Bolshoi Theater admission to the children's choir. Auditions to the Bolshoi Theatre. Bolshoi Theater Youth Opera Program

Currently, the choir successfully combines theatrical performances with independent...

The Bolshoi Children's Choir has existed as an independent group since 1920. The team has taken part in many opera and ballet productions of the theatre: The Queen of Spades, Eugene Onegin, The Nutcracker, Khovanshchina, Boris Godunov, Everyone Does This, Carmen, La Boheme, Tosca ”, “Turandot”, “The Knight of the Rose”, “Wozzeck”, “Fiery Angel”, “Child and Magic”, “Moidodyr”, “Ivan the Terrible” and others.

Currently, the choir successfully combines theatrical performances with independent concert activities. The unique sound of the voices of young artists of the Bolshoi Theater was heard in all halls of the Moscow Conservatory, in the P. I. Tchaikovsky Concert Hall, the Moscow International House of Music, the Central House of Artists, in the halls of the museums named after A. S. Pushkin, named after M. I. Glinka and other audiences. The team is constantly invited to participate in solemn events, government concerts and other cultural events (Day of Slavic Literature, Year of Culture in Russia, etc.). The choir toured Germany, Italy, Estonia, Japan, South Korea and other countries with great success.

Leading soloists of the Bolshoi Theater take part in many concerts of the Children's Choir. The team has collaborated with well-known Russian orchestras - the Russian National Orchestra, the Moscow Symphony Orchestra "Russian Philharmonic", the National Academic Orchestra of Folk Instruments of Russia named after N.P. Osipov and, of course, the Bolshoi Theater Symphony Orchestra.

The choir's repertoire includes European and Russian, sacred and secular music of the 15th-20th centuries. The Children's Choir of the Bolshoi Theater has recorded several CDs, including two albums of Christmas carols, concert programs with pianists V. Krainev and M. Bank.

Classes in the choir allow its pupils to enter higher musical educational institutions. Many of them become laureates of vocal competitions, many of them are former artists of the children's choir and leading soloists of opera houses, including soloists of the Bolshoi Theater.

Leads the choir Julia Molchanova. A graduate of the Moscow Conservatory (class of Professor B. I. Kulikov), since 2000 she has been the choirmaster of the Bolshoi Theater, and since 2004 she has been the head of the Children's Choir. She took part as a choirmaster of adult and children's choirs in all repertoire performances and concert activities of the choir. As a conductor, she performed in all halls of the Moscow Conservatory. She was awarded an honorary diploma of the Minister of Culture of the Russian Federation.

Musical Theatre. Stanislavsky and Nemirovich-Danchenko for many years dreamed of having his own children's choir. The participation of children was demanded by "Carmen", "La Boheme", "The Nutcracker", "The Tale of Tsar Saltan", "Tosca" ... And in February 2004, two dozen excited parents brought two dozen frisky and much less excited children to the audition. The desired turned into reality, and children's voices began to ring in the classrooms and corridors of the theater, which had not yet been opened after the reconstruction. And soon the first performance took place. May 6, 2006 in the Hall. Tchaikovsky Opera Company of the Musical Theater presented the opera "Carmen" in concert in French and with colloquial dialogues. This day became the birthday of the children's choir, its first participation in the play, albeit not yet on the native stage.

And since the autumn of 2006, when the theater opened after reconstruction, classes, rehearsals and performances have become a real adult work. They now perfectly understood what stage, orchestral rehearsals are, they learned how to perform the most difficult directorial tasks, they knew that they had to come to make-up in advance, and they also learned many other theatrical secrets.

Now, more than 10 years later, our children's choir are real, experienced artists. They themselves can tell a lot about the theater, dedicating the secrets of the choir recruits. And they not only participate in theatrical performances, but also perform solo choral concerts. And also adult artists, directors, conductors now know for sure that the theater cannot do without a children's choir. The children's choir participates in theater performances: " " , " " , " " , " ", " ", " " , " " , " " , " " , " " .

Children's choir leaders: Tatyana Leonova, Marina Oleinik, Alla Baikova.
The children's choir is attended by children aged 9 to 14 years.Class days: Tuesday and Saturday.

