The Ministry of Culture has announced the salaries of the heads of museums and theaters. History - mariinsky theater What is the repertoire policy of the new stage

History

On November 9, 1917, with the change of power, the theater, which became the State Theater, was transferred to the jurisdiction of the Commissariat of Education of the RSFSR, in 1920 it became academic and since then it was completely called the State Academic Theater of Opera and Ballet (abbreviated as GATOB). In 1935, shortly after the assassination of the first secretary of the Leningrad Regional Committee of the CPSU (b) Sergei Kirov, the theater, like many other organizations, enterprises, settlements and other objects of the USSR, was named after this revolutionary.

Ballet

Orchestra

Management

Artistic director and director - Hero of Labor of the Russian Federation, People's Artist of the Russian Federation, laureate of the State Prizes of the Russian Federation Valery Abisalovich Gergiev. James Cameron

Press

• Alexey Konkin.... "Rossiyskaya Gazeta" - vol. No. 5320 (241) dated October 25, 2010. Retrieved February 22, 2011.
• Maria Tabak.... RIA Novosti (02.08.2011). Retrieved February 22, 2011.
• ... RIA Novosti (19.01.2011). Retrieved February 22, 2011.
• ... Retrieved February 22, 2011.
• ... RGRK "Voice of Russia" (13.07.2010). Retrieved February 22, 2011.
• (unavailable link - history) ... Encyclopedia "Krugosvet". Retrieved September 24, 2011.

Links

• ... Official site.

The highest paid was the artistic director of the Mariinsky Theater Valery Gergiev with a monthly salary of about 13 million rubles. It is a sin to complain to the general director of the Hermitage Mikhail Piotrovsky with a salary of almost a million, as well as to his five deputies, whose monthly salary ranges from 500 to 700 thousand. The most modest salary figures were shown in the "State Concert". Its head Sergei Bunin receives a little more than 31 thousand rubles a month, his only deputy - 20 thousand.

Valery Gergiev. Artistic Director and Director of the State Academic Mariinsky Theater - 12 857 163.

Anton Likhomanov. General Director of the Russian National Library (until January 19, 2016) - 1,220,171.

Yuri Temirkanov. Artistic director of the St. D.D. Shostakovich - 976 285.

Elena Gagarina. General Director of the State Historical and Cultural Museum-Reserve "Moscow Kremlin" - 964 210.

Oleg Tabakov. Artistic director and director of the Chekhov Moscow Art Theater - 935 994.

Mikhail Piotrovsky. General Director of the State Hermitage Museum - 839 076.

Yuri Solomin. Artistic Director of the Maly Theater - 746 698.

Nikolai Tsiskaridze. Rector of the Academy of Russian Ballet named after A.Ya. Vaganova - 592 863.

Vladimir Urin. General Director of the Bolshoi Theater - 559,271.

Evgeny Mironov. Artistic Director of the State Theater of Nations - 458 919.

Zelfira Tregulova. General Director of the Tretyakov Gallery - 436,013.

Igor Zolotovitsky. Rector of the V.I. Nemirovich-Danchenko - 362 681.

Karen Shakhnazarov. General Director of the Mosfilm Cinema Concern - 355,803.

Vladimir Spivakov. Artistic Director of the National Philharmonic Orchestra of Russia - 347 510.

Yuri Bashmet. Artistic Director of the State Symphony Orchestra "New Russia" - 330,336.

Grigory Zaslavsky. Rector of the Russian Institute of Theater Arts - GITIS - 320 043.

Konstantin Raikin. Artistic Director of the Satyricon Theater - 247 513.

Zurab Tsereteli. President of the Russian Academy of Arts - 65 327.

For comparison, the average salary of a museum director in Russia is 20 thousand rubles. In the Moscow region, "prices" are the highest. Here the salary reaches 80 thousand.

In total, 93 billion rubles were allocated for culture and cinema in 2016. The 2017 budget includes a figure of 94 billion rubles.

