Which architect created the big theater. About the big theater. Reconstruction of the theater building

Initially, Grand Theatre was a government official and, together with Maly, formed a Moscow troupe imperial theaters. It was considered the private theater of the provincial prosecutor Pyotr Urusov, the prince. On March 28, 1776, Empress Catherine II signed him a “privilege” for the maintenance of balls, performances, masquerades and other events for a period of ten years. Nowadays, this date is considered the founding of the Moscow Bolshoi Theater.

The composition of the artists at that time was very diverse: from local serfs to invited stars from neighboring states. The opening of the theater took place on December 30, 1780. It received its first name in honor of the place where it was built; the entrance faced straight onto Petrovka Street. The name Petrovsky Theater was firmly attached to it. However, in the fall of 1805 there was a fire, in which the building of the Petrovsky Theater completely burned down.

In 1819, based on the results of a competition, the project of Andrei Mikhailov, a professor at the Academy of Arts, was selected. But after recognizing this project as too expensive, Moscow governor Dmitry Golitsyn chose the architect Osip Bove and ordered him to correct Mikhailov's version. Beauvais did an excellent job, and in addition to reducing the cost, he significantly improved the project itself. According to the work of Golitsyn, in July 1820, construction began on the theater building, which was to become the center of the urban composition of the square, as well as adjacent streets.

The opening of the new Petrovsky Theater took place on January 6, 1825. It was significantly larger in size than the old one, which is why it received the name Bolshoi Petrovsky Theater. The size was truly impressive. It surpassed even the St. Petersburg stone theater in monumental grandeur, proportionality of proportions, harmony of architectural forms and wealth interior decoration. In this form, the building existed for only thirty years, and in 1853 it suffered the same fate as its predecessor: the theater burst into flames and burned for three days. Professor of the St. Petersburg Academy of Arts Albert Kavos, who was the chief architect of the imperial theaters, received the right for the next reconstruction.

Work to restore the Bolshoi Theater progressed rapidly, and already in August 1856 the building opened its doors to the public. This speed was caused by the coronation of Emperor Alexander II. The architect's main attention was paid to the stage section and auditorium. This led to the fact that the Bolshoi Theater in the second half of the 19th century was considered one of the best theaters in the world, thanks to its acoustic properties. However, the Imperial Bolshoi Theater stood until February 28, 1917. On March 13, the State Bolshoi Theater was opened.

The revolution of 1917 brought with it the expulsion of the curtains of the imperial theater. It was only in 1920 that the artist Fedorovsky created a sliding curtain consisting of bronze-painted canvas. It was this canvas that became the main curtain of the theater until 1935, when the order for a curtain with woven revolutionary dates “1871, 1905, 1917B” was fulfilled. Since 1955, the “golden” Soviet curtain, again made by Fedorovsky, hung in the theater. The curtain was decorated with Soviet symbols.

Upon completion October revolution the building and the very existence of the Bolshoi Theater became under threat. More than one year was spent trying to ensure that the victorious proletariat abandoned the idea of closing the theater forever. The first step was to award the theater the title of Academic in 1919, but even this did not give it guarantees that there would be no demolition. But already in 1922, the Bolshevik government decided that the closure of such a cultural monument would have a negative impact on the entire Russian history.

In April 1941, the Bolshoi Theater closed for scheduled repairs, and two months later the Great Theater began Patriotic War. Most of the artists went to the front, but the rest continued to play performances.

On October 22, 1941, at exactly 4 o'clock in the afternoon, a bomb fell on the Bolshoi Theater building. A significant part of the structure was damaged. However, despite the harsh weather and severe cold, restoration work began in winter. The autumn of 1943 brought with it the opening of the Bolshoi and the resumption of its work with the production of M. Glinka’s opera “A Life for the Tsar”. Since then, cosmetic renovations of the theater have been carried out almost every year.

A large rehearsal hall was opened in 1960, located right under the roof. The celebration of the theater's 200th anniversary in 1975 took place in the restored auditorium and Beethoven hall. But the main problems of the Bolshoi Theater still remained the shortage visual seats and foundation instability. These problems were resolved in 1987, when by decree of the Russian Government it was decided to urgently reconstruct the building. However, the first work began only eight years later, and another seven years later the New Stage building was built. The theater operated until 2005 and closed again for restoration.

Today, a new mechanical stage allows for maximum use of lighting, visual and sound effects. Thanks to the renovation, the Bolshoi Theater now has an underground concert hall, which is located under Theater Square. This work became truly significant in the life of the theater. Specialists of the highest level were assembled, whose work can only be truly appreciated by visiting the Bolshoi Theater.

The unique reconstruction project of the Bolshoi Theater allowed modern audiences to literally touch history. After all, today, having bought, the viewer will enjoy the beautiful musical performances and carefully recreated 19th-century interiors. Of course, another remarkable architectural solution was the construction of an underground concert and rehearsal hall, equipped with the most modern underground mechanical equipment. Such designs have proven themselves to work flawlessly in various theaters around the world - Vienna Opera, the Olympia Theater in Spain, the Copenhagen Opera, and the Komische Opera in Berlin. Particular attention was paid to the acoustics of the hall, which meets the highest requirements of international acoustic standards. There is an underground concert hall under Theater Square.

BIG THEATER Russian State Academic Theater (SABT), one of oldest theaters countries (Moscow). Since 1919 academic. The history of the Bolshoi Theater dates back to 1776, when Prince P. V. Urusov received the government privilege “to be the owner of all theatrical performances in Moscow” with the obligation to build a stone theater “so that it could serve as a decoration for the city, and moreover, a house for public masquerades, comedies and comic operas." In the same year, Urusov invited M. Medox, a native of England, to participate in expenses. The performances were held at the Opera House on Znamenka, which was in the possession of Count R.I. Vorontsov (in summer time- in the “voxal” in the possession of Count A. S. Stroganov “near the Andronikov Monastery”). Opera, ballet and dramatic performances were performed by actors and musicians from the theater troupe of Moscow University, the serf troupes of N. S. Titov and P. V. Urusov.

After the Opera House burned down in 1780, in the same year a theater building in the style of Catherine's classicism was erected on Petrovka Street in the same year - the Petrovsky Theater (architect H. Rosberg; see Medoxa Theater). Since 1789 it has been under the jurisdiction of the Board of Guardians. In 1805, the building of the Petrovsky Theater burned down. In 1806, the troupe came under the jurisdiction of the Directorate of the Moscow Imperial Theaters and continued to perform in different premises. In 1816, a restructuring project was adopted Theater Square architect O.I. Bove; In 1821, Emperor Alexander I approved the design of a new theater building by architect A. A. Mikhailov. T.n. The Bolshoi Petrovsky Theater in the Empire style was built by Beauvais according to this project (with some modifications and using the foundation of the Petrovsky Theater); opened in 1825. A horseshoe-shaped auditorium was inscribed into the rectangular volume of the building; the stage area was equal in area to the hall and had large corridors. The main façade was accented by a monumental 8-column Ionic portico with a triangular pediment, topped with a sculptural alabaster group “Apollo’s Quadriga” (placed against the backdrop of a semicircular niche). The building became the main compositional dominant of the Theater Square ensemble.