Schedule:

Tuesday:
17.00 - 18.30 (choir - junior and senior groups)
18.30 - choreography

Saturday:

16.00 - 17.00 (choir - junior group)
17.00 - general choir

ANNOUNCEMENTS AND SCHEDULE:

Dear parents, we congratulate everyone on the start of the new season! We wish you good health and creative energy for the whole year!

FOR NEWS:

Bring children to class 10-15 minutes before the start. You need to have a change of shoes and a choir folder with you. Passage of parents to the theater (with the exception of parent meetings) is prohibited.

Performances of the first half of the year:

29.10 (Tuesday) – no classes

NOVEMBER
1.11 (Friday) – rehearsal of the play "Aladdin's Magic Lamp" from 11:30 to 14:30
2.11 (Saturday) - no classes
9.11. (Saturday) – NO CHOIR CLASSES, performance "Aladdin's Magic Lamp" (gathering of "Tomboys" at 12:00, closed until 16:30, gathering of "Emeralds" at 14:00, closed until 16:30)
13.11. (Wednesday) - performance "Tosca"

DECEMBER
07.12. (Saturday) - performance "The Queen of Spades"
11.12. (Wednesday) - performance "Othello"
12.12. (Thursday) - performance "The Nutcracker"
13.12. (Friday) - performance "The Nutcracker"
25.12. (Wednesday) - performance "Aida"
26.12. (Thursday) - performance "Aida"
27.12. (Friday) - performance "La Boheme"
28.12. (Saturday) - morning and evening performance "The Nutcracker"
29.12. (Sunday) - morning and evening performance "The Nutcracker"
30.12. (Monday) - morning and evening performance "The Nutcracker"
31.12. (Tuesday) - morning and evening performance "The Nutcracker"

For questions, please contact the choir inspector

All performances may have additional rehearsals. Class times and days are subject to change!

The choirmaster of the State Academic Bolshoi Theater of Russia, artistic director of the children's choir of the Bolshoi Theater Yulia Molchanova is visiting the "Kanon" program. The dialogue will focus on the history of the oldest children's group in the country and the specifics of the work of young artists. The program includes fragments of a concert performance by the Bolshoi Children's Choir in the Hall of Church Councils of the Cathedral of Christ the Savior.

Today our guest is the choirmaster of the Bolshoi Theater of Russia, artistic director of the children's choir of the Bolshoi Theater Julia Molchanova.

The Children's Choir at the Bolshoi Theater is one of the oldest children's studios in the capital; it was founded in the early 1920s. It is quite difficult to get into the team, the owners of a good voice and the basics of musical literacy need to pass a professional selection. Competition for a place - as in a good metropolitan university. Choir artists are involved in most theater productions. In addition, the choir goes on tour with a concert program. We will talk more about the life of the team with Yulia Molchanova, choirmaster and artistic director of the Bolshoi Theater Children's Choir.

Although the choir you lead is called a children's choir, in fact it is not a child's age: your choir is almost 90 years old.

Yes, the Bolshoi Children's Choir is one of the oldest groups in Russia (at least for children); it was created around 1924. Initially, it consisted of children of theater artists. This is due to the fact that in almost every opera there is some part for the children's choir, and naturally, when these operas were staged at the Bolshoi Theater, someone had to perform these parts. At first they were the children of artists, but as needed, the team grew.

- And now it no longer bears such continuity?

Yes. The Bolshoi Theater implies a very high level of performance, and we have a very serious, tough competition. We recruit children only on a competitive basis, they go through several stages of audition; we take only those children who are really suitable for us, only talented ones.

- And what is the age of the children who sing?

Age from six years old and up to sixteen, sometimes a little older. But the little ones are five and a half and six years old.

- And besides participating in productions, in performances, does the team live some other kind of concert life?

Yes. Fortunately, the team has a lot of independent projects, concerts, but, again, we perform a lot as part of the Bolshoi Theater troupe, in some concerts of the Bolshoi Theater. But we also have an independent concert activity - for example, we cooperate with a number of very good large Moscow orchestras. We work closely with the Russian Philharmonic Orchestra conducted by Dmitry Yurovsky, quite often we perform with the Polyansky Chapel, with the Pletnev Orchestra.

