A story about a big theater. Big theater. The beginning of formation. Maddox Theater

One of the symbols of theatrical art is rightfully Grand Theatre V . The theater is located on Teatralnaya Square - in the very heart of the capital. The most talented theater performers are known all over the world: ballet artists and vocalists, choreographers and composers who have left a noticeable mark on the world theater arts. Throughout its history, over 800 works have been staged on its stage. From the first Russian operas to the works of such titans as Verdi and Wagner, Berlioz and Ravel, Donizetti and Bellini. The theater stage hosted world premieres of operas and, Arensky and.
The theater dates back to March 1736, when Prince Pyotr Vasilyevich Urusov ordered the construction of a theater building on the corner of Petrovka. It was then that he received his first name - Petrovsky. But Pyotr Urusov was not destined to complete the construction, since the theater building burned down in a fire. This glorious work was completed by the English entrepreneur and companion of the prince, Michael Medox. The Petrovsky Theater opened its doors to the Moscow public on December 30, 1780. In fact, from this moment the first professional theater in Russia. That day the production of “I” took place. Paradise ballet-pantomime “The Magic Shop”. Ballets with a national flavor, including “The Taking of Ochakov” and “Village Simplicity,” were also especially popular. The theater troupe consisted mainly of students of the Moscow ballet school and serf actors of E. Golovkina’s troupe. The Petrovsky Theater existed for only 25 years. The building was destroyed in a fire in 1805.
In the period from 1821 - 1825. under construction new theater in the same place, according to the project of A. Mikhailov. The construction manager was the famous architect O. Bove. It was significantly increased in size, which is why it received the name Bolshoi Theater. The first production was “The Triumph of the Muses,” which launched the new building on a fascinating theatrical journey that has continued for more than 185 years. A new fire befell the theater in 1853, after which its building was restored for about three years under the leadership of the architect A. Kavos.
During the restoration of the Bolshoi Theater in 1856. the building was thoroughly remodeled and it was decorated with a white stone portico with eight columns, which is still its symbol. Also, in addition to the external appearance, the interior decoration of the theater has changed significantly. Known throughout the world is, of course, the bronze chariot of Apollo, which crowned the theater building and became its eternal symbol. Thanks to the creative talent of Albert Kavos, the Bolshoi Theater building fit perfectly into the surrounding architectural ensemble of the center of Moscow.
Since 2005, the global reconstruction of the theater began, and after 6 years of painstaking and time-consuming work, the long-awaited opening took place on October 28, 2011 main stage countries.

The history of the Bolshoi Theater, which is celebrating its 225th anniversary, is as majestic as it is complicated. From it you can equally well create an apocrypha and an adventure novel. The theater burned down several times, was restored, rebuilt, its troupe merged and separated.

Twice Born (1776-1856)

The history of the Bolshoi Theater, which is celebrating its 225th anniversary, is as majestic as it is complicated. From it you can equally well create an apocrypha and an adventure novel. The theater burned down several times, was restored, rebuilt, its troupe merged and separated. And even the Bolshoi Theater has two dates of birth. Therefore, his centenary and bicentennial anniversaries will be separated not by a century, but by only 51 years. Why? Initially, the Bolshoi Theater counted its years from the day when a splendid eight-column theater with the chariot of the god Apollo above the portico appeared on Teatralnaya Square - the Bolshoi Petrovsky Theater, the construction of which became a real event for Moscow at the beginning of the 19th century. A beautiful building in a classical style, decorated inside in red and gold tones, according to contemporaries, was the best theater in Europe and was second in scale only to Milan's La Scala. Its opening took place on January 6 (18), 1825. In honor of this event, the prologue “The Triumph of the Muses” by M. Dmitriev with music by A. Alyabiev and A. Verstovsky was given. It allegorically depicted how the Genius of Russia, with the help of the muses, on the ruins of the Medox Theater creates a new beautiful art - the Bolshoi Petrovsky Theater.

However, the troupe whose forces performed the Triumph of the Muses, which caused universal admiration, had already existed for half a century by that time.

It was started by the provincial prosecutor, Prince Pyotr Vasilyevich Urusov, in 1772. On March 17 (28), 1776, the highest permission followed “to support him with all kinds of theatrical performances, as well as concerts, vauxhalls and masquerades, and besides him, no one should be allowed any such entertainment at all times appointed by privilege, so that he would not be undermined.”

Three years later, he petitioned Empress Catherine II for a ten-year privilege to maintain a Russian theater in Moscow, undertaking to build a permanent theater building for the troupe. