to work with a modern technique, to lead such an aggregate as an atomic submarine, with a kissel in the head will not work.

Do not wait!

AiF-Petersburg:- the 70th anniversary of the victory is approaching. For many years now you give a concert for citizens on St. Isaac Square. The crisis will not prevent a tradition to continue?

This is a holy holiday. That was and will be. But see what is happening?! Some frantic abnormal people begin to rewrite history. Do not wait! Because alive memory, and alive people who were on the battlefields. The concert will take place at any crisis and any weather, because when our fathers and grandfathers fought, did not think about the weather, but thought only about victory. So we must not spare yourself. And on the eve, at the end of April, let's give a concert in the Kremlin Palace. I am speaking with a symphony orchestra, a chorus, a wonderful repertoire: First branch - songs of the war years, and the second is a classic. In the end, I am a opera singer.

"It is necessary to start with yourself, and everything will change." Photo: www.russianlook.com

AiF-Petersburg:- How does new parties appear in your repertoire? Are they offering the leaders of theaters?

Yes, the director calls, Opera Impresario: "Do you want to sing such a batch?" I ask how much time I have time for learning, I open the notes, I sit down for the piano, I begin to look at my voice, I will not kill myself. If I understand that I can sing - I agree, if "not mine", no millions say "yes." We must correctly evaluate your capabilities, honestly to voice and to yourself. Some of our singers, being in the West, seek to master everything and quickly lose their voice. Greed robs.
Well, to keep yourself in shape, you need to do every day. In the morning I woke up and - to the instrument. Otherwise - you gross like a vocalist Price.

AiF-Petersburg:- You tour a lot abroad. Does not any interest in Russian music fall due to political peripetias?

Not. That's just sang Russian romances and chamber music in Vienna, Prague, Bratislava - interest is big as success.

AiF-Petersburg:- Glory - this is also a test? Television more and more tempts young to demonstrate talent and immediately name "star".

Yes, I met people who, becoming successful, even a voice and gait changed! Also kissel in the head. Copper pipes need to be able to go through, and if a person cannot, it stops in development. This is a trouble. From such a nasty as "stars", I have a good vaccination, I received it in the family, from my parents.

"I met people who, becoming successful, even a voice and gait changed." Photo: www.russianlook.com

AiF-Petersburg:- What other people have influenced your destiny?

On my life path there are wonderful individuals from a wide variety of areas. Around a lot of good people. Our egoism, pride, and sometimes employment do not allow others to learn others, and it is scary. Look for a good, bad throw away and see that it will become easy to do with the soul, look at the surrounding in a new way.

It is necessary to deal with yourself to deal with yourself. Love you little? But for what? Love is need to earn. Who are you? Why are you here? Now, if you feel that someone is needed on this earth, you can respect yourself. Be honest, and you will turn to you who seemed bad. No bad!

Epoch of consumerism

AiF-Petersburg:- I know that you are pleased to help help in the construction of temples. Churches are becoming more and more. And faith?

People build temples in the call of heart. And the people turn to faith. And no matter what kind of confession you are. All religions call for good, perform the commandments, and everything will be safe in this world.

Probably, over ... Yes, and parents Dali, family. What could be more important for a man than a good wife? I have one wife - Alenka, and we will be together to the end. If in the house, the order, peace, you look after, you are fed, moored, logged out, if there is concern about each other, then the voice sounds, and I want to serve my homeland.

AiF-Petersburg:- You have made recognition and glory, could you dream about this in a rustic childhood?

When the cows in the village, dreamed of having an accordion, and dad bought it. Dreamed to have an electric guitar - and it was realized.

I still began to make dreams myself, earning, because I played at weddings, christenings, funeral. The engineer received 100-140 rubles, I am much more. But I did not spoil this money, they do not spoil if there is a gray substance in the head. And I have long understood that a lot is not necessary for a person. I swear! We have turned into consumers: such a nightmare, when mountains of food, clothing, and in the other are hungry, throw out in one part of the world. It is a sin. But, I think, and the era of consumerism will pass. The main thing is to be peace.

Awards

Vasily Georgievich Hello (Rod. March 13, Vaslovovtsy, Ussr, USSR) - Soviet and Russian opera singer (Bariton), Soloist of the Mariinsky Theater since 1990. People's Artist of the Russian Federation ().

Biography

Vasily Gerlelo was born in the village of Vaslovovtsy Chernivtsi region (Ukraine).

He began to sing a little boy, sometimes then to earn himself on his clothes. He sang as a teenager and played on the accordion - the German "Hokhner presented by the father of the trophy" - at weddings, then Vasily mastered the game on the accordion, harmony, pipe and saxophone.

Herello began his musical education in the Chernivtsi Music School, but a year later he was called to the army, where he played in the spirit of the orchestra.

During the service in the army, Vasily met his future wife Alena. They met on dancing in the house of officers in Chernivtsi. She brought her girlfriend to look at a beautiful guy who played the guitar and sang. Vasily in the evenings worked on dancing. It was love at first sight. October 8, 1983 Vasily and Alyona registered their marriage.

After serving in the army, Vasily Geroselo enters the same music school, to the vocal department. But the school does not end, and without a diploma goes to the Leningrad Conservatory in class Aerval Nina Aleksandrovna, which Ghello mentions with gratitude in most interviews.

In 1991, V. Gerlelo graduated from the conservatory.

In 1990, being a student of the 4th year of the Conservatory, Vasily Geroselo was invited to the troupe of the Mariinsky Theater. Thanks to Valery, Gergiev, who listened to the student Gerlelo and believed in his voice, Vasily was invited to the Mariinsky Theater, and at the main parties. The debut of Gello became Valentine in Fauste, there were soon the roles of Onegin, Rodrigo.

He became the first one in the Mariinsky Theater sang "Traviatu" in the original language.

Back in his student years, a foreign debut of the singer took place: on the stage of the Netherlands Opera in the play "Seville Barber" he sang Figaro party. Working with a wonderful conductor Alberto Dzhedd, a professional in his business, which is engaged in the music of Rossini and with the director Dario Fo, Nobel Laureate - more than a serious achievement for a novice singer.

With the troupe of the Mariinsky Theater Vasily Geroselo tours in Spain, Italy, Scotland (Edinburgh Festival), Finland (Festival in Mikkeli), France and Portugal. Invited by the largest opera house theaters of the world, among which the Opera Bastille (Paris), Dresden Opera, Embrella, German Opera and Berlin State Opera, Metropolitan Opera (New York), Vienna State Opera, Royal Theater Covent Garden (London), La Phenic theater (Venice), Canadian National Opera (Toronto), Color Theater (Buenos Aires), San Paolo Theater (Brazil), Opera Santiago de Chile, La Scala (Milan), Opera House of Amsterdam and Bergen.

Gives solo concerts on the stage of the Mariinsky Theater Concert Hall, performs with charitable concerts on the scenes of St. Petersburg. Member of many international festivals, including the VII International Festival "Music of Big Hermitage", XIV International Music Festival "Palaces of St. Petersburg", Festival "Stars of White Nights" and the Moscow Easter Festival.

Speakers with world-famous conductions - Valery Gergiev, Riccardo Muti, Mung-Vun Chung, Claudio Abbado, Bernard Heptikom, Fabio Liasu and many others.

Gello speaks freely in Italian, Spanish, English, Ukrainian, Russian, which allows him to feel the artist of the world.

In 2000, the film "War and Peace" was released in France (La Guerre et La Paix) Director Francois Ruszhiyon with Vasilya Gerlow in one of the main roles.

Vasily Geroselo is actively engaged in charity, including established his scholarship for children who are well learn, in the gymnasium at the Russian Museum.