I know that this year you have a major project with the choir of the Cathedral of Christ the Savior. You took part in the Christmas service with His Holiness.

Yes. It was a night patriarchal Christmas service, we were lucky to take part in it.

- For you, for children, this experience is unusual?

For children, of course, it was an unusual experience. This is the first time we have taken part in such a wonderful project.

Was there a live broadcast yet?

Yes, everything was live. It happened like this: we received such a proposal from the regent of the Cathedral of Christ the Savior Ilya Borisovich Tolkachev, discussed with him how this could be done. It turned out quite interesting. We did antiphonal singing. Mostly, of course, the adult choir sang, but some parts of the service were sung by the children's choir, and it sounded very good. Antiphon in the church - in my opinion, it turned out just fine.

- Julia, tell me, what are your duties as a choirmaster?

My duties as a choirmaster include an absolutely full range of preparation of children for the performance. What does this mean? Learn the parts first; Naturally, theatrical parties. For example, some new production begins (say, The Queen of Spades). First you need to learn the parties: learn everything, disassemble, accept the parties so that all children know this. Then work begins with the director, staged rehearsals, at which the choirmaster is also always present. The next stage is, shall we say, working with a conductor; a conductor comes in who also expresses some of his demands regarding the performance at the stage, say, before orchestral rehearsals, before entering the orchestra. The next stage is when the staging moment is already almost completed or is at the last stage, when children (and not only children, but adults too) enter the main stage already with the orchestra.

- Run like this, right?

Runs in costumes and make-up are already starting.

- It's a huge job.

Yes, this is quite a big job, a rather large layer - to bring everything to the final result.

- And how many productions do you have in which you are involved now?

You know, a lot. The children's choir is busy almost everywhere. I'll tell you more: there are even ballet performances where a children's choir is engaged, for example, "Ivan the Terrible"; there is an acapella children's choir; By the way, it's pretty complicated. Naturally, the children's choir sings in The Nutcracker, and in the period of December-January we have up to twenty-seven Nutcrackers literally in a month. That is, we are also busy in some ballets.

There are performances (it is clear that they are in the minority), where the children's choir is engaged as mimams - artists of the mimic ensemble; that is, even if the part of the children's choir is not written, the children still participate in something. For example, they take part in the opera "Così fan tutte" ("That's what all women do"), although there is no part for the children's choir.

Despite the colossal nature of this work, they are still children. Do they have time for some pranks, maybe?

There is always time for pranks!

- How do you organize young artists?

You know, we have a fairly strict discipline; and we simply part (naturally, after some warnings) with children who cannot cope with this discipline. Unfortunately, the theater is a machine; theater is very difficult, very responsible. This is also connected with the responsibility of going on stage, it must always be absolutely the highest level of performance, it must be the highest discipline, because it is connected, you understand, with machinery, scenery, costumes, with the presence on stage sometimes of a huge number of people. For example, in the opera "Boris Godunov" we have 120-130 people of an adult choir on stage, soloists, a children's choir, a large number of artists of the mimic ensemble. Even this alone requires colossal organization.

This also has its advantages. In my opinion, in a team, children become very responsible.

- They grow up quickly.

Yes, they grow up fast. Well, how do they grow up? Maybe psychologically. They feel responsible, they feel that they are taking part in some great and wonderful common cause and that they are a part of this huge wonderful process. In my opinion, this is very important.

Julia, do children have any restrictions in terms of nutrition or, perhaps, physical activity? Any special diets?

Of course not. There are no special diets, of course. And there are no restrictions. The only thing is that children have the opportunity to eat in the theater for free, that is, the theater pays for their food, and we, of course, categorically prohibit selling them chips, fizzy drinks; in addition to the fact that there is nothing good in them at all, it also has a harmful effect on the voice. For example, after Coca-Cola or something else, the voice can absolutely sit down. So it is, of course, prohibited.

Forgive me for this, maybe a little bit dry question, but does staff turnover in your team happen often? Still, children grow up.

There is practically no turnover. We have such a wonderful, kind of homely atmosphere that some are up to 20 years old ...

- ... keep in the children's choir.

