Opera troupe of the Bolshoi Theater. Primas of the Bolshoi Theater. The most famous ballerinas of our time Opera troupe

Here is a list of ballet soloists who were part of the Mariinsky Theater troupe at different periods of its existence. The list is divided into two parts: soloists who left the stage of the Mariinsky Theater and soloists who continue to perform. Within each category... ... Wikipedia

See also Bolshoi Theater, List of opera singers, Bolshoi Theater Ballet Company, Bolshoi Theater Conductors, Bolshoi Theater Directors and Choreographers, Mariinsky Theater Opera Company. The list includes opera singers and singers who are and have been part of ... ... Wikipedia

See also Bolshoi Theater, Bolshoi Theater Opera Company, Bolshoi Theater Ballet Company, Directors and choreographers of the Bolshoi Theater, Conductors of the Mariinsky Theater before 2000 after 2000 Altani, Ippolit Karlovich Arends, Andrei Fedorovich Andropov, Vladimir ... Wikipedia

See also Mariinsky Theatre, List of opera singers, Mariinsky Theater Ballet Company, Bolshoi Theater Opera Company. Contents 1 Soprano 2 Mezzo-soprano 3 Contralto ... Wikipedia

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This article is proposed for deletion. An explanation of the reasons and the corresponding discussion can be found on the Wikipedia page: To be deleted/August 21, 2012. While the process is being discussed... Wikipedia

See also Bolshoi Theater, Bolshoi Theater Conductors, Bolshoi Theater Opera Company, Bolshoi Theater Ballet Company, Directors and Choreographers of the Mariinsky Theater The list includes directors who collaborated with the Bolshoi Theater on an ongoing basis, or... Wikipedia

See also Bolshoi Theater, Bolshoi Theater Opera Company, Bolshoi Theater Ballet Company, Directors and choreographers of the Bolshoi Theater, Conductors of the Mariinsky Theater before 2000 after 2000 Tchaikovsky, Pyotr Ilyich Altani, Ippolit Karlovich Rachmaninov, Sergei... ... Wikipedia

This article provides an incomplete list of the repertoire of the Moscow Bolshoi Theater. It must be taken into account that at first the troupe of the Maly (Maly Theater opened on October 14, 1824) and Bolshoi Theaters (Bolshoi Theater opened a little later than the Maly ... Wikipedia

Books

• Coast Guard, Daria Pleshcheeva. In the 18th century, the ballet troupe of the Bolshoi Kamenny Theater in St. Petersburg lived the same way as in our time: intrigue, quarrels over roles, love affairs between young dancers. But in cupid...
• Coast Guard, Daria Pleshcheeva. In the 18th century, the ballet troupe of the Bolshoi Kamenny Theater in St. Petersburg lived the same way. as in our time: intrigues, quarrels over roles, love affairs between young dancers. But in cupid...

This time Sergei Yakovenko remembers the wonderful baritones who served at the Bolshoi Theater: Sergei Migai, Yuri Mazurka, Dmitry Golovin and Panteleimon Nortsov...

Sergei Ivanovich Migay (1888-1959) born into a priest's family. From the age of six he sang in the church choir, then in the choir of the Mogilev gymnasium (sometimes solo parts), and was fond of playing the flute. In 1907-09 he studied at the Faculty of Law of St. Petersburg University, and at the same time studied vocals at the St. Petersburg Conservatory (class of S. Gabel). For participation in student unrest he was expelled from the university. He first performed on the concert stage on December 4, 1909, performing an aria of Prince Igor. In 1911, on the recommendation of A. Nezhdanova, he was accepted into the Bolshoi Theater (he made his debut in the role of Valentin - “Faust” in April 1912), on the stage of which he performed until 1924. From February 1912, he studied singing (over 100 lessons) with M, who was then touring in Moscow Battistini, under whose leadership he prepared the roles of Don Giovanni (“Don Giovanni”), Figaro (“The Marriage of Figaro”) and Germont. From 1916 he improved his stage art with K. Stanislavsky, and prepared under his leadership the roles of Onegin and Gryaznoy (1917), Rigoletto (1919-20). In 1921 he performed for the first time with great success in Petrograd. In 1924-26 and 1929-41 he was a soloist of the Leningrad State Theater Opera Theater (he made his debut as Don Juan - “Don Juan”). In 1926-27 he performed at the Moscow Opera Studio - Theater named after. K. S. Stanislavsky. Thanks to his virtuoso technical skill, he performed with equal success in lyrical and dramatic roles.