His whole life is music. Today is the birthday of Valery Gergiev, artistic director of the Mariinsky Theater. A virtuoso musician, a citizen with a capital letter, a real workaholic - even on his holiday he doesn't even think about rest. The Easter Festival is in full swing, and every time he goes on stage, he devotes himself to his beloved work completely, without a trace.

“I was lucky to be the head of the Mariinsky Theater. The world longed for acquaintance with unknown masterpieces, ”says Valery Gergiev.

Unknown masterpieces are Tchaikovsky, Prokofiev, Shostakovich ... Some works by famous composers have never been performed. Before Gergiev. They seemed technically difficult or incomprehensible. The Mariinsky Theater Orchestra plays dozens of authors almost by heart: for example, all the symphonies of Beethoven, Mahler, Sibelius ... Today, the maestro only needs to stand for ten minutes in an unfamiliar hall to announce that the acoustics allows Strauss to play. And the musicians are playing! Masterly.

They played in the best halls in the world - from New York to Tokyo. And with the same enthusiasm they give concerts in Omsk and Kirov. They consider it their civic duty to speak in destroyed Tskhinval, and in mourning Kemerovo, and in Palmyra, which has just been liberated from terrorists.

Gergiev, the son of a front-line soldier, was promised a military career. They even named it after Valery Chkalov. Then a career as a football player - he played quite professionally. But at the music school, they decided that the guy had no hearing: he was looking out the window, there friends were playing football, and instead of a given rhythm, he knocked out some syncopations with his palms to the beat of the ball.

When the future conductor was 13 years old, his father unexpectedly died.

“My father passed away at 49, too early, too young. My mother, already in old age, she somehow saved me for a music school. It was not easy for her, very difficult, she raised three children alone, ”he says.

He entered the Leningrad Conservatory at the conducting faculty at the age of 19. Usually such young people are not taken into this profession. But two years later Gergiev became a laureate of the Herbert von Karajan international competition, beating 70 of the world's best conductors, performing 18 symphonic works! To play composers in cycles, completely all compositions in a row - this grandiose idea was born under the influence of outstanding Leningrad teachers.

“These were professors with a great reputation, they were Petersburgers, experts, intellectuals, but also aristocrats of the soul. We could find time to walk with a student after the performance, talk about Schubert, about Bach, ”the conductor recalls.

In 1988, the Kirov (now Mariinsky) Theater chose Gergiev as its chief conductor. The pace at which they have been working since then seems crazy. Now the Easter Festival is in full swing. A hotel train has been ordered for it. In the morning, for example, a concert in Cherepovets, in the evening - in Vologda, and tomorrow at noon Arkhangelsk is already waiting.

“We sometimes walk more than 1000 kilometers a day. You just have to go to the limit. Even the locomotive broke down recently, ”says Valery Gergiev.

Many of the current orchestra members were not yet born when Gergiev took over as the head of the orchestra. The average age is 25 years. For these young people, both such a pace of life and such a volume of repertoire are already the norm. Gergiev's listener is also rapidly growing younger - five- and even three-year-old spectators come to concerts with their parents.

On his 65th birthday, the maestro does not arrange special ceremonies. Friends will come to the Moscow concert, and the next day - again at the conductor's stand. In the morning - in Smolensk, in the evening - in Bryansk.

History of the Mariinsky Theater is counted from the Bolshoi Theater founded by the decree of Catherine II in 1783, which was located on the site of the current Conservatory (Theater Square in St. Petersburg). In 1848 the building of the Mariinsky Theater was erected by the outstanding architect A. Kawas, a prominent representative of late classicism. The name of the theater is associated with the name of the wife of Alexander II, Empress Maria Alexandrovna.

The first performance at the theater took place on October 2, 1860. It was an opera by M.I. Glinka "Life for the Tsar". Premieres of such masterpieces of Russian classics as Ruslan and Lyudmila, Boris Godunov, Khovanshchina took place on the stage of the Mariinsky Theater, Tchaikovsky's operas and ballets were staged and presented to the audience. At the Mariinsky Theater, Aida, Othello, Romeo and Juliet, Carmen and others were staged for the first time on the Russian stage.