A family

Father - Georgy Vasilyevich Gerlelo
Mother - Vodka Todorovna Gerlelo
Brother - Vladimir
Sister - Maria
Spouse - Alena, Chormeister
- Son - Gerlow Andrey Vasilyevich, graduate of Jurfak SPbSU

Title

Party

Pastor (Hvenshchina)
Clichelov ("Boris Godunov")
Onegin ("Eugene Onegin")
Robert ("Iolanta")
Tomsk and Yeletsky ("Peak Lady")
Pantalon ("Love for Three Oranges")
Napoleon ("War and Peace")
Figaro ("Seville Berber")
Henry Ashton ("Lucia di Lammermur")
Georges Zhermon ("Traviata")
Renato ("Masquerade")
Don Carlos ("Power of Fate")
marquis di Pose ("Don Carlos")
Macbeth (Macbeth)
Amonastro ("Aida")
Ford (Falstaff)
Marseille ("Bohemia")
Sharples (Madame Batterfly)
Valentine (Faust)
Count Almaviva ("Wedding Figaro")

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www.vgerello.ru - Vasily Gerlow official website

Excerpt characterizing Heroselo, Vasily Georgievich

"There is something," said Nikolai and even more established himself in this assumption that she was immediately immediately left after lunch. He called Natasha and asked what?
"And I was looking for you," Natasha said, squeezing to him. "I said, you didn't want to believe," she said triumphantly, "he made a proposal to Son.
No matter how little Nikolai Sonya was doing during this time, but something as if he broke away in it when he heard it. Shelokhov was a decent and in some respects a brilliant party for the unprecedented Sony orphan. From the point of view of the old Countess and Light it was impossible to refuse him. And therefore, the first feeling of Nicholas, when he heard it, was angry against Sony. He prepared to say: "And it is perfect, of course, you must forget children's promises and accept the offer"; But he did not have time to say this ...
- You can imagine! She refused, completely refused! - spoke Natasha. "She said she loves the other," she added, having packed a little.
"Yes, otherwise I could not do my Sonya!" I thought Nikolai.
- How many mother asked her, she refused, and I know, she will not change if he said ...
- And my mother asked her! - with reprocess said Nikolai.
"Yes," Natasha said. - You know, Nikoleka, do not be angry; But I know that you do not marry her. I know God knows why I know right, you do not marry.
- Well, you don't know that, - said Nikolai; "But I need to talk to her." What kind of beauty, this Sonya! - he added smiling.
- This is such a charm! I will send you her. - And Natasha, kissed his brother, ran away.
A minute later, Sonya entered, frightened, confused and guilty. Nikolai approached her and kissed her hand. It was the first time that they were talked to the eye on this arrival and about their love.
"Sophie," he said first timidly, and then all the bolder and bolder, "if you want to refuse not only from brilliant, from a profitable party; But he is a wonderful, noble man ... He is my friend ...
Sonya interrupted it.
"I already refused," she said hastily.
- If you refuse for me, I'm afraid of me ...
Sonya again interrupted it. She pleading, looked at him into his frightened look.
"Nicolas, do not tell me that," she said.
- No, I have to. Maybe this is a sufficious [arrogance] on my part, but it's better to say. If you refuse for me, then I have to tell you the whole truth. I love you, I think most of all ...
"I am pretty," Sonya said, spoiled.
- No, but I fell in love with a thousand times and I will fall in love, although such a feeling of friendship, trust, love, I have no one, how to you. Then I'm young. Maman does not want it. Well, just, I do not promise anything. And I ask you to think about the proposal of Dolokhov, "he said, with difficulty, having disaggregated his friend's name.
- Do not tell me this. I do not want anything. I love you like a brother, and I will always love, and nothing more I need.
"You're an angel, I don't stand you, but I'm just afraid to deceive you." - Nikolai once again kissed her hand.