Sergey Yakovenko:“Well, what can we say about this singer? Enchanting timbre, the widest range, smooth, flexible, over two octaves, excellent thinning, mezzo voice; his repertoire included 65 parts. In 1912, Migay performed as a soloist in Rachmaninov’s cantata “Spring”, and in 1913 in “Bells” under the direction of Sergei Vasilyevich Rachmaninov himself. Migai had more than 500 works in his chamber repertoire. In 1941, he had a concert for the 100th anniversary of Lermontov’s death. Once he gave an “Evening of Italian arias and Neapolitan serenades.” Sang Schubert with Igumnov. In 1937, he gave a Pushkin concert, where they performed from Verstovsky, Titov, Kavos to Sviridov. He was also the first performer of such Sviridov romances as “The forest is dropping its crimson headdress...”, “Approaching Izhora...”.

Yuri Antonovich Mazurok (1931-2006). He spent his childhood in Ukraine, and after graduating from school he entered the Lviv Polytechnic Institute, where he became interested in student musical theater. In 1960 he entered the Moscow Conservatory. Winner of international competitions in Prague (“Prague Spring”, 1960), Bucharest (1961) and Montreal (1967), II All-Union Competition named after M. I. Glinka (1962). He had a soft, beautiful voice and lively temperament, although he was sometimes criticized for his lack of acting expression. Among his roles are Evgeny Onegin (“Eugene Onegin”), Prince Yeletsky (“Queen of Spades”), Vedenetsky Guest (“Sadko”), Andrei Bolkonsky (“War and Peace”), Tsarev (“Semyon Kotko”), Figaro ( "The Barber of Seville") and many others. In 1975 he made his debut at the Covent Garden Theater, three years later - at the Metropolitan Opera as Germont (La Traviata). Mazurok often sang at the Vienna State Opera, in particular, he performed the role of Escamillo in the production of the opera Carmen on this stage in 1979 under the direction of Franco Zeffirelli. He was also known as a wonderful performer of Russian romances.

Sergey Yakovenko:“Yuri Mazurok was born in 1931, and until ’59 he was a student of Sergei Migai, and learned a lot from him. Since 1963, he was a trainee and then a soloist at the Bolshoi Theater. And so I always remembered, when I listened to him, that “what a person is, so is his music.” He was an amazingly calm person, and he had remarkably smooth, flawless vocals that reflected the calm confidence of his nature."

Dmitry Danilovich Golovin (1894-1966). In his youth he sang in church choirs. In 1915 he performed at the E. Volskaya Operetta Theater in Sevastopol (under the pseudonym Sokolsky). In 1919 he performed the role of the Demon at the Stavropol Opera House, which became one of the best in the singer’s repertoire. In 1921-24 he studied at the Moscow Conservatory in the singing class of N. G. Raisky. In 1923 he was a soloist of the Free Opera of S.I. Zimin, in 1924-43 - of the Bolshoi Theater. In 1928 he improved his skills in Italy; sang in theaters in Monte Carlo, Milan and Paris (1928-29). He had a voice of extraordinary power, fullness and richness. Performed various roles: Boris Godunov, Mazepa, Prince Igor; Shaklovity (“Khovanshchina”), Figaro, Escamillo, Rigoletto, Iago; Valentine (Faust), Amonasro (Aida). First performer of the roles of Sandi (Trilby by Yurasovsky, 1924) and Nagulnov (Virgin Soil Upturned by Dzerzhinsky, 1937). He performed as a concert singer.

Sergey Yakovenko:“...All critics noted that this is a voice of extraordinary power and fullness, incredible richness of sound. Both here and in Italy they wrote that it was a “voice colossus.” His range was very wide: for example, he sang Boris Godunov and Figaro in The Barber of Seville, sang Prince Igor and lyrical parts; but mostly lyrical and dramatic: Iago, Rigoletto, Valentina, Mazepa...”