After the fire of 1853, the Bolshoi Theater was restored according to the design of the architect A. K. Kavos (with the replacement of the sculptural group with a work in bronze by P. K. Klodt), construction was completed in 1856. The reconstruction significantly changed it appearance, but retained the layout; The architecture of the Bolshoi Theater acquired features of eclecticism. It remained in this form until 2005, with the exception of minor internal and external reconstructions (the auditorium seats over 2000 people). In 1924–59 a branch of the Bolshoi Theater operated (in the premises of the former Operas by S. I. Zimin on Bolshaya Dmitrovka). In 1920, a concert hall was opened in the former imperial foyer of the theater - the so-called. Beethovensky (returned to him in 2012) historical name"Imperial Foyer"). During the Great Patriotic War, part of the Bolshoi Theater staff was evacuated to Kuibyshev (1941–43); some gave performances on the premises of the branch. In 1961–89, some Bolshoi Theater performances took place on stage Kremlin Palace congresses. During the reconstruction of the main theater building (2005–11), performances were performed only on the New Stage in a specially built building (designed by architect A. V. Maslov; in operation since 2002). The main (so-called Historical) stage of the Bolshoi Theater was opened in 2011, since then performances have been staged on two stages. In 2012, concerts began in the new Beethoven Hall.

A significant role in the history of the Bolshoi Theater was played by the activities of the directors of the imperial theaters - I. A. Vsevolozhsky (1881–99), Prince S. M. Volkonsky (1899–1901), V. A. Telyakovsky (1901–17). In 1882, a reorganization of the imperial theaters was carried out; the positions of chief conductor (kapellmeister; became I.K. Altani, 1882–1906), chief director (A.I. Bartsal, 1882–1903) and chief choirmaster (U.I. Avranek, 1882–1929). The design of performances became more complex and gradually went beyond simple stage decoration; K. F. Waltz (1861–1910) became famous as the chief machinist and decorator.

Subsequently, the musical directors were: chief conductors - V. I. Suk (1906–33), A. F. Arends ( chief conductor ballet, 1900–24), S. A. Lynching(1936–43), A. M. Pazovsky (1943–48), N. S. Golovanov (1948–53), A. Sh. Melik-Pashaev (1953–63), E. F. Svetlanov (1963–65 ), G. N. Rozhdestvensky (1965–70), Yu. I. Simonov (1970–85), A. N. Lazarev (1987–95), artistic director of the orchestra P. Feranets (1995–98), musical director of the Bolshoi theater, artistic director of the orchestra M. F. Ermler (1998–2000), artistic director G. N. Rozhdestvensky (2000–01), musical director and chief conductor A. A. Vedernikov (2001–09), music director L. A Desyatnikov (2009–10), musical directors and chief conductors - V.S. Sinai(2010–13), T.T. Sokhiev (since 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 directing group G.P. Ansimov (1995–2000).

Main choirmasters: V. P. Stepanov (1926–36), M. A. Cooper (1936–44), M. G. Shorin (1944–58), A. V. Rybnov (1958–88), S. M Lykov (1988–95; artistic director of the choir from 1995–2003), 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. Ryndin (1953–70), N. N. Zolotarev (1971–88), V. Ya. Levental (1988–95), S. M. Barkhin (1995–2000; also artistic director, set designer) ; head of the artist service - A. Yu. Pikalova (since 2000).

Artistic director of the theater in 1995–2000 - V. V. Vasiliev . General Directors – A. G. Iksanov (2000–13), V. G. Urin (since 2013).

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

Opera at the Bolshoi Theater

In 1779, one of the first Russian operas, “The Miller - the Sorcerer, the Deceiver and the Matchmaker,” appeared on the stage of the Opera House on Znamenka (text by A. O. Ablesimov, music by M. M. Sokolovsky). The Petrovsky Theater staged the allegorical prologue “The Wanderers” (text by Ablesimov, music by E. I. Fomin), performed on the opening day of December 30, 1780 (10.1.1781), opera performances “Misfortune from the Coach” (1780), “The Miser” (1782 ), “St. Petersburg Gostiny Dvor” (1783) by V. A. Pashkevich. The development of the opera house was influenced by the tours of the Italian (1780–82) and French (1784–1785) troupes. The troupe of the Petrovsky Theater consisted of actors and singers E. S. Sandunova, M. S. Sinyavskaya, A. G. Ozhogin, P. A. Plavilshchikov, Ya. E. Shusherin and others. The Bolshoi Petrovsky Theater opened on January 6 (18), 1825 prologue “The Triumph of the Muses” by A. A. Alyabyev and A. N. Verstovsky. Since that time, the operatic repertoire has been increasingly occupied by works by domestic authors, mainly vaudeville operas. For more than 30 years, the work of the opera troupe was connected with the activities of A. N. Verstovsky - inspector of the Directorate of Imperial Theaters and composer, author of the operas “Pan Tvardovsky” (1828), “Vadim, or the Awakening of the 12 Sleeping Maidens” (1832), “Askold’s Grave "(1835), "Homesickness" (1839). In the 1840s. Russian classical operas “A Life for the Tsar” (1842) and “Ruslan and Lyudmila” (1846) by M. I. Glinka were staged. In 1856, the newly rebuilt Bolshoi Theater opened with V. Bellini’s opera “The Puritans” performed by an Italian troupe. 1860s marked by increased Western European influence (the new Directorate of Imperial Theaters favored Italian opera and foreign musicians). Among the domestic operas, “Judith” (1865) and “Rogneda” (1868) by A. N. Serov, “Rusalka” by A. S. Dargomyzhsky (1859, 1865) were staged; operas by P. I. Tchaikovsky were performed from 1869. The rise of the Russian musical culture at the Bolshoi Theater is associated with the first production at the Bolshoi opera stage“Eugene Onegin” (1881), as well as other works by Tchaikovsky, operas by St. Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky. The best works were staged at the same time foreign composers– W. A. Mozart, G. Verdi, C. Gounod, J. Bizet, R. Wagner. Among the singers 19 – beginning 20th centuries: M. G. Gukova, E. P. Kadmina, N. V. Salina, A. I. Bartsal, I. V. Gryzunov, V. R. Petrov, P. A. Khokhlov. The conducting activity of S. V. Rachmaninov (1904–06) became a milestone for the theater. The heyday of the Bolshoi Theater in 1901–17 is largely associated with the names of F. I. Chaliapin, L. V. Sobinov and A. V. Nezhdanova, K. S. Stanislavsky and Vl. AND. Nemirovich-Danchenko, K. A. Korovina and A. Ya. Golovina.

