Artistic director of the Mariinsky Theater. The head of the ballet troupe, Mahar Vaziev, resigned. Mariinsky Theater Information About

One of the oldest and leading musical theaters in Russia. The history of the theater dates back to 1783, when the Stone Theater was opened, in which drama, opera and ballet troupes performed. Department of opera (singers P.V. Zlov, A.M. Krutitsky, E.S. Sandunova, etc.) and ballet (dancers E.I. Andreyanova, I.I. Valberkh (Lesogorov), A.P. Glushkovsky, A.I. Istomina, E.I. Kolosova, etc.) troupes from the dramatic occurred in 1803. Foreign operas were performed on stage, as well as the first works of Russian composers. In 1836, the opera “Life for the Tsar” by M.I. Glinka was staged, which opened the classical period of Russian opera art. Outstanding Russian singers O.A. Petrov, A.Ya. Petrova, as well as M.M. Stepanova, E.A. Semyonova, S.S. Gulak-Artemovsky sang in the opera troupe. In the 1840s. The Russian opera troupe was pushed aside by the Italian one, which was under the patronage of the court, and transferred to Moscow. Her performances were resumed in St. Petersburg only in the mid-1850s. on the stage of the Circus Theatre, which after a fire in 1859 was rebuilt (architect A.K. Kavos) and opened in 1860 under the name Mariinsky Theater (in 1883-1896 the building was reconstructed under the direction of architect V.A. Schröter). Creative development and the formation of the theater are associated with the performance of operas (as well as ballets) by A.P. Borodin, A.S. Dargomyzhsky, M.P. Mussorgsky, N.A. Rimsky-Korsakov, P.I. Tchaikovsky (many works for the first time). High musical culture The collective was facilitated by the activities of conductor and composer E.F. Napravnik (1863-1916). Choreographers M.I. Petipa and L.I. Ivanov made a great contribution to the development of ballet art. Singers E.A. Lavrovskaya, D.M. Leonova, I.A. Melnikov, E.K. Mravina, Yu.F. Platonova, F.I. Stravinsky, M.I. performed on the stage of the Mariinsky Theater. and N.N. Figner, F.I. Chaliapin, dancers T.P. Karsavina, M.F. Kshesinskaya, V.F. Nizhinsky, A.P. Pavlova, M.M. Fokin and others. The performances were designed by major artists , including A.Ya. Golovin, K.A. Korovin.

After the October Revolution, the theater became state, and since 1919 - academic. Since 1920 it was called State academic theater opera and ballet, since 1935 - named after Kirov. Along with the classics, the theater staged operas and ballets Soviet composers. A great contribution to the development of musical and theatrical art was made by singers I.V. Ershov, S.I. Migai, S.P. Preobrazhenskaya, N.K. Pechkovsky, ballet dancers T.M. Vecheslova, N.M. Dudinskaya, A. V. Lopukhov, K. M. Sergeev, G. S. Ulanova, V. M. Chabukiani, A. Ya. Shelest, conductors V. A. Dranishnikov, A. M. Pazovsky, B. E. Khaikin, directors V. A. Lossky, S. E. Radlov, N. V. Smolich, I. Yu. Shlepyanov, choreographers A. Ya. Vaganova, L. M. Lavrovsky, F. V. Lopukhov. During the Great Patriotic War, the theater was located in Perm, continuing to work actively (several premieres took place, including the opera “Emelyan Pugachev” by M.V. Koval, 1942). Some theater artists who remained in besieged Leningrad, including Preobrazhenskaya, P.Z. Andreev, performed in concerts, on the radio, and participated in opera performances. In the post-war years, the theater paid great attention Soviet music. The artistic achievements of the theater are associated with the activities of the main conductors S.V. Yeltsin, E.P.Grikurov, A.I.Klimov, K.A.Simeonov, Yu.X.Temirkanov, directors E.N.Sokovnin, R.I.Tikhomirov , choreographers I.A. Belsky, K.M. Sergeev, B.A. Fenster, L.V. Yakobson, artists V.V. Dmitriev, I.V. Sevastyanov, S.B. Virsaladze and others. In the troupe ( 1990): chief conductor V.A.Gergiev, chief choreographer O.I.Vinogradov, singers I.P.Bogacheva, E.E.Gorokhovskaya, G.A.Kovalyova, S.P.Leiferkus, Yu.M.Marusin, V.M.Morozov, N.P.Okhotnikov, K I. Pluzhnikov, L. P. Filatova, B. G. Shtokolov, ballet dancers S. V. Vikulov, V. N. Gulyaev, I. A. Kolpakova, G. T. Komleva, N. A. Kurgapkina, A .I.Sizova and others. Awarded the Order of Lenin (1939), October revolution(1983). Large circulation newspaper "For soviet art"(since 1933).

Mariinsky theatre, Mariinsky theater poster
Coordinates: 59°55′32″ N. w. 30°17′46″ E. d. / 59.92556° n. w. 30.29611° east. d. / 59.92556; 30.29611 (G) (O) (I)

Mariinskii Opera House(modern official name State Order of Lenin and Order of the October Revolution Academic Mariinsky Theater, from 1935 to January 16, 1992 - Leningrad State Academic Opera and Ballet Theater named after S. M. Kirov) - Musical Theatre in St. Petersburg. One of the most famous and significant opera and ballet theaters in Russia and the world. It was founded in 1783.

• 1. History
• 2 Venues
• 3 Repertoire
• 4 Troupes
  • 4.1 Opera
  • 4.2 Ballet
  • 4.3 Orchestra
• 5 Guide
• 6 Festivals
• 7 Partners and sponsors
• 8 See also
• 9 Notes
• 10 Literature
• 11 Press
• 12 Links

Story

The theater traces its history back to its foundation in 1783 by order of Empress Catherine the Great Bolshoi Theater, which was located in a building later rebuilt as the St. Petersburg Conservatory. Was part of Imperial theaters Russia.

Maria Alexandrovna, after whom the theater is named

On July 12, 1783, a decree was issued approving a theater committee “to manage spectacles and music.” On October 5, the Bolshoi Stone Theater was inaugurated on Carousel Square, from which the history of the theater dates back. Later, Carousel Square changed its name to Teatralnaya.

In 1859, the Circus Theater located opposite the Bolshoi Theater burned down. In its place, the architect Alberto Cavos built new theater, which was named Mariinsky in honor of the wife of Alexander II, Empress Maria Alexandrovna. First theater season opened in the new building on October 2, 1860 with Glinka’s “A Life for the Tsar.” In 1886, the old theater building was rebuilt as a conservatory, and the repertoire was completely transferred to the stage of the Mariinsky Theater.

On November 9, 1917, with the change of power, the theater, which became the State Theatre, was transferred to the jurisdiction of the Commissariat of Education of the RSFSR; in 1920 it became academic and since then has been fully called the “State Academic Theater of Opera and Ballet” (abbreviated as GATOB). In 1935, shortly after the murder of the first secretary of the Leningrad regional committee of the CPSU (b) Sergei Kirov, the theater, like many other objects, settlements, enterprises, etc. of the USSR, were given the name of this revolutionary.

In 1988, after the death of Yevgeny Mravinsky and the departure of Yuri Temirkanov to the Philharmonic, Valery Gergiev became the artistic director and chief conductor of the Mariinsky Theater.

Venues

• The main building of the Mariinsky Theater (Teatralnaya Square, 1)
• Second stage of the Mariinsky Theater (Mariinsky-2). The official opening and gala concert took place on May 2, 2013
• Concert hall Mariinsky Theater (third stage), (Dekabristov St., 37)
• From 2016, a branch of the Mariinsky Theater (fourth stage) will begin work at the Vladivostok Opera House

In the off-season, the theater makes its stage available for performances by other groups.

Repertoire

Troupes

• Persons: Mariinsky Theater

Opera

The opera troupe is famous for such names as Maria Maksakova, Leonid Sobinov, Irina Bogacheva, Yuri Marusin, Olga Borodina, Sergei Leiferkus, Olga Kondina and Anna Netrebko.

Ballet

Orchestra

• Musicians of the Symphony Orchestra
• Chief conductors of the Mariinsky Theater

Management

Artistic director and director - Hero of Labor of the Russian Federation, National artist Russian Federation, laureate of the State Prizes of the Russian Federation Valery Abisalovich Gergiev.

Festivals

• International Arts Festival “Stars of the White Nights”
• Moscow Easter Festival
• Festival modern music"New Horizons"
• Festival "Maslenitsa"
• Mariinsky Ballet Festival
• Festival "Brass Evenings at the Mariinsky"

Partners and sponsors

General partner of the theater

• VTB Bank

Main partners of the theater

• Sberbank
• Yoko Ceschina
• Gazprom

Main sponsors of the theater

• Total
• Mercury
• TeliaSonera

Director and artistic director theater Valery Gergiev said that American film director James Cameron and Apple Corporation could become partners of the Mariinsky Theater. The collaboration with Cameron is connected with the plans of the theater management to develop filming of productions in 3D format.

see also

• Conductors of the Mariinsky Theater

Notes

1. Official website of the Mariinsky Theater. About the theater
2. In St. Petersburg, the new stage of the Mariinsky Theater welcomed its first spectators - Channel One
3. In 2016, a branch of the Mariinsky Theater will begin operating in Primorye. Retrieved September 13, 2015.
4. History of the opera troupe - on the Mariinsky Theater website
5. Opera artists - on the Mariinsky Theater website
6. Ballet soloists - on the Mariinsky Theater website
7. Mariinsky Theater Orchestra - on the Mariinsky Theater website
8. Magazine of the Other - “Stars of the White Nights” in Moscow
9. Sponsors of the Mariinsky Theater - on the Mariinsky Theater website
10. James Cameron may become a partner of the Mariinsky Theater - Voice of Russia

Literature

• Opera and Ballet Theater named after S. M. Kirov / compiled by T. S. Kruntyaev; authors of essays A. M. Sokolova, Ya. I. Lushina, A. K. Koenigsberg; general editing by V. N. Gurkov; scientific editor A. S. Rozanov. - L.: Music, 1983. - 240 p. - 20,000 copies.
• Pantheon and repertoire of the Russian stage / F. Koni. - Petersburg: St. Petersburg, 1850.
• Classical dance. History and modernity / L. D. Blok. - M.: Art, 1987. - 556 p. - 25,000 copies.
• V. A. Telyakovsky. Diaries of the director of the imperial theaters. 1901-1903. St. Petersburg / Under the general. ed. M. G. Svetaeva. Prepare text by S. Ya. Shikhman and M. A. Malkina. Comment. M. G. Svetaeva and N. E. Zvenigorodskaya with the participation of O. M. Feldman. - M.: ART, 2002. - 702 p.
• V. A. Telyakovsky. Diaries of the Director of the Imperial Theaters. Saint Petersburg. 1903-1906 / Under the general ed. M. G. Svetaeva; Prepare text by M. A. Malkina and M. V. Khalizeva; Comment. M. G. Svetaeva, N. E. Zvenigorodskaya and M. V. Khalizeva. - M.: ART, 2006. - 928 p.
• V. A. Telyakovsky. Diaries of the Director of the Imperial Theaters. Saint Petersburg. 1906-1909 / Under the general ed. M. G. Svetaeva; Prepare text by M. V. Khalizeva and M. V. Lvova; Comment. M. G. Svetaeva, N. E. Zvenigorodskaya and M. V. Khalizeva. - M.: ART, 2011. - 928 p.
• A. Yu. Rudnev. Mariinsky Theater: quarter-century results

Press

• Alexey Konkin. Black text on a white background: The famous opera director Graham Vick showed “The Makropoulos Remedy” at the Mariinsky Theater. " Russian newspaper" - vol. No. 5320 (241) dated October 25, 2010. Retrieved February 22, 2011.
• Maria Tabak. The Mariinsky Theater will present the ballet “Giselle” in Washington. RIA Novosti (02.08.2011). Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• The Mariinsky Theater will bring opera and ballet on tour to Moscow. RIA Novosti (01/19/2011). Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• Mariinsky Opera and Ballet Theater - history. Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• The Mariinsky Theater will present the premiere of Giuseppe Verdi's opera Attila. RGRK “Voice of Russia” (07/13/2010). Retrieved February 22, 2011. Archived from the original on August 27, 2011.
• Mariinsky Theater (inaccessible link - history). Encyclopedia "Around the World". Retrieved September 24, 2011. Archived from the original on April 1, 2009.