Panteleimon Markovich Nortsov (1900-1993). In 1925 he graduated from the Kyiv Conservatory. In the same year he was accepted into the Bolshoi Theater. In 1926-27 he sang at the opera houses of Kyiv and Kharkov; in 1927-54 soloist of the Bolshoi Theater. He improved his vocal and stage skills at the Bolshoi Theater Opera Studio under the direction of K. S. Stanislavsky. Among the parties: Onegin, Yeletsky, Mazepa; Robert (“Iolanta”), The Most Serene (“Cherevichki” by Tchaikovsky; USSR State Prize, 1942), Mizgir, Vedenetsky Guest, Germont; di Luna (Il Trovatore), Figaro; Nevers (The Huguenots), Don Juan, Escamillo; Silvio (“Pagliacci”), Arkady (“The Stupid Artist” by Shishov). He performed as a concert singer. Since 1951 he taught at the GMPI named after. Gnesins (RAM named after Gnessins). In 1962, associate professor at the Moscow Conservatory, then professor at the GMPI. Gnessins (until 1987).

Sergey Yakovenko:“The main achievement of Panteleimon Markovich Nortsov was the role of Eugene Onegin in the opera by Pyotr Ilyich Tchaikovsky. At one time, “Nortsov – Onegin” figurines were even sold. This was the textbook Onegin. In total, Panteleimon Markovich Nortsov performed the role of Onegin over 600 times on the stage of the Bolshoi Theater - I think that this achievement is worthy of the Guinness Book of Records. It’s unlikely that any other singer in the same role was involved in more than 600 performances...”

The Bolshoi Theater of Russia has always been and remains one of the main symbols of our state and its culture. This is the main national theater of Russia, the bearer of Russian traditions and the center of world musical culture, contributing to the development of the country's theatrical art.
Masterpieces of Russian musical theater of the 19th-20th centuries occupy a dominant place in the repertoire, the principles of its formation can be divided into three categories. The Bolshoi offers its viewers Russian classics, including the 20th century, Western classics, also including recognized masterpieces of the 20th century, and specially commissioned works. The recent history of the Bolshoi Theater already knows a lot of the latter: this is the opera “Rozenthal’s Children” by Leonid Desyatnikov, the ballets “Misericordes” staged by Christopher Wheeldon, “Lost Illusions” by Leonid Desyatnikov staged by Alexei Ratmansky, the dance play “And then a millennium of peace” by Laurent Garnier Angelin Preljocaj and with the participation of his troupe.
The theater tries to ensure the continuity of generations by educating young talented youth (thus, a special Youth Opera Program has been created, designed to train and improve the skills of future stars of the opera stage).
The Bolshoi troupe is constantly in good creative shape, since it must solve various creative problems and offer its “solutions” to the attention of the audience both on its famous stage and on the stages of the leading musical theaters of the world. Introducing the domestic public to the achievements of these theaters and inviting individual artists to take part in their own creative process is another important area of ​​the theater’s activities.
The theater not only satisfies society's need for classical art, but also shapes the audience's taste and allows the public to get acquainted with the best achievements of world musical theater. Familiarizing the public with this context is one of the main tasks of the Bolshoi Theater, through which the state carries out its social mission in the field of culture.
The theater carries out educational activities, performing works that are rare for the repertoire of domestic theaters, inviting outstanding soloists and directors. Directors Francesca Zambello, Eimuntas Nekrosius, Declan Donnellan, Robert Sturua, Peter Konvicny, Temur Chkheidze, Robert Wilson, Graham Vick, Alexander Sokurov, choreographers Roland Petit, John Neumeier, Christopher Wheeldon, Angelin Preljocaj, Wayne McGregor have already worked at the theater.
An integral part of the theater’s activities is the holding of chamber and symphony concerts, operas in concert performance, which allows the public to be introduced to works of all musical genres.
Now that the Bolshoi Theater has two stages and one of them is its legendary historical stage, which has finally returned to operation, it hopes to fulfill this mission with all the greater success, steadily expanding its sphere of influence at home and around the world.
General Director of the Bolshoi Theater of Russia - Vladimir Urin
Musical director - chief conductor - Tugan Sokhiev
Opera creative team manager - Makvala Kasrashvili
Artistic director of the ballet troupe - Sergei Filin