Hoygel had the most fun balls in Moscow. It was told Mother, looking at their adolescentes, [girls,] allocating their newly learned PA; It was also said to themselves adolescentes and adolescents, [girls and boys,] danced to fall; These adult girls and young people who came to these balls with thoughts to cut down to them and finding them the best fun. In the same year, two marriages were made on these bala. Two pretty princesses of Gorchakov have found the grooms and married, and the even more let these balls were launched. The special on these bala was that there was no owner and the hostess: it was like the fluff flying, according to the rules of art, shaking, good-natured heogel who took tickets for the lessons from all of its guests; It was that only those who wanted to dance and have fun who wanted to dance and have fun on these balls, as they want to have 13 tons and 14 years old girls, for the first time you have long dresses. Everything, with rare exceptions, were or seemed pretty: so enthusiastically, they were all smiling and their eyes flared up. Sometimes even Pas de Chale was danced, of which the best was Natasha, distinguished by its gracefulness; But on this, the last ball was dancing only eclosees, angles and the Mazurka just included. The hall was taken by the hegel in the house of Zuhova, and the ball very much, as everyone said. There were a lot of pretty girls, and the Rostov of the ladies were from the best. They both were especially happy and cheerful. This evening Sonya, proud of the proposal of Dologov, his refusal and explanation with Nikolai, was still at home, not giving a girl to her braids, and now they glowed a gusty joy.
Natasha, no less proud of the fact that she was the first time in a long dress, on this ball, was still happier. Both were in white, ribbed dresses with pink ribbons.
Natasha became in love with the most minute as she entered the ball. She was not in love with anyone in particular, but in love was in all. In the one who she looked at that moment, as she looked, in that, she was in love.
- Oh, how good! - She said everything, ran to Sona.
Nikolay with Denisov went through the halls, gentle and patronizingly looking away dancing.
"How she is Mila," Asavita will be, "Denisov said.
- Who?
- G "Athena Natasha, - answered Denisov.
"And how she dances, what kind of g" ace! "Having silent a little, he said again.
- Yes, about who are you talking about?
"About sis" U p "About yours," Denisov shouted angrily.
Rostov grinned.
- Mon Cher Comte; Vous Etes L "Un de Mes Meilleurs Ecoliers, Il Faut Que Vous Dansiez," said Little Hogel, coming to Nikolay. - Voyez Combien de Jolies Demoiselles. [Considive graph, you are one of my best students. You need to dance. Look how much Pretty girls!] - He as a request to Denisov also appealed to Denisov, also his former student.
"Non, Mon Cher, Je Fe" Ai Tapisse "IE, [No, my dear, I'll sit at the wall,] - said Denisov. - Don't you remember how bad I used your lessons?
- Oh no! - hastily comforting him, hegel said. - You were only inattentive, and you had the ability, yes, you had the ability.
Played a newly introduced Mazurka; Nikolai could not refuse Hyogel and invited Sonya. Denisov hooked up to the old women and climbing the saber, having tricking the clock, something had fun and mixed old ladies, glancing at the dancing youth. Hogel in the first pair danced with Natasha, his pride and the best student. Gently, gently sorting through with his legs in shoes, Iogel first flew around the hall with a timing, but diligently edition of Pa Natasha. Denisov did not keep her eyes off her and laughed a saber tact, with such a kind that clearly said that he himself does not dance only from what he does not want, and not from what he can't. In the middle of the figure, he called to himself passing by Rostov.
"It's not at all," he said. - Is it a Polish mas of magazine "ka? And perfectly dancing. - knowing that Denisov and in Poland was even famous for his skill to dance Polish Mazurka, Nikolai ran to Natasha:
- Look, choose Denisov. Here dances! Miracle! - he said.
When Natasha's turn came again, she got up and quickly dealt with her shoes with her bows, Robust, one ran through the hall to the corner where Denisov sat. She saw that everyone was looking at her and wait. Nikolay saw that Denisov and Natasha smiling argued, and that Denisov refused, but smiling happily. He ran up.
"Please, Vasily Dmitrich," Natasha said, "please go."
"Yes, that, dismissal," Athena, "said Denisov.
- Well, full, Vasya, - said Nikolai.
"That's exactly Kota Vaska Uzkova" go, "said Denisov jokingly.
"All evening I will sing," Natasha said.
- Magician will do everything with me! - said Denisov and dismissed the saber. He came out of the chairs, hurt his lady tightly for his hand, lifted his head and set back his leg, waiting for the tact. Only on horseback and in Mazurka, Denisov's small growth was not visible, and he appeared to those whimpt how he felt himself. Having won the beat, he with her side, victorious and jokingly, looked at his lady, suddenly invited one foot and, like a ball, elastically jumped from the floor and flew along the circle, fascinating his lady. He did not hear half the halls on one leg, and, it seemed, did not see the chairs standing in front of him and straight on them; But suddenly, rushing his legs and putting his legs, stopped at heels, stood so a second, with a roar of Schort knocked in one place with his legs, quickly spit and, with his left foot, shaking the right, again flew in a circle. Natasha guess what he intended to do, and herself did not know how, watched him - giving him. That he circled her, then on the right, then on his left hand, then falling on his knee, drowned her around him, and again threw up and started forward with such a swiftness, as if he intended, without translating the spirit, to run through all the rooms; That suddenly again stopped and did a new and unexpected knee again. When he, Boyko, skipping the lady before her place, clicked around, bowing in front of her, Natasha did not even crumble him. She stared at him with a bewilderment, smiling, as if not recognizing him. - What is it? - she said.

