Building Bolshoi Theater Year of construction. About the Big Theater

The most famous theater in Russia and one of the famous theaters of the world is a large theater. Where is the main theater of the country? Well, of course, in the main city - in Moscow. Its repertoire includes opera and ballet statements of Russian and foreign classic composers. In addition to the classic repertoire, the theater is constantly experimenting with innovative modern productions. The history of the Bolshoi Theater is very rich and is associated with the names of people meaningful for our country. In March 2015, the theater has been executed for 239 years.

Where did it start

The prince of Peter Vasilyevich Urusov, he was the provincial prosecutor, and at the same time he had his own theatrical troupe at the same time. He was the only one who was allowed to organize performances, mascaras, concerts and other fun. Noom no one was allowed to engage in such a thing so that the prince of competitors was not. But this privilege imposed on it and the obligation - to build a beautiful building for the troupe, in which all ideas would be held. The prince was a companion on the surname Medox, which was a foreigner, he taught Mathematics to the great prince Paul - the future Russian emperor. Feeling in love with the theater case, he remained in Russia and came close to the development of the theater. I failed to build the theater, because I broke, the privilege of the theater holder, as the obligation to build a building, moved to Medox, as a result of which he built a large theater. Where is the theater, created by Medox, knows every second resident of Russia, it is located at the intersection of theatrical square and Petrov.

Construction of theater

Under the construction of the theater, Medox chose a plot that belonged to the prince of Rostotsky, who bought him. It was the street with the name Petrovskaya, its very beginning, was built here a large theater. Theater address is now - Theater Square, house 1. Theater was built in a record short time, just 5 months, which even for our time with all its modern technologies and construction materials is amazing and stunning. Developed a project for the construction of the theater building of Christians Rosiberog. The theater was magnificent inside, the auditorium hit his beauty, and on the contrary, it was modest, unrevious and practically nothing was decorated. The theater received his first name - Petrovsky.

Opening theater

The building of the Bolshoi Theater was open in 1780, December 30. On this day, the very first representation of the theater troupe in its own building was held. All newspapers only wrote about the opening, theatrical masters and glorified architects as one scattered with compliments to the building, describing it as a durable, huge, profitable, beautiful, safe and superior in all respects most of the most famous European theaters. The governor of the city was so pleased with the construction that the privilege, which gave Medox the right to carry out functions, was extended for another 10 years.

Interior decoration

For representations, a round room was built, the so-called rotunda. The hall was decorated with numerous mirrors and covered forty two crystal chandeliers. The Hall of Medox himself was designed. Next to the scene, as it should be, was located orchestral pit. Closest to the scene stood stools for honorable guests of theater and regular viewers, most of which were the owners of the fortress troupe. Their opinion was important for Medox, for this reason they were invited to general rehearsals, after which they were attracted to the discussion of the prepared production.

In the year the theater showed about 100 ideas. It was impossible to buy tickets to one view, the audience acquired the audience to visit the theater.

Over time, the attendance of the theater worsened, the profit became less, the actors began to leave the theater, and the building was designed. As a result, the Big Opera House became state and received a new name - Imperial.

Temporary sunset

The history of the Bolshoi Theater was not always so beautiful, there were also tragic moments. In 1805, the theater burned down after 25 years of its existence. Only carrier walls are preserved and then partially. Reconstruction began only in 1821, when the restoration of Moscow was carried out after the invasion of the Napoleonic troops. The main architect who was entrusted to restore the central part of the city, including the theater, was Osip Bow. He was an innovator, according to his project, the streets began to build in a different way, now the mansions began to go out of facades to the street, and not inside the yard. Beauvais led the restoration of the Alexander Garden, the square near the theater. The reconstruction of the Bolshoi Theater became the most successful project. The new building was erected in ampir style. According to the contemporaries of the architect, as if Phoenix rose from the ashes of a large theater.

The subway is located very close to the theater, so getting to the theater is very convenient from anywhere in Moscow.

Reconstruction of the building buildings

The restoration of the theater began in 1821 and it lasted for several years. Initially, the plan of the renewed building of the theater developed the architect famous in St. Petersburg Andrei Mikhailov, the Governor of Moscow approved this plan. Mikhailov developed the building of the theater in the form of a rectangle, as well as a portico of eight columns and Apollo in a chariot on top of the portica, the hall was envisaged to a capacity of up to two thousand spectators. Osip Beauov reworked the Mikhailov project, where the Bolshoi Theater became lower, the proportions of the building changed. Also, Beauvais decided to abandon the placement on the first floor as it was considered that it was not eestore. The hall has become multi-tiered, the decoration of the hall is rich. The necessary acoustics of the building was observed. Beauva had even a very original idea - to make a mirror curtain, but to embody such an idea, of course, it is unrealistic, since such a curtain would be incredibly hard.

Second birth

The reconstruction of the theater was completed by the end of 1824, in January 1825 the renewed the theater building was solemnly open. The first idea was held, the program of which was a ballet "Sandrill" and specially written in the opening of the Theater Alyabyev and the Versta Prologue "Celebration of Mus". Beauvais was the center of attention, the audience welcomed it with stormy applause as a sign of gratitude. The new theater was simply amazing in its beauty. Now the theater was called the "Big Petrovsky Theater". All theater productions walked with constant success. Now a big theater became even more brilliant.

The metro is the most convenient way to get to the Bolshoi Theater. The nearest stations to the theater are the stations "Theatrical", "Revolution Square", "Okhotny Ryad" and "Aleksandrovsky Garden". What station from them to choose - depends on the starting point of the route.

And again Fire

In the spring of 1853, a fire happened in the theater again, he was very strong and lasted two days. The sky sowolotched the black smoke that he was visible in all corners of the city. On the theater area melted all the snow. The building burned almost completely, only bearing walls and a portico remained. The fire destroyed the scenery, costumes, a music library, musical instruments, among which were rare instances. Once again, a big theater suffered from fire.

Where is the theater, it is easy, it is located on the Theater Square and there are a lot of attractions: a small dramatic theater, the youth theater, the Theater School named after Schepkin, Cabaret "Metropol", house of unions, a ocotny row, the Central Committee, in front of the theater is a monument to Karl Marx.

Recovery work

The architect who was engaged in the revival of the theater for life, became Albert Kavos, the Mariinsky Theater was built on his project in St. Petersburg. Unfortunately, there was little information about this architect to this day. The restoration of the theater was not enough, but the work was moving quickly and took a little more than a year. The theater was opened on August 20, 1856, now he was called the "Big Imperial Theater". The premiere play of the restored theater was the Opera "Puritan" of the Italian composer to the new theater, the relationship was different. The townspeople considered him magnificent and proud of them, as for engineers and architects, some of them believed that the reconstruction conducted by Kavos was too different from what the theater was conceived by Mikhailov and Beauvais, it applies to facades and some interiors. It is worth giveing \u200b\u200bto the architect due, thanks to his redevelopment of the Acoustics Hall in the Bolshoi Theater became one of the best in the world.

In the theater, not only ideas were made, balls and mascaras were arranged in it. So became a big theater. Theater address - city Square, house 1.

Our days

In the 20th century, the theater entered a pretty dilapidated state, with the rash foundation and cracks on the walls. But several reconstructions conducted in the theater in the 20th century, one of which ended quite recently (last 6 years), did their job - and now the theater shines with all its faces. The repertoire of the theater, in addition to the opera and ballets, includes operetta. And you can also make a tour of the theater - see the hall and several other very interesting premises. A person coming to visit the Big Theater, where he is, perhaps, will be problematic to find, although in fact it is in the very center of the city and find it will not be much difficult, not far from him there is another landmark of the capital, which is known to the world - Red area.

GRAND THEATRE,The State Academic Bolshoi Theater of Russia, the leading Russian Theater, which played an outstanding role in the formation and development of the national tradition of opera and ballet art. His emergence is associated with the flourishing of Russian culture in the 2nd half of the 18th century, with the emergence and development of the professional theater. Created in 1776 by the Moscow patron of Prince P.V.Uurusov and the entrepreneur M.Medox, which received a government privilege on the development of theatrical case. The troupe was formed on the basis of the Moscow theater troupe N. Titov, the artists of the Theater of Moscow University and the fortress actors P. Shurus. In 1778-1780, the performances were given in the house of R.I. Vorontsov on the banner. In 1780, Medox built in Moscow at the corner of the Petrovka, the building that Petrovsky Theater began to be called. It was the first permanent professional theater. His repertoire was dramatic, opera and ballet performances. Not only singers took part in the opera performances, but also dramatic actors.

On the opening day of the Petrovsky Theater on December 30, 1780 ballet pantomime was shown Magic shop (Post. I.Paradiz). At that time, the theater worked balletmasters F. and K. Morlelyli, P. Penyucci, D.Soloni, who have made performances Female Pleasants Celebration, Preliminary death of harlequin, or deceived pantalon, Medea and Yazon, Toilet Venus. Ballets with a national flavor used popularity: Rustic ease, Gypsy ballet, Taking away. From the dancers, the troupes were distinguished by G. Rykov, A. Sobakin. Ballet troupe was replenished with pupils of the Ballet School of the Moscow Educational House (SUM. From 1773), and the fortress actors troupe E.A. Golovkin.

Here were the first Russian operas: Melnik - sorcerer, deceiver and swatSokolovsky (later Edin Fomina) Libretto Ableximova, Misfortune from the carriage PASHKEVICH, LIBR. Princess St. Petersburg Living Room Matinsky and others. Of the 25 Russian operas written in 1772-1782, more than a third were delivered at the Moscow stage of the Petrovsky Theater.

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

In 1825 prologue Celebration of music, F. Gyullen-Sor, began performances in the new building of the Bolshoi Theater (architect O. Bov). In 1830-1840, the principles of romanticism provided in the Ballet of the Bolshoi Theater. Dancers of this area - E. Sankovskaya, I.Nikitin. Of great importance for the formation of national principles of scenic arts had operas Life for the king (1842) and Ruslan and Ludmila (1843) M.I. Glinka.

In 1853, the fire destroyed the entire interior of the Bolshoi Theater. The building was restored in 1856 architect A.K.Kavosom. In the 1860s, the Directorate gives a large theater for rent Italian Entrepreneur Melley by 4-5 performances per week: there is a foreign repertoire.

Simultaneously with the expansion of the domestic repertoire, the theater made the best works of Western European composers: Rigoletto, Aida, Traviata J. Verdi, Faust, Romeo and Juliet Sh. Guno, Carmen J.Biz, Tangayer, Loengrin, Valkyrie R. Vagner. ().

The history of the Bolshoi Theater has the names of many outstanding opera singers, from generation to generations who transmitted the traditions of the Russian vocal school. Al. Baltyshev, N.V. Lavrov, P.P. Bulakhov, A.D. Alksandrov-Kochetova, AD.A. Lavrovskaya, and others. Coming on the opera scene of the Bolshoi Theater F.Sasalyapin, L.V. Sobinov, A.V. Nezhdanova opened a new page in the history of performing arts.

In the 2nd half of the 19th century Ballet art is associated with the names of the ballersters: J. Derro, A. Sen-Leon, M. Veypa; Dancers - S.Sokolov, V. Gelerser, P. Lebedeva, O. Nikolaeva, Later - L. Thwallava, A. Khuri, V. Polyivanova, I. Chlustina. In the ballet repertoire of the Bolshoi Theater were performances: The Little Humpbacked HorsePuni (1864), Don Quixote Minkus (1869), Fern, or night under Ivan KupalaGerbera (1867) and others.

In the 1900th, the opera repertoire of the Bolshoi Theater was replenished with outstanding in artistic terms: the first executions of the operas of Roman Corsakov - Pskovtyanka(1901), Sadko (1906), Mozart and Salieri (1901) with the participation of F.Sasalyapina, Pan-Voevoda (running Rakhmaninov, 1904) Koschei the Immortal (with the participation of A.V. Nezhdanova, 1917); New productions were carried out: Glinka operas - Life for the king (with the participation of Chaliapina and Nezhdanova, under the control of Rakhmaninov, 1904), Ruslan and Ludmila (1907), garbage - Khookishchina (1912). The opera of young composers was put - Raphael A.S.Aarnsky (1903), Ice house A.N. Korcheshchenko (1900), Francesca da RiminiRakhmaninova (1906). In addition to Chaliapina, Sobinov, nezozhanova on the opera scene of the Bolshoi Theater were such singers, as G.A. Baklanov, V.P. Petrov, S.Pirogov, A.P. Bonachich, I.A. Alchevsky and others. In 1900 "Balletmaster A.A. Moscow, who developed the traditions of Russian ballet and brought him closer to dramatic art to the Ballet Balt Troupe of the Bolshoi Theater. Together with the Gorsky worked, a dancer and balletmaster V.Dtichomirov, who raised a whole generation of dancers. At that time, in the ballet troupe, they worked: E.V. Gelzer, A.M. Balashova, S.F. Fedorov, M.M. Mordcin, M.R.Raizen, Later L.P. Zhukov, V.V. Kriger , A.I.Abramova, L.M.Bank. The performances were conducted by S.V. Rushmaninov, V.I. SUK, A.F.anders, E.A. Kupper, the theater decorator K.F.Valz, artists K.A. Korovin, A.Ya. Golovin.