In 1906–33, the de facto head of the Bolshoi Theater was V. I. Suk, who continued to work on Russian and foreign opera classics together with directors V. A. Lossky (“Aida” by G. Verdi, 1922; “Lohengrin” by R. Wagner, 1923; “Boris Godunov” by M. P. Mussorgsky, 1927) and L. V. Baratov, artist F. F. Fedorovsky. In the 1920s–30s. performances were conducted by N. S. Golovanov, A. Sh. Melik-Pashaev, A. M. Pazovsky, S. A. Samosud, B. E. Khaikin, V. V. Barsova, K. G. Derzhinskaya, E. sang on stage D. Kruglikova, M. P. Maksakova, N. A. Obukhova, E. A. Stepanova, A. I. Baturin, I. S. Kozlovsky, S. Ya. Lemeshev, M. D. Mikhailov, P. M Nortsov, A. S. Pirogov. Premieres of Soviet operas took place: “The Decembrists” by V. A. Zolotarev (1925), “Son of the Sun” by S. N. Vasilenko and “ Toupee artist"I. P. Shishova (both 1929), "Almast" by A. A. Spendiarov (1930); in 1935 the opera Lady Macbeth was staged Mtsensk district» D. D. Shostakovich. In con. 1940 Wagner’s “Die Walküre” was staged (directed by S. M. Eisenstein). The last pre-war production was Mussorgsky's Khovanshchina (13.2.1941). In 1918–22 the Bolshoi Theater functioned Opera studio under the leadership of K. S. Stanislavsky.

In September 1943, the Bolshoi Theater opened its season in Moscow with the opera “Ivan Susanin” by M. I. Glinka. In the 1940s–50s. Russian and European classical repertoire was staged, as well as operas by composers from different countries of Eastern Europe– B. Smetana, S. Moniuszko, L. Janacek, F. Erkel. Since 1943, the name of director B. A. Pokrovsky has been associated with the theater, who for more than 50 years determined the artistic level of opera performances; His productions of the operas “War and Peace” (1959), “Semyon Kotko” (1970) and “The Gambler” (1974) by S. S. Prokofiev, “Ruslan and Lyudmila” by Glinka (1972), “Othello” by G. Verdi are considered standard. (1978). In general, for the operatic repertoire of the 1970s - early. 1980s characterized by stylistic diversity: from operas of the 18th century. (“Julius Caesar” by G. F. Handel, 1979; “Iphigenia in Aulis” by K. V. Gluck, 1983), opera classics of the 19th century. (“Rheingold” by R. Wagner, 1979) to Soviet opera (“Dead Souls” by R. K. Shchedrin, 1977; “Betrothal in a Monastery” by Prokofiev, 1982). In the best performances of the 1950s–70s. sang by I. K. Arkhipova, G. P. Vishnevskaya, M. F. Kasrashvili, T. A. Milashkina, E. V. Obraztsova, B. A. Rudenko, T. I. Sinyavskaya, V. A. Atlantov, A A. Vedernikov, A. F. Krivchenya, S. Ya. Lemeshev, P. G. Lisitsian, Yu. A. Mazurok, E. E. Nesterenko, A. P. Ognivtsev, I. I. Petrov, M. O Reisen, Z. L. Sotkilava, A. A. Eisen, conducted by E. F. Svetlanov, G. N. Rozhdestvensky, K. A. Simeonov and others. With the exclusion of the position of chief director (1982) and the departure of Yu. I. Simonov began a period of instability; Until 1988, only a few opera productions were performed: “The Tale of the Invisible City of Kitezh and the Maiden Fevronia” (directed by R. I. Tikhomirov) and “The Tale of Tsar Saltan” (directed by G. P. Ansimov) by N. A. Rimsky-Korsakov, “ Werther" by J. Massenet (director E. V. Obraztsova), "Mazeppa" by P. I. Tchaikovsky (director S. F. Bondarchuk).

From the end 1980s Opera repertoire policy was determined by a focus on rarely performed works: “The Beautiful Miller’s Wife” by G. Paisiello (1986, conductor V. E. Weiss, director G. M. Gelovani), opera by N. A. Rimsky-Korsakov “The Golden Cockerel” (1988, conductor E. F. Svetlanov, director G. P. Ansimov), “Mlada” (1988, for the first time on this stage; conductor A. N. Lazarev, director B. A. Pokrovsky), “The Night Before Christmas” (1990, conductor Lazarev, director A. B. Titel), “The Maid of Orleans” by Tchaikovsky (1990, for the first time on this stage; conductor Lazarev, director Pokrovsky), “Aleko” and “ Stingy Knight"S. V. Rachmaninov (both 1994, conductor Lazarev, director N. I. Kuznetsov). Among the productions is the opera “Prince Igor” by A. P. Borodin (edited by E. M. Levashev; 1992, joint production with the Carlo Felice Theater in Genoa; conductor Lazarev, director Pokrovsky). During these years, a mass exodus of singers began abroad, which (in the absence of the position of chief director) led to a decrease in the quality of performances.

In 1995–2000, the basis of the repertoire was Russian operas of the 19th century, among the productions: “Ivan Susanin” by M. I. Glinka (resumption of the production by L. V. Baratov 1945, director V. G. Milkov), “Iolanta” by P. I. Tchaikovsky (director G. P. Ansimov; both 1997), “Francesca da Rimini” by S. V. Rachmaninov (1998, conductor A. N. Chistyakov, director B. A. Pokrovsky). Since 1995, foreign operas at the Bolshoi Theater have been performed in their original languages. On the initiative of B. A. Rudenko, the concert performance operas “Lucia di Lammermoor” by G. Donizetti (conductor P. Feranets) and “Norma” by V. Bellini (conductor Chistyakov; both 1998). Among other operas: “Khovanshchina” by M. P. Mussorgsky (1995, conductor M. L. Rostropovich, director B. A. Pokrovsky), “The Players” by D. D. Shostakovich (1996, concert performance, for the first time on this stage, conductor Chistyakov), the most successful production of these years is “The Love for Three Oranges” by S. S. Prokofiev (1997, director P. Ustinov).