Vasily Geroselo is called the most Italian baritone of the Mariinsky Theater. Hercelo began his musical education in Chernivtsi in Ukraine, then he went to the distant Leningrad, where he entered the conservatory to Professor Nina Alexandrovna Serval. Already from the fourth year course, Hellolo sang in the Mariinsky Theater. In the student years, a foreign debut of the singer took place: on the stage of the Amsterdam opera in the play "Seville and the famous Dario Fo he sang Figaro.

Since then, Vasily Gerlelo has become a laureate of several international vocal competition competitions. Now he has been successfully operating on the stage of the Mariinsky Theater, tours together with the corpus of Mariins by countries and continents, speaking on the best opera playgrounds of the world. The singer invite the largest opera theaters of the world, among which Opera Bastil, La Rock, the Royal Opera House Covent Garden.

Vasily Gello received international recognition, in Italy, Basilio Jerello is called in Italy, and although the singer himself considers himself Slavic, he admits that from time to time Italian blood makes himself felt, after all, Praded Vasily was an Italian, Naples Naples.

Vasily Geroselo leads an active concert activity. He participated in the concert of the Young Soloists of the Pacific Ocean in the Opera House of San Francisco, performed a chamber solo program at the Shatle Theater, performed in New York Carnegie Hall and in the Royal Albert Hall in London. The singer gives solo concerts on the stage of the Mariinsky Theater concert hall, often stands up with charitable concerts on the scenes of St. Petersburg, and is also a member of many international festivals, including the VII International Music Festival "Music Great Hermitage", XIV International Music Festival "Palaces of St. Petersburg ", Festival" Stars of White Nights "and the Moscow Easter Festival.

Vasily Gello performs with world-famous conductors: Valery Gergiev, Riccardo Muti, Mung-Vun Chung, Claudio Abbado, Bernard Hightikkom, Fabio Liasu and many others.

Vasily Geroselo - People's Artist of Russia, Honored Artist of Ukraine. Winner of the World Competition of the Opera Singers BBC Cardiff Singer of The World (1993); Laureate of the International Competition of Young Opera Singers. ON THE. Roman Corsakov (I Prize, St. Petersburg, 1994), Laureate of the High Theater Prize of St. Petersburg "Golden Sofit" (1999), Winner of the Fortissimo Music Prize, established by the St. Petersburg State Conservatory. ON THE. Roman Corsakov (Nomination "Executive Mastery").