After the October Revolution, 1917, the Bolshoi Theater held a prominent place in the cultural life of the country. In 1920 the theater was awarded the title of academic. In 1924, a branch of the Bolshoi Theater opens at the premises of the former private opera Zimin (worked until 1959). Along with the preservation of the classic repertoire, operas and ballets of Soviet composers were carried out: Decembrists V.A. Zolotarerey (1925), Breakthrough S.I.POTOTSKY (1930), Trupian artist I.P.Shishova (1929), Son Sun. S.N.Vasilenko (1929), Mother V.V. Serebinsky (1933), Bala An. Elksandrov (1946), Silent Don. (1936) and Raised virgin (1937) I.I. Dzerzhinsky, Decembrists Yu.A.Shapporina (1953), Mother T.N.Hrennikova (1957), The Taming of the Shrew V.Ya.Shebalina, War and Peace S.S.Prokofieva (1959). On the stage of the Bolshoi Theater and his branch, the opera of composers of the peoples of the USSR was followed: Almatic A.A.Standiarov (1930), Abbezal and Eteri. Z.P. Paliashvili (1939).

The executive culture of the opera body troupe of the Bolshoi Theater during the years of Soviet power is represented by the names of KG Derezhskaya, N.A. Bukhova, V.V. Barsova, E.A.Stepanova, I.S. Kozlovsky, A.S.pirogova, M. O. Steizena, M.D. Mikhailova, S.Y. Me.leshieva, G.M.Neleppa, A.P.Ivanova, P.G. Lisitsiana, I.I.Petrov, M.P. Maksova, V.A. Davydova, I.I. Maslennikova, A.P. Horntseva.

Significant stages in the history of Soviet choreography were the productions of ballets of Soviet composers: Red poppy (1927, 1949) R.M. Glyaer, Flame Paris(1933) and Bakhchisarai fountain (1936) B.V. Asefieva, Romeo and JulietProkofiev (1946). The glory of the Ballet of the Bolshoi Theater is associated with the names of G.S. Yulanova, R.S. Strachkova, O.V. Telpeshinskaya, M.M. Plisetskaya, A.N. Ermolaeva, M.T. Semenova, M.M. Gabovich, and .M.Messer, Yu.G.zhdanova, N. B. Fadecheheh et al. ()

The conductor of the Bolshoi Theater is represented by N.S. Holovanova's names, S.A.Samoshud, L.P.Steinberg, A.Sh.Melik-Pashayeva, Yu.F. Fayer, B.E. Khaikina, G.N. Obanensky, E.F. Svetlanova, A.M.Zhuurajtis, etc. In the opera director of the Bolshoi Theater - V.A. Slovsky, L.V.Bratov, B.A. Pokrovsky. The decisions of ballet performances were carried out A.A.Gorskiy, L.M. Lavrovsky, V.I.Vainonen, R.V. Zahars, Yu.N.grigorovich.

The staged culture of the Bolshoi Theater of those years determined the artistic and decorative design of F.F. Fedorovsky, P.V. Villiams, V.M.Dmitriev, V.F. Yendina, B.A. Messer, V.Ya.levvental, et al. ( ).

In 1961, the Bolshoi Theater received a new stage platform - the Kremlin Palace of Congresses, which contributed to the wider activity of the ballet troupe. At the turn of the 1950s and 1960s, E.S. Maximov, N.I. Bessommenna, E.L. Labinkina, N.I.Sorokina, V.V. Vasilyev, M.E. Lapa, M. L. Lavrovsky, Yu.V.Vladimirov, V.P.Tikhonov.

In 1964, Yu.N. Grigorovich became the main balletmister, with the name of which is associated with a new milestone in the history of the Bolshoi Theater Ballet. Almost every new performance was marked by new creative searches. They manifested themselves in Spring sacred I.F. Sadvinsky (Balletmaster N. Kaskin and Vasilyev, 1965) Carmen-Tyit Bize-Shchedrin (A. Alonso, 1967), Spartak A.I. Khacaturian (Grigorovich, 1968), Ikar. S. Slonimsky (Vasilyev, 1971), Anna Karenina R.K.Sedrina (M.M. Blisetskaya, N.I. Yezhenko, V.V. Smirnov-Golovanov, 1972), These charming sounds ... to music J.Torelli, A. Korelli, J.-F.Ramo, V.-A. Mometsart (Vasilyev, 1978), Gull Shchedrin (Plisetskaya, 1980), Macbet K. Molchanova (Vasilyev, 1980), etc.

In the opera corpse of those years, the names of G.P.Vischnevskaya, I.K. Archipova, E.V. Diatsevaya, M. Kasrashvili, Z. Sotkinavi, V.N. Hytkin, V.A. M. M.S. Herastova , M.A.Shutov, E.E. E.Nesterenko et al.

The overall trend of the Bolshoi Theater of 1990-2000 was the invitation of foreign directors and performers, for productions on the stage of the Bolshoi Theater: Ballets Cathedral of the Parisian Mother of God, Three cards (R.Peti, 2002-2003), Light stream D.D.Shostakovich (A.Tmansky, 2003), Opera J.verdi Power of Fate(P.-F. Meastrini, 2002) and Nabucco (M.S.Kislarov), Turandot. J. Puccini (2002), Breakfasts I.F.Strevinsky (D. Chernyakov), Love for three orangesS.S.Prokofeva (P.Ustinov). During this period, ballets were resumed Swan Lake Tchaikovsky, Raymond A.K. Lelzunova, Legend of love A.D. Melikova (Grigorovich), Operas Eugene Onegin Tchaikovsky (B.Pokrovsky), Khookishchina Mussorgsky Ruslan and Ludmila (A.Vedernikova), Player Prokofiev (christmas).

Ballet troupe of the Bolshoi Theater is represented by the names: N. Ciscaridze, M.Pertokina, A.Warova, S. Filino, N. Gracheva, A.Gorcheva, S. Lunkina, M. Alksandova, etc. Opera - I.Dolageko, E. Kolyshev , E.Zelenskaya, B. Maisradze, V. Horthkin, S. Murzayev, V. M.Matorina, M.Shutov, Tharasova, etc. Theater's opera troupe has an intern group.

The post of the artistic director of the theater in the 1990s was occupied by V.Vasiliev and the city of Obanotniensky, with 2001 the main conductor and the musical leader of the Bolshoi Theater, A.A. Vernikov, air conductor and ballet performances are P.Sh.Sorokin, A.A. , A.A.Kopililov, F.Sh.Mansurov, A.M.Stepanov, P.E. Klinichev.

The modern building of the Bolshoi Theater is the main construction of the architectural ensemble of theatrical area (architect A.K. Kavos). According to an internal device, the theater consists of a pyhyrupical visual hall, which accommodates more than 2,200 viewers and differing in high acoustic qualities (the length of the hall from the orchestra to the rear wall is 25 m, the width is 26.3 m, the height is 21m). Scene portal - 20.5 x 17.8 m, the depth of the scene - 23.5 m. Over the scene is placed on the title board.

In 2003 play Snow MaidenRoman Corsakov (Stopping D. Belova) was opened a new scene of the Bolshoi Theater. Premieres 2003 Ballet Light stream Shostakovich, Opera Breakfasts Stravinsky and Opera Macbet Verdi.

Nina Revenko

One of the symbols of theatrical art on the right is a large theater in. Theater is located on theatrical square - in the heart of the capital. All over the world, the talented theater performers are known: the artists and vocalists of ballet, ballersters and composers who left a noticeable trace in world theatrical arts. For all the time on his scene, over 800 works were delivered. From the first Russian operas to the works of Titans like Verdi and Wagner, Berlioz and Ravel, Donizetti and Bellini. On the stage of the theater passed the world premieres of the opera and, arena and.
The theater originates in March 1736, when Prince Peter Vasilyevich Urusov gave an orders for the construction of the theater building at the corner of the Petrovka. Then he received his first name - Petrovsky. But to complete the construction, Peter Urusov was not destined, as the theater building burned down in a fire. This glorious business completed the English entrepreneur and companion of Prince Michael Medox. Petrovsky Theater opened its doors before the Moscow public on December 30, 1780. In fact, the first professional theater in Russia originates from this moment. That day I was the production of "I." Paradise ballet-pantomim "Magic shop". Ballets with a national flavor, including "Taking Oral" and "Rustic Simplicity" used especially popularity. The theater troupe consisted mainly from the pupils of the ballet Moscow school and the fortress actors troupe E. Golovkin. Petrovsky Theater existed only 25 years. With a fire of 1805, the building died.
In the period from 1821-1825. A new theater is being built in the same place, according to the project A. Mikhailov. The head of construction was the famous architect O. Beauz. It was significantly increased in size, due to which the name was the big theater. The first stage was the "Celebration of Mus", which sent a new building in a fascinating theater journey, continued for more than 185 years. The new Fire is compiled the theater in 1853, after which his building was restored for about three years under the leadership of architect A. Kavos.
When restoring the Bolshoi Theater in 1856 The building was thoroughly converted and decorated with a white-stone portico with eight columns and is still a symbol. Also, in addition to the appearance, the interior decoration of the theater has changed significantly. Known for the whole world and, of course, the bronze chariot of Apollo, who pulled the theater building and became his eternal symbol. Thanks to the creative talent of Albert Kavos, the building of the Bolshoi Theater perfectly fits into the Architectural Ensemble of the Center of Moscow.
Since 2005, the global reconstruction of the theater began, and after 6 years of painstaking and labor-intensive work on October 28, 2011, the long-awaited discovery of the country's main scene occurred.

GRAND THEATRE Russia State Academic (Gabt), one of the oldest theaters of the country (Moscow). From 1919 academic. The history of the Bolshoi Theater dates back to 1776, when Prince P. V. Urusov received a government privilege "to be the main of all theatrical ideas in Moscow" with the obligation to build a stone theater, "so that he can serve as an ornament, and above, a house for public masquerades, comedies and operas comic. " In the same year, Urusov is attracted to participate in the expenditure of the expenditure from England M. Medox. The performances were in the opera house on the sign, who was in the possession of Count R. I. Vorontsov (in the summer - in the "Voxale" in possession of Count A. S. Stroganova "Under Andronikov Monastery"). Opera, ballet and dramatic performances were carried out by the actors and musicians who came out of the theater troupe of Moscow University, serf Trurpep N. S. Titov and P. V. Urusov.

After in the 1780, the opera house burned down, in the same year, the theater building in the style of Ekaterininsky classicism was built on Petrovka Street, Petrovsky Theater (architect H. Rosiberog; see Medox Theater). From 1789 he was under the jurisdiction of the guardian council. In 1805, the building of the Petrovsky Theater burned down. In 1806, the troupe passed into the management of the Moscow Imperial theaters, continued to perform in different premises. In 1816, a project to restructure the theater square of architect O. I. Beauvais was adopted; In 1821, the project of a new theater building of the architect A. A. Mikhailov was approved by Emperor Alexander I. T.N. The Big Petrovsky Theater in the Empire style was built on this project (with some changes and using the foundation of the Petrovsky Theater); Opened in 1825. A horseshoe visual hall was included in the rectangular volume of the building, the stage room in the area was equal to the hall and had large sidewars. The main facade was focused by a monumental 8-column ionic portico with a triangular fronton, crowned sculptural alabaste group "Quadrig Apollo" (posted against a semi-curvous niche). The construction has become the main composite dominant of the Theater Square ensemble.