Links

Mariinsky theater, Mariinsky theater address, Mariinsky theater poster, Mariinsky theater Wikipedia, Mariinsky theater Vladivostok, Mariinsky theater curtain, Mariinsky theater how to get there, Mariinsky theater new stage, Mariinsky theater of opera and ballet, Mariinsky theater hall diagram

Mariinsky Theater Information About

Theaters occupied an important stage in the history of the formation of Russian culture and traditions. Among the significant and outstanding theaters, the Mariinsky Theater has become a unique historical and architectural landmark of the country. Art connoisseurs have always ranked him among the best. Many historians, architects, and ordinary citizens are interested in the history of the creation of the Mariinsky Theater.

It is eventful and deserves attention. The founding date and beginning of the existence of the Mariinsky Theater is considered to be 1783, when, by direct order of Catherine, it was decided to open the Bolshoi Kamenny Theater on Theater Square, in those days it was called Carousel Square.

In the mid-nineteenth century in 1859, the Circus Theater, built immediately opposite the famous Bolshoi Theater, was, unfortunately, completely destroyed, caused by a severe fire. Instead of the burnt building, a new building was erected - the building of the now famous Mariinsky Theater. It didn’t get its name by chance; it was customary to call it Mariinsky. It was not without reason that this name was given to it - in honor of Empress Maria Alexandrovna (wife of Alexander II).

In this theater, the first theatrical season opened a little later, only in 1860. A little later, it was decided to rebuild it, and the entire repertoire was transferred to the stage of the Mariinsky Theater.

Each era in history has left its historical imprint. During the revolutionary period, the theater changed its name to the State Theater, and starting in 1920 it was renamed the State Academic Opera and Ballet Theater. But the renaming of the theater did not end there either - in the mid-thirties (1935) it was named after the famous revolutionary Sergei Kirov.

Modern Mariinsky Theater

On this moment it includes three operating sites:

— the main site is the theater building itself on Teatralnaya;
— the second stage was opened in 2013;
- third stage - Concert hall, open on the street. Decembrists.

Over the years of its existence, a huge number of unique works have been staged on the stage of the Mariinsky Theater. You could buy tickets to the ballet “The Nutcracker”, enjoy the magnificent production of “Sleeping Beauty”, “Peter Grimes”, etc.

In total, over the years of the twentieth century, over thirty operas and 29 ballets were staged on its stage. This is very high rate. Found your inspiration here best composers and artistic leaders of the country. Today a huge number of people work here professional actors- real aces of theatrical art.

It should be noted that the Great Patriotic War left a huge unpleasant imprint on the history of the theater itself. In addition to material damage, the theater team lost about three hundred artists who, unfortunately, died at the front.

To see a unique game talented actors Many guests from other countries came to the country. Every year the theater received many people who wanted to attend the famous Mariinsky productions.

Many artists participating in popular and well-known productions even today were awarded special thanks and awards.

Let's hope that buildings such as the Mariinsky Theater are no longer threatened dramatic changes. Due to little funding from the state, actors have to get involved in the development of the repertoire. Every year we can observe that the efforts of our ancestors were not in vain - the stage of the Mariinsky Theater gave quite big number outstanding actors and opera performers.

Valery Gergiev, artistic director of the Mariinsky Theater. Photo – Varvara Grankova

The artistic director and director of the Mariinsky Theater talks about how to attract five thousand spectators every night.

Before the opening of the new building of the Mariinsky Theater (it will be celebrated on May 2 with a gala concert), its artistic director and director Valery Gergiev conducted an acoustic test. The 40-minute concert program was composed of things designed to demonstrate all the properties of acoustics: from the thunderous tutti orchestra of one hundred musicians and the grandiose choirs of Verdi and Mussorgsky to the subtlest pianissimo Adagietto from Mahler's Fifth Symphony. Coming out from behind the control panel, the maestro gave the audience an impromptu tour of the theater, after which he spoke with the Friday columnist.

Today I deliberately played something very quiet, almost a prayer, and the most powerful symphonic score, where the orchestra is simply bursting, and I also spurred it on - I tried all the extremes. It is already clear that the hardness of copper is not needed, the guys themselves understood. But this is the first time, you need to feel what the acoustic scale of the hall accepts and what not, you need to move it...

If we talk about the whole complex of parameters - acoustic, technical: lighting, machinery, etc. - the Metropolitan Opera has been mastering them for almost 60 years. Covent Garden - 13 years, La Scala - 9, both after major reconstructions. As for new buildings - I know well the theaters of Baden-Baden, Toronto, several Japanese ones, a giant complex in Beijing - I opened it.