Not what we keep. I understand, of course, that a person is no longer a child, but they say: “Yulia Igorevna! Well, please, can we come and sing this performance? Yulia Igorevna, can we come and take part in the concert? Actually, we have such a big family. To be honest, I myself sang for a long time in the children's choir of the Bolshoi Theater when I was a child. I can just say that the tradition of this group is such that we still all communicate, I still maintain relationships with the guys with whom I sang. Many of them are now working at the Bolshoi Theatre. I also cultivate this atmosphere in my team. For example, we have several traditions. On the thirty-first of December, the play "The Nutcracker", and we will definitely get together, many graduates come. Sometimes these graduates sing this performance; that is, not children who are now in the theater, but graduates - the guys are already older; this is such an outlet, a tradition. We go together, all in unison, to the skating rink, that is, some such things.

- That is, the legends about the intrigues of the Bolshoi Theater are all legends?

In my opinion, yes. I don't know, but it certainly doesn't apply to the children's choir. You know, intrigues and all sorts of things are everywhere, not only at the Bolshoi Theatre. I think that in any sphere it is present and will always be present.

- Healthy competition, in principle, is needed.

Yes, healthy competition is needed, but, you know, all our children are very good, and, fortunately, there are no evil children in the team, they simply do not take root with us. The guys are all very kind, always ready to help each other, they always help the kids: to put on make-up, to get dressed, and they introduce them to the play. In general, the atmosphere is wonderful.

(To be continued.)

Host Alexander Kruse

Recorded by Lyudmila Ulyanova

Julia Molchanova ( director of the children's choir at the Bolshoi Theatre.)
: "Many artists of the children's choir of the Bolshoi Theater continue to try to connect their fate with music"

Not a single large-scale opera production at the Bolshoi Theater can do without a children's choir. Radio Orpheus correspondent Ekaterina Andreas met with Yulia Molchanova, head of the children's choir at the Bolshoi Theatre.

- Yulia Igorevna, please tell us what is the history of the emergence of the children's choir at the Bolshoi Theater?

- The Children's Choir is one of the oldest groups of the Bolshoi Theatre, it is already almost 90 years old. The appearance of the children's choir falls on the years 1925-1930. Initially, it was a group of children of theater artists who took part in opera performances, because almost every opera performance has a part for the children's choir. Later, when the theater was evacuated during the Great Patriotic War, a professional creative team of the Bolshoi Theater Children's Choir was formed, and strict selection began to be made into the groups. After that, the choir received a powerful creative development, and today it is a bright strong team, which, in addition to participating in theatrical performances, now also performs in concert halls not only with the Bolshoi Theater Orchestra, but also with other well-known orchestras and conductors.

- That is, the children's choir is not tied only to theater performances?

- Of course, the choir is closely connected with the theater, but in addition to theatrical, it also conducts an active independent concert activity. We perform with major Moscow orchestras, we are invited to significant concerts, both in Russia and abroad. The choir has its own, solo program, with which we have repeatedly traveled abroad: to Germany, Italy, Lithuania, Japan ....

- Does the choir go on tour with the theatre?

- No not always. Since it is quite difficult to take out a children's troupe on a theatrical tour. On tour, the theater usually performs with a local children's group. To do this, I arrive in advance, and for about a week and a half I study with the local children's choir, learn the parts with them, introduce them to the performance. And by the time our theater troupe arrives, local children are already well versed in the repertoire. This is also part of my job as a choirmaster.

- How many people are employed today in the children's choir of the Bolshoi Theater?

- There are about 60 people in the choir today. It is clear that all together the guys rarely go to performances - after all, different performances require a completely different number of choir members.

- And in what composition does the team usually go on tour?

- The optimal number is 40-45 people. It doesn’t make sense to take a smaller line-up (because you need to understand that someone can get sick, someone for some reason will suddenly not be able to perform), and taking more than 45 people is also not good - this is already congestion.

- How do you solve the issue of parental permission to travel for children under 18?

- Here, of course, everything has been worked out for us for a long time. We take children abroad from the age of six. In addition to the conductor, a doctor, an inspector and an administrator must accompany the group. Of course, touring really unites the team. Whenever there is preparation for the tour and the tour itself, the children become more friendly, more independent. Although, of course, we have a very friendly team in general - the children have a common goal and idea, to which they are very touching and careful.