After the fire, 1853, the Bolshoi Theater was restored by the architect A. Kavos architect (with the replacement of the sculptural group by work in Bronze P. K. Klodt), the construction was completed in 1856. Reconstruction significantly changed its appearance, but retained the planning; The architecture of the Bolshoi Theater acquired the features of eclecticism. In this form, it has been preserved until 2005, with the exception of small internal and external rearrangements (the auditorium accommodates St. 2000 people.). In 1924-59, he worked a branch of the Bolshoi Theater (indoors of the former Opera S. I. Zimina on big dmitrovka). In 1920, a concert hall was opened in the former imperial lobby of the theater - t. N. Beethovensky (in 2012 he returned the historical name "Imperial Foyer"). During the Great Patriotic War, part of the Bolshoi Theater team was in evacuation in Kuibyshev (1941-43), the part gave performances in the premises of the branch. In 1961-89, some performances of the Bolshoi Theater were held on the scene of the Kremlin Palace of Congresses. During the reconstruction of the main building of the theater (2005-11), the performances were only on a new scene in a specially constructed building (according to the architect A. V. Maslov; functioning from 2002). The main (so-called historical) scene of the Bolshoi Theater is open in 2011, since this time the performances go on two scenes. 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 Imperial Theaters - I. A. Vsevolozhsky (1881-99), Prince S. M. Volkonsky (1899-1901), V. A. Telikovsky (1901-17). In 1882, the imperial theaters were reorganized, in the Bolshoi Theater, the posts of the main conductor (Kappelmeister; I. \u200b\u200bK. Altani, 1882-1906), the main director (A. I. Bartzal, 1882-1903) and the Chief Hormster (W. and . Averank, 1882-1929). The design of the performances became more complicated and gradually went beyond the framework of a simple scene decoration; K. F. Waltz (1861-1910) became famous as the chief driver and decorator.

In the future, the musical leaders were: the main conduits - V.I. Suk (1906-33), A. F. Rennis (Chief Conductor of Ballet, 1900-24), S. A. Samosud. (1936-43), A. M. Pazovsky (1943-48), N. S. Golovanov (1948-53), A. Sh. Melik-Pashaev (1953-63), E. F. Svetlanov (1963-65 ), G. N. Christmas (1965-70), Yu. I. Simonov (1970-85), A. N. Lazarev (1987-95), artistic director of the orchestra P. Feranin (1995-98), Music leader of the big Theater, artistic director of the orchestra M. F. Ermler (1998-2000), artistic director G. N. Christmas (2000-01), music leader and chief conductor A. A. Vedernikov (2001-09), Music leader L. A . Decals (2009-10), Music leaders and main conduits - V. S. Sinaian (2010-13), T. T.Sokyev (from 2014).

Main Directors: V. A.Lossky (1920-28), N. V. Smolich (1930-36), B. A. Mordvinov (1936-40), L. V.Baratov (1944-49), I. M. Tumanov (1964-70), B. A. Pokrovsky (1952, 1955 - 63, 1970-82); Head of the Directory Group P.Ansimov (1995-2000).

Main choirters: V. P. Stepanov (1926-36), M. A. Cooper (1936-44), M. G. Sheorine (1944-58), A. V. Rybov (1958-88), S. M . Lykov (1988-95; in 1995-2003 Artistic director of Choir), V. V. Borisov (since 2003).

Main artists: M. I. Kurilko (1925-27), F. F. Fedorovsky (1927-29, 1947-53), V. V. Dmitriev (1930-41), P. V. Williams (1941-47) , V. F. Zhardin (1953-70), N. N. Zolotarev (1971-88), V. Ya. Levental (1988-95), S. M. Barhin (1995-2000; also artistic director, scene) ; The head of the artists - A. Yu. Picalova (since 2000).

Artistic director of the theater in 1995-2000 - V. V. Vasilyev . General Directors - A. G. Iquasanov (2000-13), V. G. Urin (from 2013).

Art leaders of the opera troupe: B. A.Rudenko ( 1995-99), V. P. Andropov (2000-02),M. F. Kassrashvili (in 2002-14 headed creative teams of opera pipes), L. V. Talikova (from 2014, headed opera tube).

Opera in the Bolshoi Theater

In 1779, one of the first Russian operas "Melnik - sorcerer, a deceiver and swat" appeared on the scene of the operatic house (Text A. O. Ablessov, M. M. Sokolovsky). The Allegorical Prologue "Wanderers" (Text Ablessovova, Music E. I. Fomin) was put in the Petrovsky Theater (Text), executed on the day of discovery 12/30/1780 (10.1.1781), opera performances "misfortune from the carriage" (1780), "stingy" (1782 ), St. Petersburg Seating Yard (1783) V. A. Pashkevich. The influence on the development of the opera theater was to tour Italian (1780-82) and the French (1784-1785) troupe. In the troupe of the Petrovsky Theater, the actors and singers E. S. Sandunova, M. S. Sinyavskaya, A. G. Ozhogin, P. A. Plaviers, Ya. E. Shusherin, and others. Big Petrovsky Theater opened 6 (18) .1.1825 Prologue "Celebration of Mus" A. A. Alyabyeva and A. N. Verst. From this time, the works of domestic authors were increasingly held at the opera repertoire, mainly Opera-water-water. St. 30 years The work of the opera troupe was associated with the activities of A. N. Verstoksky - inspector of the Directorate of Imperial Theaters and Composer, the author of Opero Pan Twardovsky (1828), "Vadim, or Awakening 12 Sleeping Dev" (1832), "Askoldova Tomb "(1835)," Tosca at home "(1839). In the 1840s. Russian classic operas "Life for the king" (1842) and "Ruslan and Lyudmila" (1846) M. I. Glinka. In 1856, the newly rebuilt large theater opened Opera V. Bellini "Puritan" performed by the Italian troupe. 1860s. Amented by the strengthening of Western European influence (the new Directorate of the Imperial Theaters fagged to the Italian opera and foreigners musicians). From the domestic operas, "Judith" (1865) and "Rogged" (1868) A. N. Serov, "Mermaid" A. S. Dargomyzhsky (1859, 1865), from 1869 operas P. I. Tchaikovsky. The rise of Russian musical culture in the Bolshoi Theater is associated with the first production on the Great Opera Scene "Eugene Onegin" (1881), as well as other works of Tchaikovsky, operas of St. Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky. At the same time, the best works of foreign composers were put - V. A. Mozart, J. Verdi, Sh. Guno, J. Bize, R. Wagner. Among singers con. 19 - Nach. 20 centuries: M. G. Gukova, E. P. Kadmin, N. V. Salina, A. I. Bartzal, I. V. Gryzunov, V. R. Petrov, P. A. Khokhlov. The stage of the theater was the conductors of S. V. Rakhmaninov (1904-06). The breakdown of the Bolshoi Theater in 1901-17 is largely associated with the names of F. I. Shalyapin, L. V. Sobyanova and A. V. Nezhdanova, K. S. Stanislavsky and VL. AND. Nemirovich-Danchenko , K. A. Korovina and A. Ya. Golovin.

In 1906-33, V. I. Suk was the actual head of the Bolshoi Theater, which continued to work on Russian and foreign opera classics together with the directories V. A. Lossky (Aida J. Verdi, 1922; Loangrin R. Wagner, 1923; Boris Godunov M. P. Mussorgsky, 1927) and L. V. Baratov, artist F. F. Fedorovsky. In the 1920-30s. The performances were conducted by N. S. Golovanov, A. S. Melik-Pashaev, A. M. Pazovsky, S. A. Samosud, B. E. Haikin, on stage Seli 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 . Nazov, A. S. Pirogov. The premieres of Soviet operas took place: "Decembrists" V. A. Zolotareva (1925), "Son of Sun" S. N. Vasilenko and "Tuppean artist" I. P. Shishov (both 1929), Almater A. A. Spendia 1930); In 1935, the opera "Lady Macbeth Mtsensky County" D. D. Shostakovich. In con. 1940 Posted by Walkiriya Wagner (director S. M. Eisenstein). The last pre-registration of Khovovnia Mussorgsky (13.2.1941). In 1918-22, an opera studio under the leadership of K. S. Stanislavsky functioned in the Bolshoi Theater.

In September 1943, the Bolshoi Theater opened the season in Moscow Opera "Ivan Susanin" M. I. Glinka. In the 1940-50s. A Russian and European classic repertoire, as well as the opera of composers of Eastern European countries - B. Smetanes, S. Monyushko, L. Yanachek, F. Erkel. Since 1943, the name of the director B. A. Pokrovsky is connected with the theater, more than 50 years determined the artistic level of opera performances; The references are considered to be the operas "War and Peace" (1959), "Semen Kotko" (1970) and "Player" (1974) S. S. Prokofiev, "Ruslan and Lyudmila" Glinka (1972), "Othello" J. Verdi (1978). In general, for the Opera repertoire of the 1970s - Nach. 1980s. Characteristic style variety: from operas 18 V. ("Julius Caesar" G. F. Handel, 1979; "Ifigations in Avlida" K. V. Glituk, 1983), Opera Classics 19 V. ("Gold Rhine" R. Wagner, 1979) to the Soviet opera ("Dead Souls" R. K. Shchedrin, 1977; "Observation in the monastery" Prokofiev, 1982). In the best performances of the 1950-70s. Seli I. K. Arkhipova, G. P. Vishnevskaya, M. F. Kassrashvili, T. A. Milashkina, E. V. Obrazzova, B. A. Rudenko, T. I. Sinyavskaya, V. A. Atlantov, and . A. Verdnikov, A. F. Krivcheva, S. Ya. Lemeshev, P. G. Lisitsian, Yu. A. Mazurok, E. E. Nesterenko, A. P. Ognivtsev, I. I. Petrov, M. about . Raisen, Z. L. Sotkilava, A. A. Eisen, conducted by E. F. Svetlanov, G. N. Christmas, K. A. Simeonov, and others. With the exception of the post of chief director (1982) and the departure of the theater Yu. I. Simonov began a period of instability; Until 1988, only a few opera performances were carried out: "Tale of the invisible Grade Cytem and the Devronia" (director R. I. Tikhomirov) and "Tale of Tsar Saltan" (director G. P. Anshimov) N. A. Rimsky-Korsakov, " Werker "Zh. Massne (director E. V. Exemplary)," Mazepa "P. I. Tchaikovsky (director S. F. Bondarchuk).

With con. 1980s. Opera repertoire policy determined the orientation on rarely executed works: "Beautiful Mellenchikha" J. Payzielo (1986, Conductor V. E. Wece, director G. M. Gelovani), Opera N. A. Rimsky-Korsakov "Golden Cockerel" (1988, Conductor E. F. Svetlanov, director G. P. Ansimov), "Mlada" (1988, for the first time on this scene; Conductor A. N. Lazarev, director B. A. Pokrovsky), "Night before Christmas" (1990, conductor Lazarev, director A. B. Titel), "Orleansan Virgo" Tchaikovsky (1990, for the first time on this scene; Conductor Lazarev, director Pokrovsky), "Aleko" and "Surround Knight" S. V. Rakhmaninova (both 1994, Conductor Lazarev, Directed by N. I. Kuznetsov). Among the performances - Opera "Prince Igor" A. P. Borodina (editorial office E. M. Levacheva; 1992, joint statement with Karlo Feliche Theater in Genoa; Conductor Lazarev, director Pokrovsky). During these years, the mass departure of singers abroad began, which (in the absence of the post of chief director) led to a decrease in the quality of performances.

In 1995-2000, the basis of the repertoire - Russian Opera 19 V., Among the productions: "Ivan Susanin" M. I. Glinka (resumption of production L. V. Baratov 1945, director V. G. Milkov), Iolanta P. I. Tchaikovsky (director G. P. Ansimov; Both 1997), "Francesca da Rimini" S. V. Rakhmaninova (1998, Conductor A. N. Chistyakov, Director B. A. Pokrovsky). Since 1995, foreign operas in the Bolshoi Theater are executed in the original language. At the initiative of B. A. Rudenko, a concert performance of the opera "Lucius di Lammermur" G. Donizetti (Conductor P. Feranin) and the "Norma" V. Bellini (Cerizers of Cleaning; Both 1998) took place. Other operas: "Khovanshchina" M. P. Mussorgsky (1995, conductor M. L. Rostropovich, director B. A. Pokrovsky), "Players" D. D. Shostakovich (1996, Concert Execution, for the first time on this scene, conductor Cleaners), the most successful setting of these years - "Love for three oranges" S. S. Prokofiev (1997, director P. Ustinov).

In 2001, for the first time in the Bolshoi Theater, the Nabucco operator was set by J. Verdi (conductor M. F. Ermler, director M. S. Kislyarov), under the leadership of G. N. Christmas premiere of the 1st edition of the Opera "Player" S. with . Prokofiev (director A. B. Titel). Basics of repertoire and personnel policy (since 2001): the entrepreneurship of the performance on the performance, an invitation of contractors on a contract basis (with a gradual reduction of the main troupe), rental of foreign performances ("Power of Fate" J. Verdi, 2001, Rental of the San Carlo Theater ", Naples); "Adrienne Lekevier" F. Chilea (2002, for the first time on this stage, in the stage version of the "La Scala" theater), "Falstaf" Verdi (2005, Rent of the play of theater "La Scala", director J. Sgorier). From the domestic operas supplied "Ruslan and Lyudmila" M. I. Glinki (with the participation of "historical" instruments in the orchestra, conductor A. A. Vedernikov, director V. M. Kramer; 2003), "Fire Angel" S. S. Prokofiev (2004, for the first time in the Bolshoi Theater; Vederniki conductor, director F. Zamblelo).

In 2002, a new scene is open, the first performance is "Snow Maiden" N. A. Rimsky-Korsakov (Conductor N. G. Alekseev, director D. V. Belov). Among the productions: "Breakfasts of Hangs" I. F. Stravinsky (2003, for the first time in the Bolshoi Theater; V. Titov's conductor, director D. F. Chernyakov), "Flying Dutchman" R. Wagner in the 1st Editor (2004, together withBavarian State Opera; Conductor A. A. Vedernikov, director P. Convigical). The subtle minimalist stage solution was distinguished by the opera "Madame Batterfly" J. Pucchini (2005, director and artist R.Wilson ). Huge experience of conductor work on music P. I. Tchaikovsky Prince M. V.Pletnev In the formulation of the "peak lady" (2007, director V. V. Fokin). To the formulation of "Boris Godunova"M. P. Mussorgsky in the editorial office D. D. Shostakovich (2007) The director A. N. was invitedSokurov For which it was the first experience in the opera theater. Among these years - Opera "Macbeth" J. Verdi (2003, conductor M. Panny, director E.Necrossy ), "Children of Rosentyl" L. A. Dereznikov (2005, World Premiere; Conductor of Vednikov, Director of Necrossy), "Evgeny Onegin" Tchaikovsky (2006, conductor of Vedernikov, director of Chernyakov), "Tale of the invisible Grade Cherry and Virgin Fevronia" . A. Rimsky-Korsakov (2008, together with the Lyriko Theater, Cagliari, Italy; Conductor of the Vedernikov, director of nekkroke), "Mascotsek" A. Berg (2009, for the first time in Moscow; Conductor T.Kurtzis, director and artist Chernyakov).

Since 2009, a youth opera program began to work in the Bolshoi Theater, the participants of which are internships for 2 years and take part in the play of the theater. Since 2010, foreign directories and performers are necessarily present in all production. In 2010, the operetta "Bat" I. Strauss (for the first time on this scene), the Opera "Don Juan" V. A. Mozart (jointly with an international festival in ex-en-provence, Real Theater in Madrid and Canadian Opera House In Toronto; Kurtzis conductor, director and artist Chernyakov), in 2011 - Opera "Golden Petushok" N. A. Rimsky-Korsakov (conductor V. S. Sinai, director K. S. Serebrennikov).

The first stage on the main (historical) scene, open after reconstruction in 2011, "Ruslan and Lyudmila" M. I. Glinki (V. M. Yurovsky, director and artist D. F. Chernyakov) - due to the shocking stage decision Opera was accompanied by a scandal. In the "counterweight", in the same year, the production of Boris Godunova was renewed by M. P. Mussorgsky, as amended by N. A. Rimsky-Korsakov (1948, director L.V. Barats). In 2012, the first setting of the opera "Kavaler Rosa" R. Strausa (conductor V. S. Sinai, director S. Lowess), the first stage of the stage of the "Child and Magic" opera in the Bolshoi Theater M. Ravel (Conductor A. A. Solovyov, director and artist E. McDonald), again put "Prince Igor" A. P. Borodina (in the new edition of P. V. Karmanova, consultant V. I.Martynov , Conductor Sinaiski, director Yu. P. Lyubimov), as well as the "sorceress" of P. I. Tchaikovsky, "Somnambula" V. Bellini et al. In 2013, the opera "Don Carlos" opera (conductor R. Trevinho, director E. Noble), in 2014 - " Tsarist Bride »Roman Corsakov (conductor G. N. Christmas, put based on the scenography F. F. Fedorovsky, 1955)," Orleansk Virgo "P. I. Tchaikovsky (concert performance, conductor T. T. Sokhiyev), for the first time in Bolshoi Theater - "History of Kaya and Gerda" S. P. Baurevich. Among the recent years - Rodelinda G. F. Handel (2015, for the first time in Moscow, together withEnglish National Opera; Conductor K. Mulds, director R. Jones), "Manon Lesko" by J. Pucchini (for the first time in the Bolshoi Theater; Conductor Ya. Binyamini, director A. Ya. Shapiro), Billy Badd B. Britten (for the first time in the Bolshoi Theater with the English National Opera andGerman Opera in Berlin; Conductor W. Lacy, director D. Olden; Both 2016).

Ballet Bolshoi Theater

In 1784, the Petrovsky Theater's troupe included students of a ballet class opened in 1773 in an educational house. The first choreographers were the Italians and the French (L. Paradise, F. and K. Morelli, P. Pinuchci, J. Solomoni). The repertoire included their own productions and transferred performances J. J. Novverra, genre comedy ballets.

In the development of ballet art of the Bolshoi Theater of the 1st third of the 19th century. The greatest value was the activity of A. P. GlushkovskyHe headed the ballet troupe in 1812-39. He put the performances of various genres, including on the plots A. S. Pushkin ("Ruslan and Lyudmila, or Lfolve Chernomora, an evil wizard" F. E. Scholts, 1821; "Black shawl, or punished infidelity" for the national team music , 1831), and also transferred to the Moscow scene Many Petersburg works S. L. Didlo. Romanticism was established on the scene of the Bolshoi Theater thanks to the choreographer F. Gullen-Sor.who worked here in 1823-39 and moved from Paris a number of ballets ("Silfide" J. Shhnitzhoffer, Choreography F. Taloni, 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. Special importance had performances in 1850 Austrian dancers F. ElslerThrough which the ballets J. J. Perret ("Esmeralda" Ch. Puni, and others).

With gray 19th century Romantic ballets began to lose their value, despite the fact that the actors were preserved in the troupe: P. P. Lebedev, O. N. Nikolaev, in the 1870s. - A. I. Sobetanskaya. Throughout 1860-90s. In the Bolshoi Theater, several ballersters who managed the troupe or have selected performances were changed. In 1861-63, K. worked in him Blazis.who received fame only as a teacher. The most repertoire in the 1860s. were ballets A. Saint-Leona, having moved from St. Petersburg a performance "Konon-Gorbok" Ch. Puni (1866). Significant achievement of the theater - Ballet "Don Quixote" L. F. Minkus, delivered by M. I. Petipa In 1869. In 1867-69, I implemented several productions of S. P. Sokolov ("Fern, or Night to Ivan Khakupa" Yu. G. Gerbera, etc.). In 1877, the famous Balletmister V. Reizinger became the director of the 1st (small) editorial office of the "Swan Lake" of P. I. Tchaikovsky. In the 1880-90s. Choreographers in the Bolshoi Theater were J. Hansen, H. Mendez, A. N. Bogdanov, I. N. Hluusin. To con. 19th century, despite the presence of strong dancers in the troupe (L. N. Gaiten, L. A. Roslavlev, N. F. Manokhin, N. P. Homemade), Ballet Theater worried a crisis: Moscow did not see P. balletov and . Tchaikovsky (only in 1899 ballet "Sleeping Beauty" was transferred to the Bolshoy Theater A. A. Gorsky), the best Petipa and L. I. Ivanov. There was even a question about the elimination of the troupe, in 1882 abbreviated twice. The reason for this was partly a few attention of the directorate of imperial theaters to the troupe (then considered sufficient), unrelated leaders who ignored the traditions of the Moscow ballet, the renewal of which was possible in the era of reforms in Russian art. 20 V.

In 1902, the ballet troupe was headed by A. A. Gorsky. His activities contributed to the revival and bloom of the Bolshoi Theater. The choreographer sought to fill the ballet with dramatic content, sought logic and harmony of action, accuracy of the national flavor, historical reliability. His ballet master work in Moscow, the Gorsky began with the processing of other people's ballets ["Don Quixote" L. F. Minkus (based on the Petersburg production M.I. Petipa), 1900; "Lake Swan" (in the St. Petersburg spectrum of Petipa and L. I. Ivanova, 1901]. In these productions, structural forms of academic ballet (variations, small ensembles, corpulation rooms) were largely preserved, and in the Swan Lake - and St. Petersburg choreography. The most complete embodiment of the Gorsky idea was obtained in Mimodrame "Daughter Guidula" A. Yu. Simon (1902). The best original productions of the Gorsky Steel "Salambo" A. F. Rennis (1910), "Love is fast!" On the music of E. Griega (1913 ). Also, alterations of classical ballets were also of great importance. However, the findings in the field of directory and characteristic dance, innovative patterns of mass numbers that violated traditional symmetry, sometimes accompanied into them the unjustified diminution of the rights of classical dance, unmotivated changes in the choreography of precursors, an eclectic combination of receptions coming from various The artistic currents of the first decades of the 20th century. Gorsky like-minded people were the leading dancers of the M. M. Theater Murdkin, V. A. Caralli, A. M. Balashova, S. V. Fedorova, Masters Pantomimima V. A. Ryabtsev, I. E. Sidorov. E. V. worked with him Gelserand V. D. Tikhomirov, Dancers A. E. Volinin, L. L. Novikov, but in general the Gorsky did not seek close cooperation with the artists of the academic direction. By the end of his creative activity, the troupe of the Bolshoi Theater, consistently rebuilt under his influence, the skills of the execution of large performances of the old repertoire lost in many ways.

In the 1920-30s. There was a tendency to return to the classics. Guide the ballet at that time in fact (and from 1925 by office) carried out V. D. Tikhomirov. He returned the choreography of M.I. Petipa to the 3rd act "Bayaders" L. F. Minkus (1923), resumed in his own editors close to the classic Petersburg, ballet "Sleeping Beauty" (1924), "Esmeralda" (1926, New music edition R. M. Gliera).

1920s. In Russia - the time of searching for new forms in all kinds of art, including in dance. However, innovators choreographers were rarely allowed in a large theater. In 1925 K. Ya. Goleyovsky I put on the stage of the branch of the Ballet Ballet "Joseph Beautiful" S. N. Vasilenko, which contained many innovations in the selection and combination of dance movements and the construction of groups, with the constructivist design of B. R. Erdman. The formulation of V. D. Tikhomirov and L. A. Latchilina "Red Poppy" was considered officially recognized achievement on the music of R. M. Gliera (1927), where the topical content was clothed in the traditional form (ballet "sleep", canonical pa-de de, Elements of extravagania). Traditions of creativity A. A. Gorsky continued at this time I. A. MoiseevSuperfishing Ballets V. A. Oransky "Footballer" (1930, together with Latchina) and "Three Fatty" (1935), as well as the new version of "Salambo" A. F. Rennis (1932).

With con. 1920s. The role of the Bolshoi Theater - now the capital, "main" theater of the country is increasing. In the 1930s. They transferred here from Leningrad ballersters, teachers and artists, transferred the best performances. M. T. Semenova and A. N. Ermolaev became leading performers along with Muscovites O. V. Lepeshinsky, A. M. Messerer, M. M. Gabovich. Leningrad teachers E. P. came to the theater and school Gerdt., A. M. Monakhov, V. A. Semenov, Balletmaster A. I. Chekrygin. This contributed to an increase in the technical skill of the Moscow ballet, the scenic culture of its performances, but at the same time to some extent led to the loss of its own Moscow performing style and staged traditions.

In 1930 - 40th. The repertoire includes the Ballets "Flame of Paris" B. V. Asafieva in choreography V.I. Weinonena And the masterpieces of the Panel - "Bakhchisarai Fountain" Asafieva in choreography R. V. Zakharov and "Romeo and Juliet" S. S. Prokofiev in choreography L. M. Lavrovsky (moved to Moscow in 1946, after in 1944 in the Big Theater, G. S. Ulanova), as well as the works of the ballersters, who continued in their work, the traditions of Russian Academism: Winonen ("Nutcracker" P. I. Tchaikovsky) F. V. Lopukhova ("Light Creek" D. D. Shostakovich), V. M. Chabukiani ("Laurency" A. A. Kreyn). In 1944, Lavrovsky set the post of chief balletmaster in the Bolumery, A. Adana.

Starting from the 1930s. and to gray. 1950s. The main tendency of ballet development was its rapprochement with a realistic dramatic theater. To gray. 1950s. The genre of the tramarket outlined himself. A group of young choreographers appeared, striving for transformations, returning the choreographic spectrum of its specifics, the disclosure of images and conflicts to the means of dance. In 1959, one of the firstborn of the new direction was postponed to the Bolshoy Theater - Ballet "Stone Flower" S. S. Prokofiev in Choreography Yu. N. Grigorovich and registration of S. B. Virsaladze(The premiere took place in 1957 in Leningradsky Gatob). In the beginning. 1960s. N. D. Kasatkina and V. Yu. Vasilev put in the Bolshoi Theater n. N. N. Karenikov ("Vanina Vanini", 1962; "Geologists", 1964), I. F. Stravinsky (Spring Sacred, 1965).