In 2001, for the first time at the Bolshoi Theater, the opera “Nabucco” by G. Verdi was staged (conductor M. F. Ermler, director M. S. Kislyarov), under the direction of G. N. Rozhdestvensky, the premiere of the 1st edition of the opera “The Gambler” by S. S took place. . Prokofiev (director A. B. Titel). Fundamentals of repertoire and personnel policy(since 2001): enterprise principle of working on a performance, inviting performers on a contract basis (with a gradual reduction of the main troupe), rental of foreign performances (“Force of Destiny” by G. Verdi, 2001, rental of a production at the San Carlo Theater, Naples); “Adrienne Lecouvreur” by F. Cilea (2002, for the first time on this stage, in the stage version of the La Scala Theater), Verdi’s “Falstaff” (2005, rental of the play at the La Scala Theater, directed by J. Strehler). Among the domestic operas staged were “Ruslan and Lyudmila” by M. I. Glinka (with the participation of “historical” instruments in the orchestra, conductor A. A. Vedernikov, director V. M. Kramer; 2003), “Fire Angel” by S. S. Prokofiev (2004, for the first time at the Bolshoi Theater; conductor Vedernikov, director F. Zambello).

In 2002, the New Stage was opened, the first performance was “The Snow Maiden” by N. A. Rimsky-Korsakov (conductor N. G. Alekseev, director D. V. Belov). Among the productions: “The Rake’s Progress” by I. F. Stravinsky (2003, for the first time at the Bolshoi Theater; conductor A. V. Titov, director D. F. Chernyakov), “The Flying Dutchman” by R. Wagner in the 1st edition (2004, together withBavarian State Opera;conductor A. A. Vedernikov, director P. Konvichny). A subtle minimalist stage design distinguished the production of the opera “Madama Butterfly” by G. Puccini (2005, director and artist R. Wilson ). M.V. brought vast experience as a conductor to the music of P.I. Tchaikovsky. Pletnev in the production of “The Queen of Spades” (2007, director V.V. Fokin). For the production of "Boris Godunov"M. P. Mussorgsky in the version of D. D. Shostakovich (2007) invited director A. N. Sokurov , for whom this was the first experience of working in an opera house. Among the productions of these years are the opera “Macbeth” by G. Verdi (2003, conductor M. Panni, director E. Nekroshus ), “Children of Rosenthal” by L. A. Desyatnikov (2005, world premiere; conductor Vedernikov, director Nekrosius), “Eugene Onegin” by Tchaikovsky (2006, conductor Vedernikov, director Chernyakov), “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” N . Currentzis, director and artist Chernyakov).

Since 2009, the Youth Opera Program began operating at the Bolshoi Theater, whose participants train for 2 years and take part in the theater’s performances. Since 2010, all productions must include foreign directors and performers. In 2010 the operetta " Bat"I. Strauss (for the first time on this stage), the opera "Don Giovanni" by W. A. Mozart (together with International festival in Aix-en-Provence, the Real Theater in Madrid and the Canadian opera house in Toronto; conductor Currentzis, director and artist Chernyakov), in 2011 - the opera “The Golden Cockerel” by N. A. Rimsky-Korsakov (conductor V. S. Sinaisky, director K. S. Serebrennikov).

The first production on the Main (Historical) stage, opened after reconstruction in 2011, is “Ruslan and Lyudmila” by M. I. Glinka (conductor V. M. Yurovsky, director and artist D. F. Chernyakov) - due to the shocking stage solution The opera was accompanied by a scandal. In “counterbalance” to it, in the same year the production of “Boris Godunov” by M. P. Mussorgsky, as revised by N. A. Rimsky-Korsakov, was resumed (1948, director L.V. Baratov). In 2012, the first production in Moscow of the opera “Der Rosenkavalier” by R. Strauss (conductor V. S. Sinaisky, director S. Lawless), the first stage performance in the Bolshoi Theater of the opera “The Child and Magic” by M. Ravel (conductor A. A.) took place. Soloviev, director and artist E. MacDonald), “Prince Igor” by A. P. Borodin was again staged (in a new edition by P. V. Karmanova, consultant V. I. Martynov , conductor Sinaiski, director Yu. P. Lyubimov), as well as “The Enchantress” by P. I. Tchaikovsky, “Somnambulist” by V. Bellini, etc. In 2013, the opera “Don Carlos” by G. Verdi was staged (conductor R. Treviño, director E. Noble), in 2014 – “ The Tsar's Bride" by Rimsky-Korsakov (conductor G. N. Rozhdestvensky, based on the set design by F. F. Fedorovsky, 1955), "The Maid of Orleans" by P. I. Tchaikovsky (concert performance, conductor T. T. Sokhiev), for the first time in Bolshoi Theater - “The Story of Kai and Gerda” by S. P. Banevich. Among the productions recent years– “Rodelinda” by G. F. Handel (2015, for the first time in Moscow, together withEnglish National Opera;conductor K. Moulds, director R. Jones), “Manon Lescaut” by G. Puccini (for the first time at the Bolshoi Theater; conductor Y. Bignamini, director A. Ya. Shapiro), “Billy Budd” by B. Britten (for the first time at the Bolshoi Theater together with English National Opera andDeutsche Oper Berlin;conductor W. Lacy, director D. Alden; both 2016).

Bolshoi Theater Ballet

In 1784, the troupe of the Petrovsky Theater included students of the ballet class that was opened in 1773 at the Orphanage. The first choreographers were Italians and French (L. Paradise, F. and C. Morelli, P. Pinucci, G. Solomoni). The repertoire included their own productions and transferred performances by J. J. Noverra, genre comedy ballets.

In the development of ballet art of the Bolshoi Theater in the 1st third of the 19th century. highest value had the activity of A.P. Glushkovsky, who headed the ballet troupe in 1812–39. He staged performances of various genres, including stories based on A. S. Pushkin (“Ruslan and Lyudmila, or the Overthrow of Chernomor, evil wizard"F. E. Scholz, 1821; “The Black Shawl, or Punished Infidelity” to composite music, 1831), and also transferred many of Sh. L.’s St. Petersburg works to the Moscow stage. Didlo. Romanticism established itself on the stage of the Bolshoi Theater thanks to the choreographer F. Güllen-Sor, who worked here in 1823–39 and transferred a number of ballets from Paris (“La Sylphide” by J. Schneizhoffer, choreography by F. Taglioni, 1837, etc.). Among her students and most famous performers: E. A. Sankovskaya, T. I. Glushkovskaya, D. S. Lopukhina, A. I. Voronina-Ivanova, I. N. Nikitin. Of particular importance were the performances in 1850 of the Austrian dancer F. Elsler, thanks to which the ballets of J. J. were included in the repertoire. Perrault(“Esmeralda” by C. Pugni, etc.).

From ser. 19th century romantic ballets began to lose their importance, despite the fact that the troupe retained the artists who gravitated towards them: P. P. Lebedeva, O. N. Nikolaeva, in the 1870s. – A.I. Sobeshchanskaya. Throughout the 1860s–90s. At the Bolshoi Theater, several choreographers were replaced, leading the troupe or staging individual performances. In 1861–63 K. worked there. Blasis, who gained fame only as a teacher. Most repertoire in the 1860s. there were ballets by A. Saint Leon, who transferred from St. Petersburg the play “The Little Humpbacked Horse” by C. Pugni (1866). A significant achievement of the theater is the ballet “Don Quixote” by L. F. Minkus, staged by M. I. Petipa in 1869. In 1867–69 he carried out several productions by S. P. Sokolov (“Fern, or Night on Ivan Kupala” by Yu. G. Gerber, etc.). In 1877, the famous choreographer W. Reisinger, who came from Germany, became the director of the 1st (unsuccessful) edition of Swan Lake by P. I. Tchaikovsky. In the 1880–90s. choreographers at the Bolshoi Theater were J. Hansen, H. Mendes, A. N. Bogdanov, I. N. Khlyustin. K con. In the 19th century, despite the presence of strong dancers in the troupe (L. N. Gaten, L. A. Roslavleva, N. F. Manokhin, N. P. Domashev), the Bolshoi Theater ballet was experiencing a crisis: Moscow did not see the ballets of P. I. Tchaikovsky (only in 1899 the ballet “The Sleeping Beauty” was transferred to the Bolshoi Theater by A. A. Gorsky), best productions Petipa and L.I. Ivanova. The question of liquidating the troupe, which was halved in 1882, was even raised. The reason for this was partly the lack of attention of the Directorate of the Imperial Theaters to the troupe (which was then considered provincial), untalented leaders who ignored the traditions of Moscow ballet, the renewal of which became possible in the era of reforms in Russian art in the beginning. 20th century

In 1902, the ballet troupe was headed by A. A. Gorsky. His activities contributed to the revival and flourishing of the Bolshoi Theater ballet. The choreographer sought to fill the ballet dramatic content, sought logic and harmony of action, accuracy of national coloring, and historical authenticity. Gorsky began his work as a choreographer in Moscow with adaptations of other people's ballets [Don Quixote by L. F. Minkus (based on the St. Petersburg production by M. I. Petipa), 1900; " Swan Lake"(based on the St. Petersburg performance by Petipa and L. I. Ivanov, 1901]. In these productions, the structural forms of academic ballet were largely preserved (variations, small ensembles, corps de ballet numbers), and in Swan Lake - St. Petersburg choreography. The most complete embodiment Gorsky's ideas were presented in the mimodrama "Gudula's Daughter" by A. Yu. Simon (1902). Gorsky's best original productions were "Salambo" by A. F. Arends (1910), "Love is Fast!" Great importance there were also alterations classical ballets. However, discoveries in the field of direction and character dance, innovative designs of mass numbers that violated traditional symmetry, were sometimes accompanied by unjustified disparagement of the rights of classical dance, unmotivated changes in the choreography of predecessors, and an eclectic combination of techniques coming from various artistic movements of the first decades of the 20th century. Gorsky's like-minded people were the leading dancers of the theater M.M. Mordkin, V.A. Caralli, A. M. Balashova, S. V. Fedorov, pantomime masters V. A. Ryabtsev, I. E. Sidorov. E.V. also worked with him. Geltser and V.D. Tikhomirov, dancers A.E. Volinin, L.L. Novikov, but in general Gorsky did not strive for close cooperation with academic artists. By the end of it creative activity The Bolshoi Theater troupe, which was successively restructured under his influence, largely lost its skills in performing large performances of the old repertoire.

In the 1920s–30s. There has been a tendency to return to the classics. The management of the ballet at this time was actually (and from 1925 ex officio) carried out by V. D. Tikhomirov. He returned the choreography of M. I. Petipa to the 3rd act of La Bayadère by L. F. Minkus (1923), and resumed the ballets The Sleeping Beauty (1924), Esmeralda (1926, new music edition R. M. Gliere).

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

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

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

Since the 1930s. and until mid. 1950s the main trend in the development of ballet was its rapprochement with realistic drama theater. K ser. 1950s The drama ballet genre has become obsolete. A group of young choreographers appeared who strived for transformation, returning its specificity to a choreographic performance, revealing images and conflicts through the means of dance. In 1959, one of the firstborns of the new direction was transferred to the Bolshoi Theater - the ballet " Stone Flower"S. S. Prokofiev in choreography by Yu. N. Grigorovich and design of S.B. Virsaladze(the premiere took place in 1957 at the Leningrad State Theater of Opera and Ballet). In the beginning. 1960s N.D. Kasatkina and V.Yu. Vasiliev staged at the Bolshoi Theater one-act ballets by N. N. Karetnikov (“Vanina Vanini”, 1962; “Geologists”, 1964), I. F. Stravinsky (“The Rite of Spring”, 1965).

From the end 1950s The Bolshoi Theater ballet troupe began to regularly perform abroad, where it gained wide popularity. The next two decades were the heyday of the theater, rich in bright personalities, demonstrating its production and performing style all over the world, which was aimed at a wide and, moreover, international audience. The productions shown on tour influenced foreign editions of the classics, as well as the original work of European choreographers K. Macmillan, J. Cranko and etc.