- And when children break their voices, do they continue to sing, or do they take a creative break?

- As you know, the process of “voice breaking” is different for everyone. We have very good phoniators in the theater, and children have the opportunity to visit them. In addition, I myself also monitor this moment very carefully, and if the breakdown is quite serious and is difficult, then, of course, you need to be silent for a while ... .. In this case, the children really go on a short academic leave. If the breaking occurs smoothly, then we gradually transfer the child to lower voices. For example, if a boy sang a soprano and had a treble, and then the voice drops gradually, then the child moves into the alto. Usually this process goes pretty smoothly. In girls, if they sing with the right sound extraction, and if they have the right breath, as a rule, there are no problems with “voice breaking”.

Has it ever happened that the children of your group, who are basically aimed at the classical repertoire, suddenly start going to pop vocal studios as well? Or is this basically impossible?

- The opposite happens here. There were times when people from various children's pop groups came to us for audition ... and we even took some children into our team. It is clear that pop and classical vocals are still different directions, so it is impossible to combine them. This is also difficult for a child - because of the difference in the manner of singing. I note that we are not now talking about which style of singing is better or worse. We are only talking about the fact that the directions are different, so it is almost impossible to combine them, and I think it is not necessary.

- Yulia Igorevna, please tell us about the schedule of rehearsals?

- Of course, we try to stick to a single schedule, mostly our rehearsals take place in the evening. But situations are different. Of course, we are very tied to the theatrical schedule, so if the rehearsals are orchestral (for example, in the morning), then it is quite understandable that children are called to them. Or if the children are busy in the production - they are also called to the performance - in the schedule in which it is on the poster. Example: when the opera "Turandot" was on (there some children sing, and some children dance on stage), the children were busy literally every other day. And there's nothing you can do about it. But when the production is over, we, of course, let the children rest for a few days.

- It is clear that the choir team is for children. Perhaps some organizational difficulties are connected with this?

- Of course, there are certain difficulties in the organization, but I want to emphasize that despite the fact that the team is for children, I immediately try to accustom them to the fact that they are already adults. Since they came to the theater, they are already artists, which means that they already have a certain share of responsibility. I try to educate them in such a way that here they should behave like adult artists. Firstly, it is connected with going on stage, with scenery, discipline. That is, with great responsibility. Because when you go out somewhere in a kindergarten or at school to read a poem - this is one thing, and quite another when you go on the stage of the Bolshoi Theater. In any case, it is very binding. That is why they should feel like adult artists, feel their responsibility for every movement made and word sung ... and it seems to me that even small children at the age of 6-7 are already becoming adults very quickly and, in general, they feel their responsibility.

- Are there any restrictions on food before a rehearsal, a performance? Can they all eat?

- Of course, in ordinary life they eat everything, like ordinary children. Although during performances, when the theater feeds them (children are given special coupons for which they can take something from food for a certain amount). These days, I specifically go to the buffet and warn that the children have a performance today, so I categorically forbid selling soda and chips to children. As you know, this is what children usually buy at the buffet instead of taking, for example, a full meal.

- It's bad for the ligaments ... chips cause a sore throat, hoarseness, and carbonated sweet water is very "planting the voice" ... the voice becomes hoarse.

- In addition to serious everyday life, there are probably some funny cases?

Yes, of course, there are many such cases. For example, during the opera "Boris Godunov" children take part in the scene at St. Basil's Cathedral (where they sing with the holy fool). In this scene, children play beggars, ragamuffins, and they are made up in an appropriate way - they are dressed in special rags, they are painted with bruises, abrasions, characteristic pallor ... And before this exit there is a scene of a completely different nature - a ball at Marina Mnishek, a scene at the fountain - with a very magnificent solemn dresses, depicting the richest audience, and in the middle of the stage there is a beautiful fountain. Before the beginning of this picture, the curtain, of course, is closed ... and so the children, already dressed in ragamuffins for their next exit, went backstage - after all, they are interested in seeing - there is a real fountain here! And so they ran up to the fountain in their costumes of the hungry and began to splash in the water, to catch something from there ... and the stage director, not seeing the children on the stage, gave the command to raise the curtain ... And just imagine - the curtain opens - a secular audience, expensive decoration palace, everything is sparkling… and about ten hungry men, washing and splashing in this fountain….. it was very funny…

- I wonder if a make-up artist is also allocated for children?