With con. 1950s. Bolshoi Theater Ballet Troupe began to regularly perform abroad, where she gained widest popularity. The next two decades - the heyday period of the theater rich in the bright individualities, demonstrating its producer and performing style throughout the world, which was focused on a wide and more conceived international viewer. The flows shown on the tours were influenced by the foreign editions of the classics, as well as on the original creativity of European ballersters K. McMillanaJ. Cransko and etc.

Yu. N. Grigorovich, who led the ballet troupe in 1964-95, began its activities from the transfer of "Legends about love" by A. D. Melikov (1965), previously supplied by him in Leningrad and Novosibirsk (both 1961). In the next 20 years, a number of original productions created in collaboration with S. B. Virusladze appeared: "Nutcracker" P. I. Tchaikovsky (1966), "Spartak" A. I. Khachaturian (1968), "Ivan Grozny" to music with . S. Prokofiev (1975), "Angara" A. Ya. Eshpaya (1976), "Romeo and Juliet" Prokofiev (1979). In 1982, Grigorovich put his last original ballet in the Bolshoi Theater - "Golden Age" D. D. Shostakovich. These large-scale performances with large mass scenes demanded a special style of execution - expressive, heroic, sometimes high. Along with the composition of their own performances, Grigorovich was actively engaged in the editors of the classical heritage. Two of his production "Sleeping Beauty" (1963 and 1973) relied on the original M. I. Petipa. Grigorovich were significantly rethought by the Swan Lake Tchaikovsky (1969), Raymond A. K. Glazunov (1984). Staging "Bayaders" L. F. Minkus (1991, edited by Gatob) returned a performance in the repertoire, who did not go on the Moscow stage for many years. "Giselle" (1987) and "Corsair" (1994, according to 1992 in 1992, in the Bolshoi editorial office, K. M. , Yu. K. Vladimirov, A. B. Godunov et al. However, the predominance of the productions of Grigorovich had the reverse side - led to the monotony of the repertoire. Orientation exclusively on the classic dance and within its framework - on the vocabulary of the heroic plan (large jumps and poses of adagio, acrobatic support) with almost complete exclusion from the decisions of characteristic, household, grotesque numbers and pantomimen scenes narrowed the creative capabilities of the troupe. In the new productions and editions of heritage ballets, the characteristic dancers and mimisters were practically not involved, which naturally led to the decline of the art of characteristic dance and pantomime. Old ballets and performances Dr. choreographers were fulfilled more and less, traditional comedy ballets in the past for Moscow disappeared from the Scene of the Bolshoi Theater. Over the years of the Gregorovich leadership, N. D. Kasatkina and V. Yu. Vasileva (Spring Sacred, I. F. Stravinsky ("Flame of Paris" B. B. . Asafieva), A. Alonso ("Carmen-Suite" J. Bize - R. K. Shchedrina), A.I. Radunsky ("Konon-Gorboon" Shchedrin), L. M. Lavrovsky ("Romeo and Juliet" S. S. Prokofiev), also disappeared by the pride of the Taroupe Staromoshkovskiy editions of the Swan Lake Tchaikovsky and Don Quixote. To gray 1990s. In the Bolshoi Theater did not work large modern ballersters. Individual performances were put in V. V. Vasilyev, M. M. Plisetskaya, A. B. Ashton. ["Vain precaution" F. (L. F.) Gerold, 2002], J. Neumayer. ("Sleeping in the summer night" to the music of F. Mendelssohn and D. Liggeti, 2004). Especially for the Bolshoi Theater, ballets of the largest French ballersters P. Lakott ("Pharaoh's daughter" Ch. Puni, based on the performance of M. I. Petipa, 2000) and R. Petit ("Peak Lady" to the music of P. I. Tchaikovsky, 2001). From the classics of 19-20 centuries. In these years, Romeo and Juliet were restored by L. M. Lavrovsky, Staromoskovskaya edition of Don Quixote. Own edits of classical performances (Swan Lake, 1996; Giselle, 1997) prepared V. V. Vasilyev (artistic director - director of the theater in 1995-2000). All R. 2000s. The repertoire appeared new productions of the Ballets S. S. Prokofiev (Romeo and Juliet R. Poklitaru and D. Donnellan, 2003; Cinderella Yu. M. Posokhov and Yu. O. Borisova, 2006) and D. D. Shostakovich ("Light streams", 2003; "Bolt", 2005; both - in the formulation of A. O.Ratmansky ) Implemented using modern expressive means of choreography.

A significant place in the repertoire of the first 21 century. occupied the work of Ratmansky (in 2004-09 the artistic director of the Bolshoi Theater ballet). In addition to those listed above, he set and transferred his performances to the Moscow scene: "Lea" to the music of L. Bernstain (2004), "Playing Maps" I. F. Stravinsky (2005), "Flame of Paris" B. V. Asafiev ( 2008, using choreography fragments V. I. Winonen), Russian Seasons to music L. A. Delnikov (2008).

Since 2007, the Bolshoi Theater began its work on the restoration of classic ballets based on historical materials. It was especially active in 2009-11, when the art director of the troupe was the connoisseur of the old choreography Yu. P. Burlaka: "Corsair" A. Adana (2007, the director A. O. Ratmansky and Burlaka on M. I. Petipa), great classic PA from the ballet "Pahita" L. F. Minkus (2008, Petipa Petipa Director), "Coppelia" L. Delibe (2009, S. G. Vikharev on Petipa), Esmeralda Ch. Puni (2009, Burlaka and V. M. Medvedev on Petipa), Petrushka I. F. Stravinsky (2010, Vikharev's director based on the editorial board of Mellet).

In 2009, Yu. N. Grigorovich returned to the Balletmister, he resumed several of his performances (Romeo and Juliet, 2010; Ivan Grozny, 2012; "Legend of Love", 2014; Golden Age, 2016), prepared a new version of the "Sleeping Beauty" (2011).

From the late 2000s. In the region of the modern repertoire, there was a turn toward the large plot performances ("Lost Illusions" L. A. Delnikov in the choreography A. O. Ratmansky, 2011; Onegin on the music of P. I. Tchaikovsky in the choreography of J. Kransko, 2013; " Marco Downturn, or Daughter Bandita "D. Boura in Choreography P. Lakotta, 2013;" Lady with Camellias "to the music of F. Chopin in the choreography of J. Neumayer, 2014;" Taming of the Shrew "to the music of D. D. Shostakovich in choreography . K. Mayo, 2014; "Hero of our time" I. A. Dhemotsky in choreography Yu. M. Posokhov, 2015; "Romeo and Juliet" S. S. Prokofiev in Ratmansky choreography, 2017; 2nd (2007) and 1st (2013) degrees, the Order of the Holy Apostle Andrei Promotional (2017).

One of the most famous and great theaters with a richest history. Even his name speaks for itself. There are a few deep meaning here. First of all, a large theater is a cluster of the famous names, a whole constellation of magnificent composers, performers, dancers, artists, directorists, an extensive gallery of ingenious performances. And also under the word "big" we understand - "significant" and "colossal", a grand phenomenon in the history of art, not only domestic, but also the world. Not only for years and decades, but the invaluable experience transmitted from generation to generation was accumulated in whole centuries.

There is no almost such evening that the huge hall of the Bolshoi Theater is not filled with hundreds of viewers, so that the ramps do not burn fires so that the curtain is not silent. What makes fans and connoisseurs of musical art to strive here from all over the country and the whole earth? Of course, the spirit of the identity of the Russian theater, its strength, brightness and depth, which are felt by every person, at least once crossed the famous threshold of the Bolshoi Theater. Spectators come here to admire the luxurious, elegant and noble interior to enjoy the great repertoire, which saved the fame of not one century ago and managed to carry and preserve her through the century. Artists with world names shone on this scene, this building saw a lot of great (just like that with a capital letter) of people.

The Bolshoi Theater has always been famous for the continuity of its traditions. The past and the future are closely intertwined in these walls. Modern artists adopt the experience of a classic heritage rich in aesthetic values \u200b\u200band impregnated with high spirituality. In turn, the famous productions of past years come to life and filled with new paints due to the efforts of new generations of artists and directors, each of which contributes to the development of the theater. Thus, the Bolshoi Theater does not stop at his creative growth and keeps up with the times, without forgetting the preservation and increase in the great creative heritage.

Over 700 opera and ballet performances were put on stage of the Bolshoi Theater - starting from 1825 and ending with modernity - performances belonging to Peru as domestic and foreign composers. There are only more than 80 names. List just some of them. This is Tchaikovsky and Rachmaninov, Dargomyzhsky and Prokofiev, Shchedrin and Khrennikov; This is Verdi, Berlioz, Wagner, Beethoven, Britten and many, many others. And what to talk about performances! You can only admire, because the repertoire history of the Bolshoi Theater contains over 140 operas, among which Rigoletto and Traviata, Mazepa and Evgeny Onegin, Faust ... Many of these productions were born in the Bolshoi Theater, and continue To stay in the repertoire, using tremendous success.

Did you know, for example, that the great composer P.I. Tchaikovsky debuted as the creator of music to the opera and ballet in the Bolshoi Theater? His first Opera was the play of the "Voivode" in 1869, and the first ballet was "Swan Lake" in 1877. It was on the stage of the Bolshoi Theater Tchaikovsky for the first time in his hands a conductor wand and podded the premiere formulation of the opera "Cherevichki" in 1887. The most famous opera Giuseppe Verdi first showing Russia also in the Bolshoi Theater - these are such performances as "Don Carlos", "Rigoletto" and "Traviato", "Masquerade" and "Trubadur". It was here that his "Russian" birth was celebrated by the opera works of Grechaninov, Kyu, Arenal, Rubinstein, Versta, Fleet, Tom, Beethoven and Wagner.

The opera performances of the Bolshoi Theater were always, there are and remain the focus of the most talented performers. Here artists were shone as "Moscow Solovy" Alexander Bantyshev, the first performer of the main repertoire parties Nadezhda Repina, the magnificent Nikolai Lavrov, who was distinguished by the unique gift of the stage reincarnation and an unusually beautiful voice, Pavel Khokhlov, who became a history of opera art as the first Eugene Onegin professional opera scene , as well as the best executor of the role of a demon in the history of the Russian Opera House. Fedor Shalyapin, Antonina Nezhdanova and Leonid Sobinov, Ksenia Derjanskaya and Nadezhda Sobinov, Xenia Stepanova, Sergey Lemeshev, Valeria Barsova and Maria Maksakova ... Whole Pleiad of unique Russian bass (Petrov, Mikhailov, Pirogits, Raisen, Krivchenaya), Baritonov ( Lisitsian, Ivanov), tenors (Kozlovsky, Hanayev, Nalep) ... Yes, there is a large theater than be proud of, these great names are inscribed forever in history, and in many respects thanks to them, our famous theater has been famous for the whole world.

It has long been a genre as opera, was intended for incarnation in musical theaters, which is a sample of the synthesis of dramatic and musical art. P.I. Tchaikovsky argued that outside the scene had no sense. The creative process always represents the birth of something new. For musical art, this means work in two directions. First of all, the theater takes part in the formation of the art of the Opera, it works to create and the scenic embodiment of new works. And on the other hand, the theater is tirelessly renewing the operating of the opera - both classical and modern. The new opera performance is not just the next playback of score and text, it is a different reading, a different look at the opera, which depends on many factors. It also includes the worldview of the director, and its lifestyle, and the epoch, during which production will be carried out. The opera work is characterized by both art and ideological reading. This reading dictates performance style features. Giuseppe Verdi, the famous opera reformer, wrote that the success of the opera is impossible without meaningful interpretation, without a confident and "reverent" interpretation of Opera, even beautiful music will save.

Why can one and the same opera set several times in different theaters, completely different directors? Because it is a classic that does not lose its relevance in any era, which for each new generation may be fruitful and rich creative material. The Big Theater, in turn, is famous for interest in modern works of opera art, reflecting the trends of the postmodern era. Modern composers enrich the repertoire of the Bolshoi Theater with new operas, many of which occupy an honorable place in the repertoire and deserve love and respect for the public.

The scenic embodiment of the modern opera is not easy for the theater. After all, the opera performance, as we have already noted above, is a complex dramatic complex. Between the theater and music should be a durable and organic relationship, unique for each interpretation. Opera theaters often cooperate with composers to help them end and improving their works. The model for the demonstration of the successful result of this kind of cooperation can serve as Opera I. Dzerzhinsky "Fate of Man", set on the stage of the Bolshoi Theater in 1961.