The theater has become the center of the cultural life of St. Petersburg. In the period from 1883 to 1896, under the leadership of V. Schreter, a Russian architect of German origin, the theater was reconstructed, mainly the auditorium. The auditorium of the Mariinsky Theater is one of the most beautiful in the world. It is decorated with a luxurious three-tiered chandelier and a picturesque plafond made by the painter Fracioli, gilded stucco decorations and sculptures, the famous curtain by the Russian artist and set designer A. Golovin.

The enumeration of the names of cultural figures associated with the state academic theater would take an infinite number of pages, let's name just a few of them: M. Petipa, F. Chaliapin, A. Istomin, E. Semenova, V. Nijinsky, L. Sobinov, G. Ulanova, A. Pavlova, R. Nuriev. The Soviet period in the history of the theater was marked by the fact that in 1919 the Mariinsky Theater - Mariinskii Opera House received academic status. In 1935 he was named after S.M. Kirov, which he wore until 1992. During the war, the theater was evacuated to Perm, where it held its performances. Currently, work is underway to create the second stage of the theater. The new building will be located next to the historic building, on the other side of the Kryukov Canal. Architect - Frenchman Dominique Perrault. The artistic director and director of the theater is Valery Abisalovich Gergiev. His performances become a discovery for the world music community. V. Gergiev is one of the most outstanding conductors of the world today.

Historical places, attractions in St. Petersburg:

The first premiere of the season at the Mariinsky Theater was The Theater Director

Having loudly launched the 2016/17 season with Yusif Eyvazov and opened the current season with the same opera (already without such a star cast), the Mariinsky Theater immediately gives way to beginners. Mozart's was staged by the Academy of Young Opera Singers and director Gleb Cherepanov.

The stage of the old building on Teatralnaya Square was assigned for the performance, although, in anticipation of reconstruction, which cannot begin in any way, the premieres are mainly held on the newer venues of the theater - in the Mariinsky-2 with its chamber halls and the Concert Hall. It is in the Concert Hall that Cherepanov's previous performances are staged - "The Story of a Soldier" and.

Buff - Denis Begansky, Mrs. Zilberklang - Antonina Vesenina

There is no need to go into the details of the history of the competition and Salieri, during which the "Theater Director" was created. But Mozart and librettist Gottlieb Stefani really wrote a work that can be used as an educational program on the basics of theatrical art and theatrical management: the original plot is as simple as it is relevant at all times, and conversational dialogues can and should be rewritten on the topic of the day.

The soloists of the Academy of Young Singers mainly perform in concert performances or in completely chamber productions of some Soviet mono-operas. Getting a full-fledged stage at their disposal is almost a unique case for them. Gleb Cherepanov, however, did not use the space and hung a blank backdrop on the entire portal, blocking out only the proscenium for the artists. Judging by the absence of the name of the production designer in the imprint, Cherepanov again designed his performance himself. In this case, we should give him his due - candelabra, antique furniture and an imitation of a draped curtain on the backdrop fit well into the interior of the old Mariinsky Theater and suit it in spirit. Especially good are the three old music stands on which the scores stand. New technologies have not been forgotten either: during the overture, accelerated editing and dismantling of the scenery of various theater performances is projected, from Shchedrin's opera in the Concert Hall to Der Ring des Nibelungen on a new stage.

The license to change the dialogues is used worse: Cherepanov follows Stefani's script, not trying to aggravate the rivalry of the singers recruited into the troupe, or even to replace German names with more speaking ones for the domestic listener, as is done in many productions of The Director. The only attempt at updating was the invitation of the troupe to the festival in the town of Za ... Rumburg, invented by the director - and now one of two successful jokes from Cherepanov's dialogues has been quoted. The second is funnier, but the St. Petersburg public is less understandable: director Frank (the role without singing, played by dramatic actor Andrei Gorbunov) specifies whether his theater was invited to the festival of honey or jam. Muscovites, who are regularly offered this kind of festivities delivered directly to the steps of the Bolshoi Theater, would appreciate the humor.