Yu. N. Grigorovich, who directed the ballet troupe in 1964–95, began his activities with the transfer of “The Legend of Love” by A. D. Melikov (1965), which he had previously staged in Leningrad and Novosibirsk (both 1961). Over the next 20 years, a number of original productions appeared, created in collaboration with S. B. Virsaladze: “The Nutcracker” by P. I. Tchaikovsky (1966), “Spartacus” by A. I. Khachaturian (1968), “Ivan the Terrible” to the music of S. . S. Prokofiev (1975), “Angara” by A. Ya. Eshpai (1976), “Romeo and Juliet” by Prokofiev (1979). In 1982, Grigorovich staged his last original ballet at the Bolshoi Theater - “The Golden Age” by D. D. Shostakovich. These large-scale performances with large crowd scenes required a special style of performance - expressive, heroic, and sometimes stilted. Along with composing his own performances, Grigorovich was actively involved in editing the classical heritage. His two productions of The Sleeping Beauty (1963 and 1973) were based on the original by M. I. Petipa. Grigorovich significantly rethought “Swan Lake” by Tchaikovsky (1969) and “Raymond” by A.K. Glazunov (1984). The production of “La Bayadère” by L. F. Minkus (1991, as edited by the State Academic Opera and Ballet Theater) returned the play to the repertoire, long years not performed on the Moscow stage. Less fundamental changes were made to Giselle (1987) and Corsair (1994, as edited by K.M. in 1992 at the Bolshoi Theater). , Yu.K. Vladimirov, A. B. Godunov etc. However, the predominance of Grigorovich’s productions also had a downside - it led to the monotony of the repertoire. Focus exclusively on classical dance and within its framework - on the vocabulary of the heroic plan (big jumps and adagio poses, acrobatic supports), with the almost complete exclusion from the productions of characteristic, historical, everyday, grotesque numbers and pantomime scenes, they narrowed creative possibilities troupes. In new productions and editions of heritage ballets, character dancers and mimes were practically not involved, which naturally led to the decline of the art of character dance and pantomime. Old ballets and performances by other choreographers were performed less and less often; comedy ballets, traditional for Moscow in the past, disappeared from the stage of the Bolshoi Theater. During the years of Grigorovich’s leadership, productions by N. D. Kasatkina and V. Yu. Vasilyev (“The Rite of Spring” by I. F. Stravinsky), V. I. Vainonen (“The Flames of Paris” by B. V.) that had not lost their artistic value were removed from the stage . Asafieva), A. Alonso (“Carmen Suite” by J. Bizet - R. K. Shchedrin), A.I. Radunsky (“The Little Humpbacked Horse” by Shchedrin), L.M. Lavrovsky (“Romeo and Juliet” by S.S. Prokofiev), the old Moscow editions of “Swan Lake” by Tchaikovsky and “Don Quixote” by Minkus, which were the pride of the troupe, also disappeared. Until sep. 1990s There were no major contemporary choreographers working at the Bolshoi Theater. Individual performances were staged by V.V. Vasiliev, M.M. Plisetskaya, A.B. Ashton [« A futile precaution"F. (L.F.) Herold, 2002], J. Neumayer(“A Midsummer Night’s Dream” to the music of F. Mendelssohn and D. Ligeti, 2004). The greatest French choreographers P. composed ballets especially for the Bolshoi Theater. Lacotte(“The Pharaoh’s Daughter” by C. Pugni, based on the play by M. I. Petipa, 2000) and R. Petit (“ Queen of Spades"to the music of P. I. Tchaikovsky, 2001). From the classics of the 19th–20th centuries. During these years, “Romeo and Juliet” by L. M. Lavrovsky and the old Moscow edition of “Don Quixote” were restored. His own editions of classical performances (“Swan Lake”, 1996; “Giselle”, 1997) were prepared by V. V. Vasiliev (artistic director - director of the theater in 1995–2000). All R. 2000s New productions of ballets by S. S. Prokofiev (“Romeo and Juliet” by R. Poklitaru and D. Donnellan, 2003; “Cinderella” by Yu. M. Posokhov and Yu. O. Borisov, 2006) and D. D. Shostakovich appeared in the repertoire (“Bright Stream”, 2003; “Bolt”, 2005; both – directed by A.O. Ratmansky ), carried out using modern expressive means choreography.

A significant place in the repertoire of the first years of the 21st century. occupied by the works of Ratmansky (in 2004–09, artistic director of the Bolshoi Theater Ballet). In addition to those listed above, he staged and transferred his performances to the Moscow stage: “Lea” to the music of L. Bernstein (2004), “Playing Cards” by I. F. Stravinsky (2005), “Flames of Paris” by B. V. Asafiev ( 2008, using fragments of choreography by V. I. Vainonen), “Russian Seasons” to the music of L. A. Desyatnikov (2008).

Since 2007, the Bolshoi Theater began work on restoring classical ballets based on historical materials. It was especially active in 2009–11, when the artistic director of the troupe was a connoisseur of ancient choreography by Yu. P. Burlak: “Corsair” by A. Adam (2007, staged by A. O. Ratmansky and Burlak after M. I. Petipa), Great Classical steps from the ballet “Paquita” by L. F. Minkus (2008, staged by Burlak after Petipa), “Coppelia” by L. Delibes (2009, staged by S. G. Vikharev after Petipa), “Esmeralda” by C. Pugni (2009, staged by Burlak and V. M. Medvedev after Petipa), “Petrushka” by I. F. Stravinsky (2010, directed by Vikharev based on the MALEGOT edition).

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

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

Initially, the Bolshoi Theater was a state-owned theater and, together with the Maly, formed the Moscow troupe of imperial theaters. It was considered the private theater of the provincial prosecutor Pyotr Urusov, the prince. On March 28, 1776, Empress Catherine II signed him a “privilege” for the maintenance of balls, performances, masquerades and other events for a period of ten years. Nowadays, this date is considered the founding of the Moscow Bolshoi Theater.

The opening of the new Petrovsky Theater took place on January 6, 1825. It was significantly larger in size than the old one, which is why it received the name Bolshoi Petrovsky Theater. The size was truly impressive. It surpassed even the St. Petersburg stone theater in monumental grandeur, proportionality of proportions, harmony of architectural forms and richness of interior decoration. In this form, the building existed for only thirty years, and in 1853 it suffered the same fate as its predecessor: the theater burst into flames and burned for three days. Professor of the St. Petersburg Academy of Arts Albert Kavos, who was the chief architect of the imperial theaters, received the right for the next reconstruction.

At the end of the October Revolution, the building and the very existence of the Bolshoi Theater became under threat. More than one year was spent trying to ensure that the victorious proletariat abandoned the idea of closing the theater forever. The first step was to award the theater the title of Academic in 1919, but even this did not give it guarantees that there would be no demolition. But already in 1922, the Bolshevik government decided that the closure of such a cultural monument would have a negative impact on the entire Russian history.

In April 1941, the Bolshoi Theater was closed for scheduled repairs, and two months later the Great Patriotic War began. Most of the artists went to the front, but the rest continued to play performances.

A large rehearsal hall was opened in 1960, located right under the roof. The celebration of the theater's 200th anniversary in 1975 took place in the restored auditorium and Beethoven hall. But the main problems of the Bolshoi Theater still remained the lack of seats and the instability of the foundation. These problems were resolved in 1987, when by decree of the Russian Government it was decided to urgently reconstruct the building. However, the first work began only eight years later, and another seven years later the New Stage building was built. The theater operated until 2005 and closed again for restoration.

The unique reconstruction project of the Bolshoi Theater allowed modern audiences to literally touch history. Indeed, today, having bought tickets to the Bolshoi Theater, the viewer will enjoy wonderful musical performances and carefully recreated interiors of the 19th century. Of course, another remarkable architectural solution was the construction of an underground concert and rehearsal hall, equipped with the most modern underground mechanical equipment. Such designs have proven themselves to work flawlessly in various theaters around the world - the Vienna Opera, the Olympia Theater in Spain, the Copenhagen Opera, and the Komische Opera in Berlin. Particular attention was paid to the acoustics of the hall, which meets the highest requirements of international acoustic standards. There is an underground concert hall under Theater Square.