At first, the composer brought his work for listening, and then he was offered to create new music for the images of the main characters - for example, for the sinking. Improved and improved on the recommendation of the theater, partition helped make this image more alive, bright, deep in meaning.

Often, the works of modern composers are encountered on the wall of misunderstanding and a prejudicable relationship from the musical theater. It should be noted that sometimes really extravagant experiments do not benefit the art. But unambiguously correct look at the development process of the opera is not and can not be. For example, in the distant 1913, Sergey Prokofiev received from S. Dyagileva, not to write music for the opera, but to apply exclusively to the ballet. Dyagilev argued that the opera dies, and ballet, on the contrary, blooms. And what do we see after almost a century? What many overall scores of Prokofiev can compete on saturation, melodiousness, beauty with the best classic works of this genre.

Not only the composer and librettist take part in creating an opera performance, but also the theater itself, in which this performance will be put. After all, it was on the stage that the opera receives his second birth, acquires a stage embodiment, filled with visual perception. The traditions of stage execution are replaced by each other, along with each new era incessantly enriched.

The main character of the musical theater is actor and singer. He creates a stage image, and depending on the interpretation of this or that artist, the viewer will perceive certain characters, knowing the opera art. Drama and music are closely related to each other, the interpretation of the artist and the hero of the opera exists inextricably, the musical solution and the stage action are inseparable from each other. Each opera artist is the creator, the Creator.

New performances come to replace the old performances, the repertoire of the Bolshoi Theater is regularly replenished with new names of artists and new productions. And each such statement embodies the next serious step of the Great Theater on its significant historical path. This path is filled with endless searches and ambitious accomplishments and victories. The Bolshoi Theater combines the greatness of the past, the progress of the present, the achievement of the future. Modern generations of directors, artists, composers and librettists invariably help the large theater to achieve regular heights in art.

The history of the Bolshoi Theater is no less interesting and majestic than the productions living on its scene. The building building, the pride of our culture, is not far from the Kremlin walls, in the very center of the capital. It is made in a classic style, its features and lines are struck by monumentality, solemnity. Here you can see the white colonnade, as well as the famous quadrigu, decorating the fronton building. Here everything is large and grandiose - ranging from the forms of the architectural ensemble and ending with the number of the team. The hall is made in luxurious red and decorated with gold, has five tiers, illuminated with a magnificent huge chandelier of crystal. At the same time, there may be more than 2,000 spectators here! The scene is also impressive with its sizes - 22 meters in the depth and 18 width. During the opera with an epic scope of the scene, it allows to accommodate up to 400 people, and at the same time they will not feel in flavored. The Bolshoi Theater team consists of more than 2000 employees - this is the administration, technical staff, artistical workers and many other qualified specialists. Many as opera, and ballet performances were born on the stage of the Bolshoi Theater, and since then, since the birth of a big and ending with modernity, more than 1000 prime ministers were shown here. And now you will learn how it all starts ...

So, we will be transferred to the distant 1776 year. On May 17, the Capital Provider Prosecutor P.Uurusov received a government privilege. She allowed the prosecutor to engage in the organization of theatrical ideas, masquerades and other entertainment events. Urusov was needed a companion for work, and this companion was passionately in love with the theater art of the Englishman M.Medox - an enterprising and clever man. On May 17, 1776, it is customary to consider the birthday of the Moscow Professional Theater. Initially, theatrical troupe consisted of only 13 actors, 9 actresses, 13 musicians, 4 dancers, 3 dancers and balletmaster. There was no own premises at the collective, I had to rent a house of Count Vorontsov, located on the sign.

The premiere speech took place in 1777 - it was Opera D. Zorin "Rebirth". Subsequently, the historian P.Arapov so expressed this setting: "The eighth of January was decided to give the first opera, the original ... It was composed of Russian songs. Called "rebirth". The Directorate was very worried about the execution of the opera, and on purpose before the premiere convened the audience to ask her permission. Despite excessive fears, there was a great success. "

Two years later, a new production was presented - the comic opera "Melnik - sorcerer, a deceiver and swat". As a librettist, A. Besimov came, music wrote M.Sokolovsky. Contemporaries testified that the play was popular among the public, there was a "playing" many times and always with full all-shallow. And not only the Russian audience gladly came to look and listen to this opera, but foreigners also honored their attention. Perhaps this is the first Russian opera performance that has gained such world fame.

In the newspaper "Moscow Vedomosti" in 1780, February 26, it was possible to read the announcement that announced the construction of its own building for the theater. To this end, a spacious stone house is selected, located on the Big Petrovskaya Street, near the Kuznetsky bridge. The announcement also mentioned that the situation inside the theater is expected to "best in its kind." The companions acquired for the construction of the land on the right bank of the Neglinki. It is quite difficult to imagine now that there was almost a desert terrain on the site of the Bolshoi Theater, periodically flooded by the river. On the right bank of the river, the road was held leading to the Kremlin from the Novopetrovsky Monastery. Gradually, the road disappeared, Petrovskaya Street with trading orders was built in her place. Wooden Moscow was often burning, the fires destroyed the buildings, instead of burnt houses built new ones. And even after the shopping benches were changed by stone buildings, from time to time there were fires in these places ... The theater building was erected very quickly - from stone, three floors, seal roof. It took for five months to build - and this is instead of five years allocated in accordance with the government privilege. 130 thousand silver rubles were spent on construction. The building was erected by the German architect Christian of Roseberg. This construction was impossible to be called beautiful, but she truly hit the imagination with its sizes. The facade of the building went to Petrovskaya Street, and the theater was called Petrovsky.

The theater repertoire included performances ballet, opera, as well as dramatic performances, but the Operas most likely liked the public. Thanks to this, Petrovsky Theater soon acquired the second, unofficial name: "Opera House". In those days, theatrical team has not yet been divided into drama and opera artists - the same faces appeared both in ballet and in the opera, and in drama. An interesting fact - Mikhail Shpkin, adopted in the Petrovsky Theater troupe, started as a opera artist, took part in the "rare item" productions, "misfortune from the carriage." In 1822, he fulfilled the water carrier party in the Opera L. Kurubini of the same name - this role forever became one of the most favorite roles of the artist. Pavel Urochalov, the famous tragic, embodied Hamlet and at the same time led the spoken party of Vadim in Opere A. Verst. And subsequently, when a small theater was already built, the scene of the Bolshoi Theater continued to abound with dramatic performances, as well as layouts with the participation of diverse actors.

The story does not have full information about the first repertoire of the Petrovsky Theater, but there are evidence that the opera "misfortune from the carriage" V. Pashkevich, St. Petersburg Gostiny Dvor, and the "Rosanne and Love" I.Ceczelli. The repertoire was different in the early XIX century differed in diversity, but the audience especially brought the Opera K. Kavos - "Mnife Invisible", "Love Mail" and "Cossack-poem". As for the "Cossack" - he did not disappear from the theater repertoire for more than forty years!

The performances did not go daily, mostly two or three times a week. In winter, performances showed more often. For the year, the theater gave about 80 performances. In 1806, Petrovsky Theater received state status. The fire of 1805 destroyed the building about which we told above. As a result, the team was forced to give views on a variety of Moscow sites - this is the new Arbat Theater, and Pashkov's house on Mokhovah, and the Apraksina House on Znamenka.

Professor A.Mikhailov, in the meantime, engaged in the development of a new project for the theater. Emperor Alexander First approved the project in 1821. Construction instructed the architect O. Bov. As a result, a new and majestic, largest in Europe has grown on the site of the burned building, it was recognized as the second in size after the "La Scala" theater in Milan. The facade of the theater, which was called great for its scale, went to the theater area.

In January 1825, namely - January 17 - the number of the newspaper "Moscow Vedomosti", which described the construction of a new building of the theater. The article about the theater was noted that the event seems to be for the descendants as a kind of miracle, and for contemporaries - as something completely amazing. This event approaches Russia to Europe - just one glance at the Bolshoi Theater ... The opening of the Bolshoi Theater was accompanied by the Prologue of Alyabyev and the Versta "Celebration of Mus", as well as ballet F. Sor "Sandrillon". The patron of MUZ Apollo read from the stage the solemn poetic lines, in which the beginning of new, happy times of mercy were passionately proclaimed. "The proud stranger ... will envy in the fruits of the abundant world .... Writing with envy to our banners." Those who wish to see with their own eyes the first stage in the Bolshoi Theater was so much that the Directorates had to sell tickets pre-avoiding, thus, the pillar of the premiere day. Despite its impressive sizes, the auditorium of the theater could not even accommodate half of the public. To satisfy the requests of the audience and not to offend anyone, the next day the performance was completely repeated.

A. Chevstovsky, a well-known Russian composer, held in those years the post of music inspector. His personal contribution to the formation of the domestic opera theater is very large. Subsequently, the Versta became the inspector of the repertoire, and after the manager at the Moscow theater office. Russian musical drama received its development at the vests - it all started with small water operas, and then turned into large opera works of a romantic nature. The vertex of the repertoire was the Opera "Askoldov grave" belonging to Peru of the Verstaistsky.

Opera M.Glinka became not just a colossal phenomenon in the history of classical music in general, but also a significant stage in the development of the Bolshoi Theater. Glinka is considered to be the founder of domestic classics. In 1842, his "Heroic-tragic" operator "Ivan Susanin" was put on the new scene ("Life for the king"), and in the 1845th Opera Ruslan and Lyudmila. Both of these works played an important role in the establishment of the traditions of the musical epic genre, as well as in the embedding the foundations of their own, Russian opera repertoire.

Decent successors of the beginnings of M. Glinka became composers of A.Serov and A.Dargomyzhsky. With the Opera Dargomyzhsky "Mermaid", the public met in 1859, and in 1865 the Light Ramp saw the Serov Opera "Judith". In the 40s, there is a tendency to disappear from the repertoire of the Bolshoi Theater of foreign performances that are mainly entertaining and low-consuming. They are pushing out serious opera performances of the guard, Mozart, Donizetti, Bellini and Rossini.

About the fire in the theater - he happened in 1853, March 11th. Stood frosty and cloudy morning early spring. The fire in the building flashed instantly, failed the reason. Fire in a matter of seconds united all the premises of the theater, including the auditorium and scene. For a few hours, the dot burned all the wooden structures, except for the lower floor with a buffet, an office and a cashier, as well as the side hall. The flames tried to put out for two days, and on the third day there were only burnt columns and ruins of the walls on the site of the theater. Many valuable things died during a fire - wonderful costumes, rare scenery, expensive musical instruments, part of the assembled vest music library, the archive of theatrical troupe. The damage caused to theater was estimated at about 10 million silver rubles. But not so scary there were material losses, how much pain is spiritual. Eyewitnesses recalled that the giant was terribly and look like a flame. It was the feeling that it was not a building, and a close and loved one ...

Pretty quickly began restoration work. The new building was decided to erect on the site of the burnt. In the meantime, the troupe of the Bolshoi Theater gave performances in the room of the Small theater. On May 14, 1855, the draft of the new building and the scaffolding filled the area. Albert Kavos was appointed architect. The restoration of the Bolshoi Theater spent the year and four months. Remember, we said that part of the facade and outer walls preserved on the fire? Kavos used them during the construction, and also did not change the theater layout, only somewhat increased the height, slightly modified the proportions and re-established decorative elements. Kavos was great with the architectural features of the best European theaters, perfectly understood in the technical aspects of the scene and the auditorium. All these knowledge helped him to create excellent lighting, as well as optimize optics and acoustics as much as possible. So, the new building has emerged even more ambitious in size. The height of the theater is already 40 meters, and not 36; The height of the portication increased by the meter. But the columns decreased slightly, but insignificantly, in total meters. As a result, the renewed large theater broke the most bold Italian records. For example, the San Carlo Theater in Naples could boast the curtain width of 24 Arsshina, the famous Milan "La Scala" - 23 ARSHINA, "Phenic" in Venice - 20 Arshin. And in the Bolshoi Theater, the curtain width was 30 Arshins! (1 Arshin is a little more than 71 centimeters).

Unfortunately, the pride of the Architectural Arrangement of the Bolshoi Theater, the Alebastra group, headed by Apollo, died on fire. To create a new architectural group, Kavos appealed to the Russian sculptor Peter Klodta. It was Peter Klodt that is the author of the famous equestrian groups, adorning the bridge over the fountain in St. Petersburg. The result of the sculptor was the quadriga with Apollo, gained fame worldwide. The quadrigue was cast from alloy metals and covered with red copper with galvanization. The new architectural group exceeded the size of the old one and a half meters, its height now accounted for 6.5 meters! The ensemble was on the skate of the roof of the portico on the pedestal and moved a little ahead. The sculpture is located in one row the four horses carrying to drag and pronounced in a quadrig, which stands and manages the God of Apollo with Lear and in a laurel wreath.