It is absolutely clear that the acoustics here are one of the best among all those mentioned. The Metropolitan is considered the leader in terms of equipment, but we will have even more technical capabilities than the Met. And the space inside the building is enormous. However, it is important to learn how to handle all this with great freedom, with natural ease. It's a matter of time, we will certainly try. So now I wouldn’t be engaged in the thankless task of compiling ratings; let’s put this issue aside for at least a year.

- You already have some kind of favorite place? Except for the conductor's stand, of course.

Behind the controls is my job. But I really like the small halls and corners in the foyer - spaces for chamber concerts. It seems to me that they should become bright accents inside this huge complex. Because they open up enormous opportunities for attracting new audiences - primarily schoolchildren and students.

We now have dozens of musicians playing in chamber ensembles: a magnificent string ensemble (and more than one), a wonderful brass ensemble. I think they will be glad to meet a new audience, primarily children. If some 3 “B” class comes, say, from some school No. 136 and hears Little Night Serenade or Serenade for String Orchestra, and they are also told that Mozart and Tchaikovsky took up music as children just like them and then they started writing great music, and now the whole world is listening to it - starting from such an elementary level, you can motivate children to further long-term thoughtful perception.

At one time, you proclaimed enlightenment as one of the main strategies of the Mariinsky Theater Concert Hall: operas in Russian, popularization concerts. Can you evaluate its effectiveness?

We have perhaps the best sales statistics in the world, and children's subscriptions fly away, no matter how many you buy. When I talk to people from the Met, they don't believe that such sales can happen. Please click on our website to see how the hall is filled at these programs.

That is, you have no doubt that the three stages of the Mariinsky Theater will attract approximately five thousand spectators every night, despite the fact that the rest of the theaters in St. Petersburg are not closed?

Only our very serious work will ultimately make this project successful. We are ready for it.

- What is the repertoire policy of the new stage?

Every month we will transfer four or five performances here from the historical building and show them two or three times. In the new conditions, the performance will have to be mounted, lit, and everyone who moves the scenery, dresses the actors, etc. needs to get used to it. Not to mention the fact that in the old building the focus of sound is completely different and here it must be carefully re-calibrated.

How quickly this process goes depends on how long it takes the team of each production to adapt to the new stage. We expect to have collected 18-20 titles by the end of July - beginning of August. This is not so little, considering that there are almost a hundred of them in our repertoire. There are performances that you especially want to see on this stage, and there are those that can wait. Each performance has several components of success. The first is the power of the work itself. The second, if these are historical productions, is scenography, because from the point of view of today's directing it is already difficult to analyze them.

- I bet: “Khovanshchina” 1960 is one of best performances Mariinsky Theater.

I know, that’s why I conduct it all the time. “Khovanshchina” was directed by Leonid Baratov, then the hand of various other directors touched it - we needed to introduce new choir artists, clean up the crowd scenes. But at the heart of it all is Fyodor Fedorovsky’s unchanging scenery.

In general, the basis of the basics is powerful creativity great artists who worked at the Mariinsky Theater: Korovin, Golovin. What is Korovin’s “Underwater Kingdom” worth in “Sadko” - I want to see it here! But it needs to be properly lit, then it will not be a painted canvas, but fairy tale. But in no case should you force something or push something in the back while filling the repertoire. I absolutely do not want cancellations for technical reasons. We know that both the Bastille Opera in Paris and the Royal Opera House in London initially had huge problems of this kind - that's what I'm afraid of.

- Are there productions specifically for the new stage?

Certainly. Rodion Konstantinovich Shchedrin wrote the opera “Lefty” at our request; it will be a world premiere. Another premiere is Sasha Waltz’s ballet “The Rite of Spring,” which we will show for the first time here and then in Paris. "Rusalka" by Dargomyzhsky. Even the presentation of the building on May 2 will not be just a gala concert in costumes, but a kind of performance with a script on the theme of some kind of transformation, the transition of the Mariinsky Theater from one state to another.

- Why didn’t a significant part of the townspeople accept the new building?

What happens in this theater, both in the historical building and in the Concert Hall, is the subject of my constant attention and reflection. So I don't have time to think about different statements, especially less literary ones, about a project that is very important to us.

I thought about something else - after all, the initial attitude can change. Remember how they reacted to the Pussy Riot action in the Cathedral of Christ the Savior: many people thought it was sacrilege and caused outrage. By the way, I feel about the same way. But then another part of society was outraged by the measures that were taken, considered the sentence too harsh, and sympathized with the fact that the girls would have to spend years in prison. You see, I have already divided our huge society into two parts, and there are much more of them.