BIG THEATER, State Academic Bolshoi Theater of Russia, presenter Russian theater, who played an outstanding role in the formation and development national tradition opera and ballet art. Its emergence is associated with the flourishing of Russian culture in the 2nd half of the 18th century, with the emergence and development professional theater. Created in 1776 by Moscow philanthropist Prince P.V. Urusov and entrepreneur M. Medox, who received government privileges for the development of theatrical business. The troupe was formed on the basis of the Moscow theater troupe of N. Titov, theater artists of Moscow University and serf actors P. Urusov. In 1778–1780, performances were given in the house of R.I. Vorontsov on Znamenka. In 1780, Medox built a building in Moscow on the corner of Petrovka, which became known as the Petrovsky Theater. This was the first permanent professional theater. His repertoire included dramatic, opera and ballet performances. Not only singers, but also dramatic actors took part in opera performances.

On the opening day of the Petrovsky Theater on December 30, 1780, a pantomime ballet was shown Magic shop(post. Ya.Paradise). At that time, choreographers F. and C. Morelli, P. Penucci, D. Solomoni worked in the theater, staging performances Celebration of feminine pleasures, The Feigned Death of Harlequin, or the Deceived Pantalone, Medea and Jason, Toilet of Venus. Ballets with national flavor were popular: Rustic simplicity, Gypsy ballet, Capture of Ochakov. Among the dancers of the troupe, G. Raikov and A. Sobakina stood out. The ballet troupe was replenished with students ballet school Moscow Orphanage (existing since 1773), and serf actors of the troupe of E.A. Golovkina.

The first Russian operas were staged here: Miller - sorcerer, deceiver and matchmaker Sokolovsky (later edited by Fomin) libretto by Ablesimov, Misfortune from the carriage Pashkevich, libr. Princess, St. Petersburg Gostiny Dvor Matinsky and others. Of the 25 Russian operas written in 1772–1782, more than a third were staged on the Moscow stage of the Petrovsky Theater.

In 1805, the building of the Petrovsky Theater burned down, and from 1806 the troupe transferred to the administration of the Directorate of Imperial Theaters, played in various rooms. The Russian repertoire was limited, giving way to Italian and French performances.

In 1825 prologue Triumph of the Muses, staged by F. Güllen-Sor, performances began in the new building of the Bolshoi Theater (architect O. Beauvais). In the 1830s–1840s, the Bolshoi Theater ballet was dominated by the principles of romanticism. Dancers of this direction are E. Sankovskaya, I. Nikitin. Great importance for the formation of national principles performing arts had opera productions Life for the Tsar(1842) and Ruslan and Ludmila(1843) M.I. Glinka.

In 1853, a fire destroyed the entire interior of the Bolshoi Theater. The building was restored in 1856 by the architect A.K. Kavos. In the 1860s, the Directorate leased the Bolshoi Theater to the Italian entrepreneur Merelli for 4–5 performances a week: foreign repertoire was performed.

Simultaneously with the expansion of the domestic repertoire, the theater staged productions best works Western European composers: Rigoletto, Aida, Traviata G. Verdi, Faust, Romeo and Juliet C. Gounod, Carmen J. Bizet, Tannhäuser, Lohengrin, Valkyrie R. Wagner. ().

The history of the Bolshoi Theater includes the names of many outstanding opera singers, who passed on the traditions of the Russian vocal school from generation to generation. A.O. Bantyshev, N.V. Lavrov, P.P. Bulakhov, A.D. Alexandrova-Kochetova, E.A. Lavrovskaya and others performed at the Bolshoi Theater. The arrival of F.I. Chaliapin on the opera stage of the Bolshoi Theater, L.V. Sobinova, 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 choreographers: J. Perrot, A. Saint-Leon, M. Petipa; dancers - S. Sokolova, V. Geltser, P. Lebedeva, O. Nikolaeva, later - L. Roslavleva, A. Dzhuri, V. Polivanov, I. Khlyustina. The Bolshoi Theater's ballet repertoire included the following performances: The Little Humpbacked Horse Puni (1864), Don Quixote Minkus (1869), Fern, or the night before Ivan Kupala Gerbera (1867) and others.

In the 1900s opera repertoire The Bolshoi Theater has been replenished with outstanding artistically productions: the first performances of Rimsky-Korsakov’s operas – Pskov woman(1901), Sadko (1906), Mozart and Salieri(1901) with the participation of F.I. Chaliapin, Pan-voivode(conducted by Rachmaninoff, 1904) Koschei the Immortal(with the participation of A.V. Nezhdanova, 1917); new productions were carried out: Glinka’s operas - Life for the Tsar(with the participation of Chaliapin and Nezhdanova, conducted by Rachmaninov, 1904), Ruslan and Ludmila(1907), Mussorsky - Khovanshchina(1912). Operas by young composers were staged - Raphael A.S. Arensky (1903), Ice house A.N. Koreshchenko (1900), Francesca da Rimini Rachmaninov (1906). In addition to Chaliapin, Sobinov, Nezhdanova, singers such as G.A. Baklanov, V.R. Petrov, G.S. Pirogov, A.P. Bonachich, I.A. Alchevsky and others performed on the Bolshoi Theater opera stage. -x choreographer A.A. Gorsky came to the Bolshoi Theater ballet troupe, who developed the traditions of Russian ballet and brought it closer to dramatic art. Dancer and choreographer V.D. Tikhomirov worked together with Gorsky, who trained a whole generation of dancers. At that time, the following people worked in the ballet troupe: E.V.Geltser, A.M.Balashova, S.F.Fedorova, M.M.Mordkin, M.R.Reisen, later L.P.Zhukov, V.V.Kriger , A.I.Abramova, L.M.Bank. The performances were conducted by S.V. Rachmaninov, V.I. Suk, A.F. Anders, E.A. Cooper; theater decorator K.F. Waltz, artists K.A. Korovin, A.Ya. took part in the design of the performances. Golovin.

After the October Revolution of 1917, the Bolshoi Theater occupied a prominent place in cultural life countries. In 1920 the theater was awarded the title of academic. In 1924, in the premises of the former Private Opera Zimin opened a branch of the Bolshoi Theater (operated until 1959). Along with preserving the classical repertoire, operas and ballets were staged Soviet composers: Decembrists V.A. Zolotareva (1925), Breakthrough S.I.Pototsky (1930), Troupe artist I.P.Shishova (1929), Son of the sun S.N.Vasilenko (1929), Mother V.V.Zhelobinsky (1933), Bela An.Alexandrova (1946), Quiet Don (1936) and Virgin soil upturned(1937) by I.I. Dzerzhinsky, Decembrists Yu.A. Shaporina (1953), Mother T.N. Khrennikova (1957), The Taming of the Shrew V.Ya.Shebalina, War and Peace S.S. Prokofiev (1959). Operas by composers of the peoples of the USSR were performed on the stage of the Bolshoi Theater and its branch: Almast A.A. Spendiarova (1930), Abesalom and Eteri Z.P. Paliashvili (1939).