Why was Apollo been chosen by the theater symbol? As is known from Greek mythology, Apollo is a patron of art - poetry, singing, music. Antique structures were often decorated with quadrigs with similar deities. At the front of the majestic buildings, both in Russia and Europe, such quadrigs could often be seen.

The auditorium was decorated not less exquisite and luxurious. The records of the architect Albert Kavos were preserved, in which he mentioned his work precisely above the auditorium of the Bolshoi Theater. Kavos wrote that she sought to decorate the lounge lounge, but not too fried, mixing the Byzantine style and lightweight renaissance. The main pride of the hall was the magnificent chandelier - candelabra and lamps in three rows decorated with crystal. No less enthusiastic reviews also deserve the internally decoration - drapery in the licks of saturated raspberry color, decorated with gold patterns; The prevailing white color is everywhere, exquisite arabestes on all floors. The stucco barriers and carvings were engaged in the Master AHT with his brothers, sculptural works performed Schwartz, painting on the walls was created by the hand of Academician of Titov. The ceiling in the auditorium also painted titles. This design is unique, it takes about 1000 square meters and is made in the subject "Apollo and Music - the patroness of the arts".

According to ancient Greek legend, God Apollo in the spring and summer went to the high Parnass and the wooded slopes of the Helikon to drive a dance with muses, which, as you know, was nine. Muses are daughters mnemosins and the Supreme God of Zeus. They are young and beautiful. Apollo plays on the golden kifare, and the muses sing a slim chorus. Each muse is a patronage of a certain type of art, and each of them has its own subject, symbolizing this type of art. Calliopa is responsible for epic poetry, playing flute; Evterpa also plays on the flute, but also reads the book - she patronizes poetry lyrical. Another patroner of poetry - Erato is responsible for love poems, and in her hands she has Lira. Melpomen carries a sword, she is a muse tragedy. The waist is responsible for comedy and holds an elegant mask, Terraticor, a muse dance, Timpan carries. Klio is a history muse, her eternal satellite - Papyrus. The uranium muse that is responsible for astronomy does not part with the globe. The ninth sister and muse, polish, is designed to patronize the sacred anthems, but artists depict her as a muse of painting, with paints and a brush. With the appearance of Apollo and the Nine Muses, a blessing silence reaches the Olympus, Zeus stops throwing the formidable lightning and the gods dance under the magical melodies of Apollon Kifara.

The curtain is another attraction of the Bolshoi Theater. This is a real work of art, which was created by a kozoy-douzy, professor of painting from Venice. In Italian theaters, it was accepted on the curtain to portray any episode from the life of the city, and for the Bolshoi Theater, according to the same tradition, chose 1612 - namely, the episode, when Muscovites with bread-salt meet liberators, warriors led by mini and Pozhesky. Forty years old curtain with this picture decorated the famous scene. In the future, the curtains in the Bolshoi Theater changed not once. In the 30s of the last century, the artist F. Fedorovsky developed a curtain project, depicting three historical dates - 1871, 1905 and 1917 (the first date - Paris commune, the second date is the first revolution in Russia, the third date is the October Revolution). This is a topical design remained for fifteen years. Then due to the overall wear of the curtain, it was decided to leave a common style, but at the same time strengthen political topics. The task of reconstructing the curtain was assigned to the artist M. Petrovsky, it was 1955. Petrovsky in his work was focused on the initial sketches of Fedorovsky.

An updated theater curtain was decorated with a complex ornament. In the design, the image of the scarlet tightened and the inscription "USSR" was used, the phrase "Nice, nod, native land!", As well as the image of the lyra, the golden stars; Of course, it was not without the famous Soviet sickle and hammer emblem, symbolizing fertility and work. Silk was chosen as a curtain material with a golden thread to him. The curtain area was approximately 500 square meters, and its mass exceeded a ton.

But back in the XIX century, during the recovery work, headed by architect Kavos. These were completed in 1856, and on August 20, the grand opening of the Bolshoi Theater was held in the presence of Tsarist Pers. The Italian troupe performed the Puritan opera V. Bellini.

The external and inner appearance, which the Bolshoi Theater acquired in 1856, has been preserved with some changes to this day. The building in which the large theater is located is considered to be a masterpiece of Russian classical architecture, historical and cultural attractions, a model of classical architecture, one of the most beautiful theatrical buildings in the world.

Composer Sergey Rachmaninov wrote: "Have you ever seen in the pictures of the Moscow Big Theater? This building is great and grand. A large theater is located on the square, which was first called theatrical, because there was another theater, the imperial, famous for his dramatic performances. The last theater is inferior to the first. According to the size, the theaters called respectively large and small. "

For quite a long time, the Bolshoi Theater was a subordinate Directorate of Imperial Theaters by a cultural institution. The orchestra was headed by people casual, which were little interested in the musical content of the productions. These "leaders" ruthlessly detected entire episodes from the scores, bass and baritone parties were redoned for tenors, and tenor - for bass, etc. For example, in Opere K. Deber "The Magic Arrows", the Caspar's batch was so disfigured and reduced that it turned into a dramatic. To decline success in the audience, raised old popular productions. F. Kokoshkin, director of Moscow imperial theaters, in 1827 made a report in which he mentioned the following - he had to put "attractive" performances in the repertoire of the Bolshoi Theater to eliminate "non-bank in income"; And he succeeded - the "Invisible" opera provided impressive fees.

The budget of the Russian opera of that period was very limited. New costumes did not sew, new scenery did not build, satisfying with old reserves. Even the parade opera Glinka "Life for the king" ("Ivan Susanin") performed in old decorations and costumes until they completely turned into rags. The scarcity of the scenic situation was striking, especially in comparison with the Petersburg theater. In St. Petersburg in the 1860s, the decorative principles were completely updated and began to issue performances with unprecedented scope.

The second half of the XIX century brought with them some changes for the better. The changes began with the arrival of the theater in the 1880s of two talented musicians - I. Altani, who took the post of chief conductor and U.Avranek, who received the position of the second conductor and the chief choirmister. The number of the orchestra reached 100 people, the choir is 120 people. These years are characterized by a flourishing of musical art in Russia as a whole, which was inextricably linked with an impressive rise in public life. This lifting led progress in all areas of culture, not only in music. The best classic opera works were created in that epoch; They amounted to the further base of the domestic opera repertoire, its property and pride.

Music and scenic art reached the unprecedented rise in the early century twentieth. The opera team of the Bolshoi Theater was enriched with ingenious singers, subsequently glorifying the theater for the whole world - this is Fyodor Shalyapin, Leonid Sobinov, Antonina Nezommen. Sobyov's debut took place in 1897 in Opere A. Serbestein "Demon", where the future great singer fulfilled the Sanidal party. Fedor Chaliapina called in 1899, when the public first saw him on the operatic scene as Mephistople, in the play "Faust". Antonina Nezommen in 1902, while still a student of the Moscow Conservatory, brilliantly performed in Opere M. Glinka "Life for the king" as Antonida. Shalyapin, Sobinov and Nezhdanov are real diamonds in the opera history of the Bolshoi Theater. They found an excellent artist, Pavel Khokhlov, the best in the role of a demon and the creator of the scenic image of Evgeny Onegin.

In addition to enriching the team, talented performers are enriched at the beginning of the twentieth century and theater repertoire. It includes ambitious and significant in the artistic sense of performances. In 1901, October 10, the Opera Roman-Korsakov "Pskovysian" comes out, in which Fyodor Shalyapin is leading the party of Ivan the Grozny. In the same 1901th, the Light of the Ramp saw the Opera "Mozart and Salieri", in the 1905th - Pan-Voevoda. In 1904, the new version of the famous opera "Life for the Tsar" was presented to the public of the Bolshoi Theater, in which young "stars" troupe - Shalyapin and Nezhdanov took part. The domestic opera classic was also replenished with works by M. M. Khovanchinsky, Roman-Korsakov "Tale of Tsar Saltan" (1913) and "Tsarist Bride" (1916). They were not forgotten in the Bolshoi Theater and about the production of remarkable foreign composers, on his stage in those years, D. Puccini opera, P. Maskanya, R. Lyonkallo, as well as the opera cycle R. Vagner were put in the scene.

Sergey Rakhmaninov collaborated with a large theater fruitfully and successfully, showed himself not only as a brilliant composer, but also as a talented conductor. In his work, high professionalism, skills in the cutting of execution were combined with a powerful temperament, the ability to finely feel the style. The works of Rachmaninov significantly improved the quality of Russian opera music. We also note that the name of this composer is associated with a change in the location of the conductor console on the scene. Previously, the conductor had to be placed his back to the orchestra, face to the stage, near the ramp; Now he stood so that he could see the scene, and the orchestra.

Separate attention deserves a magnificent and highly professional orchestra of the Bolshoi Theater, as well as his no less professional choir. For 25 years, the orchestra was led by Vyacheslav Suk, and the choir team - Ulrich Avranek, a conductor and Chormeister. The play of the theater was drawn up artists Vasily Polenov, Alexander Golovin, Konstantin Korovin and Apollinaria Vasnetsov. It is thanks to their creativity, a colorful, shaped, majestic appearance was acquired.
The borders of the centuries brought with them not only achievements, but also problems. In particular, the contradictions were aggravated between the policy that the Directorate of Imperial Theaters was led, and artistic plans of creative theatrical forces. The activities of the Directorate wore the nature of technical backwardness and routine, was still focused on the staged experience of the imperial scenes. This conflict led to the fact that the Big Theater periodically fell out of the cultural life of the capital, giving way to the palm of the championship of the Opera Theater of S. Zimin and private opera S. Mamontov.

But the collapse of the imperial theaters was not far off. The last speech of the old format in the Bolshoi Theater was held in 1917, February 28. And already on March 2, the following entry could be seen in the theater schedule: "The bloodless revolution. There is no performance. " On March 13, the official opening of the State Big Theater took place.

The activities of the Bolshoi Theater resumed, but not long. October events forced to interrupt performances. The last performance of the peaceful period was the opera A. Voliba "Lakme" - was given on October 27. And then armed uprisings began ...

The first season after the October Revolution was opened on November 8, 1917 by the general decision of the Bolshoi Theater team. And on November 21, at the stage of the theater, the Opera D.verdi "Aida" was held under the leadership of Vyacheslav Bitch. Aida batch performed Ksenia Durzhinskaya. On December 3, Opera K.sensen Santa "Samson and Dalila" was published, which became the premiere of the season. Nadezhda Obukhov and Ignatami Dugs took part in it.

On December 7, 1919, the order of A. Lunachar, the People's Commissioner of Enlightenment, according to which the Mariinsky, Mikhailovsky and Alexander theaters in Petrograd, as well as large and small theaters in Moscow, should continue to refer to the "state academic". Over the next few years, the fate of the Bolshoi Theater remained the subject of acute disputes and tense discussions. Some were confident that the theater would turn into the focus of musical forces of socialist art. Others argued that a large theater does not have prospects for development and cannot be transformed in accordance with the coming era. And it was a heavy time for the country - hunger, fuel crisis, destroying and civil war. Periodically raised the question of the closure of the Bolshoi Theater, was questioned the need for its existence, was proposed to destroy the theater as a "bone" akademism citadel.
After the October Revolution, the theory of "Emitting Opera Genres" was also active, which arose at the beginning of the twentieth century.

Tralchultovtsy Ryano argued that the opera is a kind of art with a "negative luggage" and is not needed by the Soviet man. In particular, it was proposed to remove the "Snow Maiden" repertoire, since one of its central characters is the demonarh demigod (Berendei), and this was unacceptable. In general, all the operas of the composer of Rimsky-Korsakov did not suit the breakdowns. Also, they fiercely attacked the "Traviata" and "Aida" Giuseppe Verdi, and even his works. Opera in those years defended the progressive intellectuals whom A. Lunacharsky was headed. The intelligentsia was actively and selflessly fought for the preservation of a classic opera repertoire, for preventing the formulations of nihilistic prostriculty performances. Lunacharsky boldly criticized vulgarism ideas, opposed the attacks on Aida and Traviata, argued that many members of the party love these operas. Soon after the revolution, Lunacharsky on behalf of Lenin appealed to theatrical leadership with a request to develop interesting activities to attract the creative intelligentsia to enlightenment. The Bolshoi Theater responded to this request by the cycle of symphony orchestras, who did not converge from the scene - no little - five years. These concerts consisted of classical works, both Russians and foreign. Each speech was accompanied by an explanatory lecture. Lunacharsky himself took part in these concerts as a lecturer, called them "the best phenomenon in the musical life of the capital of the 20s of the 20th century." These events were held in the auditorium. Removed the barrier, which was chosen by the hall from orchestral pit, having a string group on specially fitted machines. The first cycle concert took place in 1919, on May 4th. The hall was filled. The works of Wagner, Beethoven and Bach were sounded, conducted by the Orchestra S. S. S.Kushevitsky.