In the situation with the emergence of a new theater, the only important reaction for me from both St. Petersburg and the entire Russian public, to which I will be extremely attentive, is how in a year they will react to this huge fusion of creativity of an architect, composers, artists, directors, conductors, artists .

Now some people hastily called this almost an urban planning mistake. What about the Palace of Culture. The first five-year plan, which stood on this site, was a huge urban planning and artistic achievement? Not sure. And St. Petersburg as a whole is changing, and the Mariinsky Theater too - it wasn’t like this back in the 1960s, but 150 years ago it was completely different.

In the 1960s, it became clear that the team was suffocating within the historical walls, then a huge part of the building was added. And many outstanding artists, including Mikhail Baryshnikov, grew up taking ballet classes in this annex. Is it possible in principle to build in the historical part of the city - or should everything, like the Gazprom tower, be moved to the outskirts of Lakhta? I don't think the emergence of something new opera house in Lakhta would be a natural harmonious scenario both for the city and for the history of the Mariinsky Theater.

I repeat: in a year or two we have the opportunity to ensure that this building is perceived as part of a single rich cultural space St. Petersburg. And I am largely confident of success, simply because we work harder than others.

By the way, when we conceived the Concert Hall, we didn’t ask anyone’s opinion, we just built it, and very quickly. However, it seems that no debates around this project arose then. Of course, I believe in a higher power, something moved me, something led me to a goal, and I walked towards it. As a result, our Concert Hall very quickly gained recognition - the recordings made in it are today a huge success throughout the world, and they will say much more about the merits of the hall than any words I can utter.

Opera is an elitist art, and not every passerby will dare to speak out about it. Unlike architecture, which is judged by everyone. Maybe the idea of ​​democracy is false when it comes to art?

I have a strong suspicion, and I had it all these years when we were working on the new building, that the architect is still better versed in architecture than everyone who talks about it. Not absolutely everything, but almost. Here we are now in the room where I was already about eight months ago, and even then everything inside was done. And outside, except for the highest points of the roof, everything was completed.

But then - when the theater was basically almost ready, the main contours were visible - not only did no controversy arise, there was, in principle, no conversation. Maybe I was just too lazy to start it? And all the noise started right now, when the fences had not yet been removed and the lights had not been turned on. Let's talk when the theater appears in its full architectural design.

As for democracy, there is a well-known joke: some officer, seeing Sergei Prokofiev in the Assembly of Nobility, approached him: “Are you Prokofiev?” - "Yes". - “I don’t like your music!” Sergei Sergeevich replied: “Well, you never know who is allowed into concerts...”

You have said more than once that culture is the only thing that can now create positive image Russia in the world. But there has never been any consistent policy in this area. Can you, as an authoritative member of society, a member of the top officials of the state, influence this?

It doesn’t seem to me that Russia should accept some kind of “devil’s plan” that will help it suddenly suddenly export its entire culture. I think this process should go naturally. But some smarter program would not hurt the masters whom the whole world knows, and especially - here I would like to emphasize - those who are on the verge of a rapid and bright career on a national and global scale. But this process will still not so much be determined from above as naturally arise from below.

Now, as part of the “Faces of Modern Pianism” festival, we are showing not only famous pianists high class, but also young. But these guys are the future winners of the Tchaikovsky Competition. Or the Chopin, Rubinstein, Cliburn competitions, this is such a level.

They are 15-16 years old - but after all, Grigory Sokolov was 16 when he won the Tchaikovsky Competition, the rules were even rewritten for him. And by the way, I also did this for the 17-year-old Korean Seng Jin Cho, who took bronze, but could have won. I intend to devote the years that I can continue to direct the Mariinsky Theater to give a significant part of my time, effort, and energy to the younger generation, to help young people find themselves.

On May 2 you turn 60 years old - in Soviet times at this age they were sent off to a “well-deserved rest.” It is clear that in your case there is no question of this, but still you still have global plans - or will you develop what has already been developed?

There are two or three important projects in my life, in which many people may take part. But now, it seems to me, it’s a sin to even talk about it. We are opening a new theater, and the main thing is to think not about my anniversary or age, but about how it will live a normal, interesting life.