Director Frank - Andrey Gorbunov, Mrs. Herz - Olga Pudova

In general, the entire performance is declared as frivolous. The characters are stilted and one-dimensional, which is emphasized by their mannered play, strictly monochromatic costumes and plastered face-masks. So, the director is all in white, and his general manager and part-time comic bass Buff (bass-baritone Denis Begansky) is all in red. The mise-en-scenes of arias, in which two sopranos - a prima donna and an ingenue compete - parody wampuca, which the opera house, presumably, will never forget. The main moral of the performance is that the wampuku should be accepted as part of the opera house and that opera should be loved in spite of it. But there is much less of it in modern productions than the actual parody of it.

The text being sung does not play a role in the performance: the mise-en-scene comes from the affects that sound in the music, and this must be counted as a big plus for Cherepanov with his dramatic background. The second plus is the introduction of a second round of rivalry between the singers, for which they were given an additional aria, since the format of the "Theater Director" allows not only to add any suitable numbers to about twenty minutes of the original music written by Mozart, but also, for example, to include some other - perhaps an entire opera, as was done in 2006 in Salzburg within the framework of the M22 project. This project included staging, recording and videoing all 22 of Mozart's operas for the composer's 250th birthday. The Theater Director was then staged by Thomas Reichert, the director of the Salzburg Puppet Theater, as a casting for roles in an early opera by Mozart, followed by a full performance of the opera.

Scene from the play

Cherepanov and the musical director of the production, Larisa Gergieva, limited themselves to two inserted arias - and indeed written by Mozart as inserted: it was assumed that Aloisia Weber, Mozart's sister-in-law (and the first performer of Mrs. Herz in The Theater Director), would sing them in the operas of other composers, shining fantastic technique. Therefore, the rivalry in the Mariinsky performance is on the rise: the arias prescribed according to the score are sung without unnecessary decorations, but in the inserted ones, willy-nilly, you have to perform complex coloratura.

The play with operatic clichés in the mise-en-scenes accompanying these arias is also on the rise. Therefore, in the first aria, the prima donna Mrs. Hertz (Olga Pudova) simply wags her mermaid tail, and during the second she depicts Cleopatra accepting death from the bite of a thick plush snake over the bodies of deceased minions. To engineer Mrs. Zilberklang (Antonina Vesenina) first plays the directorially rethought Little Red Riding Hood, who subjugates the wolf to herself and kills him, and during her second aria, a comically serious duel on fake swords unfolds on the stage, turning into a tragic ending with the death of all participants.

Toward the end, Dmitry Voropaev, tenor from the Mariinsky Opera Company, joined the artists of the Academy of Young Singers in the role of Mr. Vogelsang. He plays in the theater parts from Mozart's Idomeneo to Siegfried, and it is not very clear why he was chosen for such an undemanding role in The Director - baritone Thomas Hampson easily coped with the role of Vogelsang on a 1987 recording by Nikolaus Arnoncourt.

The very last number of the opera, where all the characters-artists sing in turn, including Buff, who spoke up to now, is made in the form of homage to the M22 project: the director arms himself with crosses and leads his singers like puppets. But then everyone comes to life and at the end of the day they blow up firecrackers together - the theater still remains a holiday. Unfortunately, there was no celebration in the music (conducted by Anton Gakkel); the mechanical performance destroyed the sparkling Mozart overture, and the performance of solos and ensembles did not want to come close in terms of the brightness of emotions to the hypertrophied theatricality of mise-en-scenes - both for the orchestra and for the vocalists, who, however, did not sin in terms of technique.

Scene from the play

The Theater Director, an hour long comedy with music in one act, rated 6+, will enter the repertoire as a daytime family performance: at least two more shows are planned for the fall. Let's hope that when the artists are released from the premiere tension, the performance will come to life and be filled with humor no longer through force.

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