Symphony concerts in the Bolshoi Theater were held on Sundays, in the morning. In the future, the program included works by sheet and Mozart, Tchaikovsky, Scriabin and Rachmaninov, and the Emil Cooper was conducted by the orchestra, Vyacheslav Suk, Oscar Fried and Bruno Walter. And the composer Alexander Glazunov was conducted by the orchestra on his own in the performance of his works.

For the public in the early 1920s, a concert hall was opened in the Bolshoi Theater, which was subsequently recognized as one of the most acoustically competently built, elegant and sophisticated halls of Moscow. Now, this room is called Beethovensky. The former imperial foyer for the general public in the pre-revolutionary years was not available. Only a little lucky people managed to see his luxurious walls decorated with silk decorated with handmade embroidery; His stunning beauty ceiling with stucco in the style of old Italy; His rich bronze chandeliers. In 1895, this hall was created as a work of art, and in such a constant form he reached the present day. In 1920, the Soloist of the Bolshoi Theater V. Kubatsky offered to put several hundred chairs in the hall and to build a compact stage, on which instrumental evenings and chamber concerts were held.

In 1921, on February 18, a solemn opening ceremony of a new concert hall in the Bolshoi Theater took place. The ceremony was timed to the 150th anniversary of the birth of a brilliant composer, Ludwig Van Beethoven. Lunacharsky spoke at the opening of the hall and delivered a speech in which the Beethoven "Walking to Communism" "People's" Russia is very expensive and especially needed ... After that, the hall became called Beethovensky. Many years later, in 1965, the Bust of Beethoven's work of the sculptor P. Shapiro will be installed here.

So, the Beethoven Hall has become a venue for chamber music concerts. The famous instrumentalists and performers were spoken here - Nadezhda Obukhov, Konstantin Igumnov, Svyatoslav Knushevitsky, Vera Dulova, Antonina Nezhdanova, Egon Petri, Isai Dobrovain, Ksenia Erdeli and many others. Music Moscow has become inextricably linked with the Bethoven Hall of the Bolshoi Theater ... So it lasted until the period of World War II. The hall was closed, and for almost two decades it was unavailable for the public. The second discovery took place in 1978, March 25. The doors of the famous hall opened, and the audience was able to visit Saturday's day concerts again, almost every one of which became a real event in the metropolitan musical life.

It should be noted that in the 1920s, a unique bellon was established in the Bolshoi Theater, which does not exist around the world. She was collected by the Zvonarem A. Kusakin throughout Russia; By the way, it was Kusakin for many years that was the only performer of the bell tower in theatrical productions. The bells were selected, based on the tonal characteristics, their number reaches forty. The weight of the largest bell exceeds five tons with almost three meter diameter; The diameter of the smallest bell is 20 centimeters. We can hear a real bell ringing on the opera performances "Prince Igor", "Ivan Susanin", "Boris Godunov" and others.

The second scene was actively involved in the productions of the Bolshoi Theater, starting from the end of the XIX century. In the fall of 1898, the opening of the Imperial New Theater was held in the premises of the Shelaputinsky Theater (now he is known as the Central Children's Theater). Here, up to the fall of the year of 1907, young artists of large and small theaters gave performances. In 1922, January 8, the new theater was again opened by the Opera "Seville Barber" D. Thusini. In the summer of 1924, the troupe of the Bolshoi Theater was the last time on this scene. In September of the same year, an experimental theater was opened - he was located in the former Opera House of S. Zimin (now we know it as a Moscow theater operetta). At the opening, the opera "Trillby" A.Jurasovsky. September turned out to be rich in the opening of the month - in 1928 this month began the submission of the second Gatoba. In the period from June 1930 to December 1959, a branch of the Bolshoi Theater worked here. During this period, the ramp light saw 19 ballet and 57 opera performances.

In 1961, the troupe of the Bolshoi Theater was at its disposal a premises belonging to the Kremlin Palace of Congresses. Every evening, more than six thousand spectators filled the hall, over 200 performances came out in the season. The work of the Bolshoi Theater in this building was completed in 1989, on May 2, the opera "Troubadour" Giuseppe Verdi.

Let us return in the 20s - although the time was severe and for creative work conditions were extremely severe, from the repertoire of the Bolshoi Theater did not come out serious works of Roman-Korzakov, Glinka, Mussorgsky, Dargomyzhsky, Tchaikovsky and Borodin. The leadership of the theater strongly sought to acquaint the public with the glorified operas of also foreign composers. Here, for the first time, the Russian public saw Salome, "Chio-Chio-San" (1925), "Floria Strank" (1930), "Figaro wedding" (1926). The stage embodiment of the modern opera took the team of the Bolshoi Theater, starting in the 1920s. The premiere of the opera of the Yurasovsky Trillby took place in 1924, in the 1927 curtain rose for the Opera Prokofiev "Love for Three Oranges". For five years (until 1930), a large theater has released 14 ballets and operas of modern composers. These works were prepared by different scenic fate - some came out only a couple of times, others lasted several seasons, and individual operas continue to delight the public to this day. The modern repertoire, however, was different in turnover due to the complexity of creative searches for young composers. Not always these experiments became successful. In the 1930s, the situation has changed - one after another opera Gliera, Asafyev, Shostakovich began to appear. The skill of performers and authors has risen mutually and fruitful. The updated repertoire brought up new artists. The rich opportunities of young performers allowed composers and playwrights to expand the range of creative searches. It should not be noted in this regard, Opera "Lady Macbeth Mtsensky County", belonging to Peru of the Great Composer Dmitry Shostakovich. It was put on the scene of the Bolshoi Theater in 1935. The so-called "song" operas of the famous author I. Dzerzhinsky had important importance - this is the "quiet Don" (1936) and "raised virgin" (1937).

The Great Patriotic War began, and the work of the theater in the hospital had to suspend. The troupe was evacuated in Kuibyshev (Samara) by the order of the government of October 14, 1941. The building remained empty ... For almost two years, a large theater worked in evacuation. At first, the audience, who came to the Kuibyshev Culture Palace, saw only certain concert programs performed by the artists of the orchestra, ballets and operas, but in the winter of 1941, full-fledged performances began - "Traviata" Verdi, Swan Lake Tchaikovsky. In the repertoire of the Bolshoi Theater team in 1943, nine operas and five ballet performances were in Kuibyshev. And in 1942, on March 5, here in the fulfillment of the Bolshoi Theater orchestra was performed by the seventh Symphony of Shostakovich for the first time in the country. This musical event has become significant in the culture of both Russia and the whole world.

However, it should be mentioned that not all artists went to the rear, some remained in Moscow. Part of the troupe continued to perform in the branch office. The action was often interrupted by air attacks, the audience had to descend into a bomb shelter, but the performance continued invariably after the alarm's postal signal. In 1941, October 28, a bomb was reset on the building of the Bolshoi Theater. She destroyed the wall of the facade and exploded in the foyer. For a long time the theater closed by a camouflage network seemed abandoned forever. But in fact, restoration and repair work was actively accomplished inside it. In the winter of 1942, a group of artists, headed by P. Korin, began to restore the inner design of the theater, and in 1943, on September 26, work on the main scene was resumed by one of the favorite operas - "Ivan Susanin" M. Glinka.

Years passed, the theater continued to develop and improve. In the 1960s, a new rehearsal hall was opened here, which was located on the top floor, almost under the roof itself. The shape and dimensions of the new platform did not inferior the game scene. In the adjacent hall there was a place for an orchestral pit and an extensive amphitheater, which traditionally contains musicians, artists, ballersters, artists and, of course, directors.

In 1975, they were preparing for a large-scale holiday in honor of the 200th anniversary of the foundation of the theater. Restorers were bored for fame - updated gilding, thread and stucco in the auditorium, restored the former white-gold design, hiding under the layers of paint. 60 000 Sheets of gravestone needed in order to return to the barriers of the royal glitter. The lodges also decorated with a dark red cloth. They removed the luxurious chandelier, carefully cleaned the crystal and repaired small breakdowns. The chandelier returned to the ceiling of the Summary Hall of the Bolshoi Theater in an even more magnificent form, shone all the 288 lamps.

After the restoration, the visual hall of the most important theater of the country again began to resemble a woven of gold, snow, fiery rays and purple Golden tent.
The post-war time for the Bolshoi Theater was noted by the emergence of new productions of the operas of domestic composers - this is "Eugene Onegin" (1944) and Boris Godunov (1948) and "Hovanshchina" (1950), "(1949)," Tale of the Grade of Cite " , "Mlada", "Golden Cockerel", "Ruslan and Lyudmila", "Night before Christmas". Having giving a tribute to the creative heritage of the Czech, Polish, Slovak and Hungarian composers, the Bolshoy Theater added Opera works "Sold by the Bride" (1948), "Galka" (1949), "Her Padder" (1958), "Bank" (1959) . They were not forgotten in the Bolshoi Theater and about the production of foreign operas, "Aida", "Othello" and "Falstafa", "Tosca", "Fidelio" and "Fra-Devolo" appeared on the scene. Subsequently, the repertoire of the Bolshoi Theater has been enriched with such rare works as "Iphigenments in Avlida" (1983, K. Glüc), Julius Caesar (1979, Gendel), "Beautiful Melnichikha" (1986, D. Pizhello), "Spanish hour "(1978, M.Fravel).

The stage incarnation of the operas of modern authors in the Bolshoi Theater was noted by major successes. The premiere of the "Decembrists" opera "Decembrists", the premiere of the Opera "Decembrists", was a magnificent musical work of historical topics. Also, the poster of the Theater Pedolla's beautiful operators Sergey Prokofiev - "War and Peace", "Player", "Semen Kotko", "Engagement in the Monastery".

The Bolshoi Theater team carried out continuous and fruitful cooperation with musical figures of foreign theaters. For example, in 1957, the Orchestra at the Opera "Taming of the Shrew" in the Bolshoi Theater was conducted by Czech Maestro Zhalak Khalabala, in the formulation of the opera play "Don Carlos" a conductor of Bulgaria took part in the Asen. German directions were invited, Erhard Fisher, Joachim Herz, who prepared for the production of the opera "Troubadour" Giuseppe Verdi and the "Flying Dutchman" Richard Wagner. Opera "The Castle of the Duke of the Blue Beard" in 1978 on the stage of the Bolshoi Theater was set by Hungarian director Andrah Miko. Nikolai Benua, an artist from the famous "La Scala", decorated in the Bolshoi theater "Sleeping in the Summer Night" (1965), "Bal-Masquerade" (1979), "Mazepa" (1986).

The team of the Bolshoi Theater is superior to many theatrical teams of the world, consisting of over 900 artists of the orchestra, choir, ballet, opera, the mimic ensemble. One of the basic principles of the Bolshoi Theater's activities was the right of each artist not to be separate, a separate link, and to be part of the whole as its important and integral part. Here, the stage action and music are closely interrelated, they strengthen each other, acquiring special psychological and emotional properties that can have a strong influence on listeners and audience.

The Bolshoi Theater Orchestra is also a reason for pride. It is distinguished by the highest professionalism, impeccable sense of style, perfect teamwork and musical culture. 250 artists are part of the orchestra, which performs the richest repertoire, saturated with the works of foreign and Russian opera playing drama. The chore of the Bolshoi Theater consists of 130 performers. This is the most important component of each opera stage. The ensemble is characterized by high skill, which was noted during the French tour of the Bolshoi Theater Paris press. In the newspaper wrote - no global opera house still knew such that the public would cause bis chorus. But this happened during the premiere play "Hovanshchina", executed by the Bolshoi Theater team in Paris. The audience with delight applauded and did not calm down until the choir's artists did not repeat their magnificent number on the bis.

Also, a large theater can be proud of his talented faithful ensemble, created in the 1920s. The main purpose of the ensemble was to participate in the extras, as well as performed by individual gaming parties. 70 artists work in this ensemble, taking part in each formulation of the Bolshoi Theater, both ballet and opera.
The performances of the Bolshoi Theater have long entered the Gold Fund of World Opera Art. The Bolshoi Theater largely dictates the world's continued path of scenic development and reading classical works, and also successfully masters the modern forms of the existence of the opera and ballet.