The performing culture of the Bolshoi Theater Opera Company in the years Soviet power represented by the names of K.G. Derzhinskaya, N.A. Obukhova, V.V. Barsova, E.A. Stepanova, I.S. Kozlovsky, A.S. Pirogov, M.O. Reizen, M.D. Mikhailov, S.Ya.Lemesheva, G.M.Neleppa, A.P.Ivanova, P.G.Lisitsian, I.I.Petrova, M.P.Maksakova, V.A.Davydova, I.I.Maslennikova, A. P. Ognevtseva.

Significant stages in the history of Soviet choreography were the productions of ballets by Soviet composers: Red poppy(1927, 1949) R.M. Gliere, Flame of Paris(1933) and Bakhchisarai fountain(1936) B.V. Asafieva, Romeo and Juliet Prokofiev (1946). The glory of the Bolshoi Theater ballet is associated with the names of G.S. Ulanova, R.S. Struchkova, O.V. Lepeshinskaya, M.M. Plisetskaya, A.N. Ermolaev, M.T. Semenova, M.M. Gabovich, A M. Messerer, Yu. G. Zhdanov, N. B. Fadeechev and others ()

The conducting art of the Bolshoi Theater is represented by the names of N.S. Golovanov, S.A. Samosud, L.P. Steinberg, A.Sh. Melik-Pashaev, Yu.F. Fayer, B.E. Khaikin, G.N. Rozhdestvensky, E.F. Svetlanova, A.M. Zhyuraitis and others. In the opera direction of the Bolshoi Theater - V.A. Lossky, L.V. Baratov, B.A. Pokrovsky. Ballet performances were staged by A.A. Gorsky, L.M. Lavrovsky, V.I. Vainonen, R.V. Zakharov, Yu.N. Grigorovich.

The production culture of the Bolshoi Theater of those years was determined by the artistic and set design of F.F. Fedorovsky, P.V. Williams, V.M. Dmitriev, V.F. Ryndin, B.A. Messerer, V.Ya. Leventhal and others ( ).

In 1961, the Bolshoi Theater received a new stage venue - the Kremlin Palace of Congresses, which contributed to wider activities ballet troupe. At the turn of the 1950s and 1960s, E.S. Maksimova, N.I. Bessmertnova, E.L. Ryabinkina, N.I. Sorokina, V.V. Vasiliev, M.E. Liepa, M. came to the theater. L. Lavrovsky, Yu. V. Vladimirov, V. P. Tikhonov.

In 1964, Yu.N. Grigorovich became the chief choreographer, with whose name a new milestone in the history of the Bolshoi Theater ballet is associated. Almost every new performance was marked with new creative searches. They appeared in Rite of Spring I.F. Stravinsky (choreographer N. Kasatkina and Vasiliev, 1965) Carmen Suite Bizet–Shchedrin (A. Alonso, 1967), Spartak A.I. Khachaturian (Grigorovich, 1968), Icare S.M.Slonimsky (Vasiliev, 1971), Anna Karenina R.K.Shchedrina (M.M.Plisetskaya, N.I.Ryzhenko, V.V.Smirnov-Golovanov, 1972), These enchanting sounds... to the music of G. Torelli, A. Corelli, J.-F. Rameau, W.-A. Mozart (Vasiliev, 1978), Gull Shchedrin (Plisetskaya, 1980), Macbeth K. Molchanov (Vasiliev, 1980), etc.

In the opera troupe of those years, the names of G.P. Vishnevskaya, I.K. Arkhipova, E.V. Obraztsova, M. Kasrashvili, Z. Sotkilava, V.N. Redkin, V.A. Matorin, T.S. Erastova stand out , M.A. Shutova, E.E. Nesterenko and others.

The general trend of the Bolshoi Theater in the 1990–2000s was the invitation of foreign directors and performers for productions on the stage of the Bolshoi Theater: ballets Cathedral Notre Dame of Paris , Three cards(R. Petit, 2002–2003), Light stream D. D. Shostakovich (A. Ratmansky, 2003), opera by G. Verdi The power of destiny(P.-F.Maestrini, 2002) and Nabucco(M.S. Kislyarov), Turandot G. Puccini (2002), A Rake's Progress I.F. Stravinsky (D. Chernyakov), Love for Three Oranges S.S. Prokofiev (P. Ustinov). During this period, ballets were resumed Swan Lake Tchaikovsky, Raymonda A.K. Glazunova, Legend of love A.D. Melikov (production by Grigorovich), operas Eugene Onegin Tchaikovsky (B. Pokrovsky), Khovanshchina Mussorgsky, Ruslan and Ludmila(A. Vedernikova), Player Prokofiev (Rozhdestvensky).

The Bolshoi Theater ballet troupe is represented by the names: N. Tsiskaridze, M. Peretokina, A. Uvarov, S. Filin, N. Gracheva, A. Goryacheva, S. Lunkina, M. Alexandrova and others. Opera house - I. Dolzhenko, E. Okolysheva , E. Zelenskaya, B. Maisuradze, V. Redkin, S. Murzaev, V. Matorin, M. Shutova, T. Erastova and others. The theater’s opera troupe has a trainee group.

The post of artistic director of the theater in the 1990s was occupied by V. Vasiliev and G. Rozhdestvensky, since 2001 the chief conductor and musical director The Bolshoi Theater is A.A.Vedernikov, the conductors of opera and ballet performances are P.Sh.Sorokin, A.A.Vedernikov, A.A.Kopylov, F.Sh.Mansurov, A.M.Stepanov, P.E.Klinichev .

The modern building of the Bolshoi Theater is the main structure of the architectural ensemble of Theater Square (architect A.K. Kavos). The internal structure of the theater consists of a five-tier auditorium, accommodating more than 2,100 spectators and distinguished by high acoustic qualities (the length of the hall from the orchestra to the back wall is 25 m, width – 26.3 m, height – 21 m). The stage portal is 20.5 x 17.8 m, the depth of the stage is 23.5 m. A title board is placed above the stage.

In 2003 with the play Snow Maiden Rimsky-Korsakov (directed by D. Belov) a new stage of the Bolshoi Theater was opened. The premieres of 2003 were the ballet Light stream Shostakovich, opera A Rake's Progress Stravinsky and opera Macbeth Verdi.

Nina Revenko

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

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

The repertoire of this first professional theater in Moscow included drama, opera and ballet performances. Operas received special attention, so the Petrovsky Theater was more often called the “Opera House”.

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

In the 1820s, the square in front of the former Petrovsky Theater was reconstructed. According to the architect's plan, a whole classical ensemble appeared here, the dominant feature of which was the building of the Bolshoi Theater (1824). It partially included the walls of the burnt Petrovsky Theater.

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

But this theater also suffered the same fate as its predecessor: on March 11, 1853, for an unknown reason, a fire started in the theater. The costumes, scenery, archives of the troupe, part of the music library, rare musical instruments, the building itself was damaged.

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

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

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