- Necessarily - and make-up artists and dressers. Everything is like adults. They make up in a special way, help them dress, figure out the costume. The dressers, of course, make sure that all the children are ready to go for the right scene. Moreover! When a new production comes out, each of them has their own costume sewn, the children go to try on, this is also always very interesting for them.

- Were there cases when soloists grew out of the children's choir?

- Certainly! It is quite natural - the children who start working here are very attached to the theater. After all, the theater is very attractive. And, as a rule, many children who have come here try to link their fate with music in the future. Therefore, many then enter music schools, the conservatory, the institute ... Children here sing very well, have the opportunity to listen to the leading opera stars, sing with them in the same performance, learn from them on stage. Someone from the children's choir then goes to the adult choir, someone becomes a soloist, someone becomes an orchestra artist ... In general, many return to the theater one way or another, or simply connect their lives with music.

- Until what age can a young artist sing in a children's choir?

- Up to 17-18 years old. If there is a desire to sing further, already in an adult choir, then in this case, of course, they need to go through the qualifying competition for an adult choir, just like everyone else. To enroll in an adult choir, you must already have a musical education. At least a music school. And you can enter an adult choir somewhere from the age of 20.

- Probably, all members of the children's choir receive a musical education in music schools?

- Of course, definitely. Almost all children go to music schools. After all, this is a theater, not a music school. The choir is an absolutely concert group and, of course, we don’t have such subjects as solfeggio, rhythm, harmony in our program ... Naturally, children should study at a music school, and it is very good when they study there.

- As far as I know, you yourself also sang in the choir of the Bolshoi Theater as a child?

- Yes, for a long time I sang in the children's choir of the Bolshoi Theater. In addition, the director of the adult choir, Elena Uzkaya, was also an artist in the children's choir of the Bolshoi Theater as a child. For me personally, singing in a children's choir largely predetermined my future fate.

- Yulia Igorevna, are your parents musicians?

- Not. Although my dad is a very talented person. He plays the piano very well and improvises. He is very musical. Although he has an absolutely technical education.

- And what was your way to the profession?

- I studied at the ordinary music school No. 50 in piano, then through a competition (there was a very serious competition - several rounds) I entered the children's choir of the Bolshoi Theater. Then she began to study more seriously, first entered a music school and then to the Moscow Conservatory as a choir conductor (to class of Professor Boris IvanovichKulikova, - approx. author).

Children are busy all the time on different days - different groups, you call individual ensembles to rehearse ... Do you personally have fixed days off?

-Yes. I have one day off - like in the whole theater - Monday.

Interviewed by special correspondent of radio "Orpheus" Ekaterina Andreas

polka backgammon

In Your Kingdom... (Castalsky - from the Divine Liturgy)

Cherubic (Castalian - from the Divine Liturgy)

Holy God (Kastalsky - from the Divine Liturgy)

The Youth Opera Program of the Bolshoi Theater of Russia announces an additional recruitment of participants for the 2018/19 season in the specialty "soloist-vocalist" (from two to four places). Performers of 1984 - 1998 are allowed to participate in competitive auditions in the program. born with incomplete or completed higher musical education.

The audition in the city chosen by the contestant ends three calendar days before the date of the audition in that city. The deadline for submitting applications for auditions in Moscow is five calendar days before the start of these auditions.

All expenses for participation in auditions (travel, accommodation, etc.) are borne by the contestants themselves.

Competition procedure

First tour:

• Audition in Tbilisi, Georgian Opera and Ballet Theatre. Z. Paliashvili - May 25, 2018
• Audition in Yerevan, Yerevan State Conservatory after Komitas - May 27, 2018
• Audition in St. Petersburg, Palace of the Studying Youth of St. Petersburg - May 30, 31 and June 1, 2018
• Audition in Chisinau, Academy of Music, Theater and Fine Arts - June 5, 2018
• Audition in Novosibirsk, Novosibirsk Academic Opera and Ballet Theater - June 11, 2018
• Audition in Yekaterinburg, Ural State Conservatory. M. P. Mussorgsky - June 12, 2018
• Audition in Minsk, National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus - June 16, 2018
• Audition in Moscow, Bolshoi Theatre, opera classes in the Administrative and Auxiliary Building - September 20 and 21, 2018

In connection with the holding of the World Cup in June-July 2018, the I, II and III rounds in Moscow are postponed to September 2018.

The participant comes to the audition with his own accompanist, having previously filled out an electronic form on the website.

The questionnaire is considered accepted if within 10-15 MINUTES after it was sent, an automatic notification is sent to the sender's e-mail address.

In Moscow, for non-resident participants, upon prior request, the theater provides an accompanist.

At each stage of the auditions, the participant must submit to the commission at least two arias - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list provided by the contestant earlier in the questionnaire and including five prepared arias. The list of arias must include arias in three or more languages, of course - Russian, Italian, French and/or German. All arias in the list must be sung in the original language. The Commission reserves the right to listen to fewer or more arias.

The number of participants in the first round is not limited.

Second round:

Audition in Moscow, Bolshoi Theatre, Novaya Stage - September 22, Historical Stage - September 23, 2018. The participant comes to the audition with his own accompanist (for non-resident participants, the theater provides an accompanist upon prior request). The participant must submit two or three arias to the commission - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list prepared for the first round. All arias in the list must be sung in the original language. The Commission reserves the right to ask for fewer or more arias. The number of participants in the second round is no more than forty people.

Third round:

1. Audition in Moscow, Bolshoi Theatre, Historical Stage - September 24, 2018. The participant comes to the audition with his own accompanist (for nonresident participants, the theater provides an accompanist upon prior request). The participant must present to the commission one or two arias according to the preliminary selection of the commission (based on the results of the second round) from his repertoire list.
2. Lesson/interview with program leaders.

The number of participants in the III round is no more than twenty people.

YOUTH OPERA PROGRAM OF THE BOLSHOI THEATER

In October 2009, the State Academic Bolshoi Theater of Russia established the Youth Opera Program, under which young singers and pianists from Russia and the CIS take a professional development course. For several years, young artists who entered the program based on the results of competitive auditions have been studying various academic disciplines, including vocal lessons, master classes by famous singers and tutors, teaching foreign languages, stage movement and acting skills. In addition, each of the participants of the Youth Program has extensive stage practice, playing roles in the premiere and current productions of the theater, as well as preparing various concert programs.

Throughout the years of the existence of the Youth Program, the largest professionals in the field of opera have worked with the participants: singers - Elena Obraztsova, Evgeny Nesterenko, Irina Bogacheva, Maria Guleghina, Makvala Kasrashvili, Carol Vaness (USA), Neil Schikoff (USA), Kurt Riedl (Austria ), Natalie Dessay (France), Thomas Allen (Great Britain); pianists - Giulio Zappa (Italy), Alessandro Amoretti (Italy), Larisa Gergieva, Lyubov Orfenova, Mark Lawson (USA, Germany), Brenda Hurley (Ireland, Switzerland), John Fisher (USA), George Darden (USA); conductors - Alberto Zedda (Italy), Vladimir Fedoseev (Russia), Mikhail Yurovsky (Russia), Giacomo Sagripanti (Italy); directors - Francesca Zambello (USA), Paul Curran (USA), John Norris (USA), etc.

Artists and graduates of the Youth Opera Program perform at the largest venues in the world, such as the Metropolitan Opera (USA), Royal Opera Covent Garden (Great Britain), La Scala Theater (Italy), Berlin State Opera (Germany), Deutsche Oper Berlin (Germany) , the Paris National Opera (France), the Vienna State Opera (Austria), etc. Many graduates of the Youth Opera Program joined the troupe of the Bolshoi Theater of Russia or became guest soloists of the theater.

Artistic Director of the Youth Opera Program - Dmitry Vdovin.

While studying in the program, its participants are paid a scholarship; Hostels are provided for out-of-town participants.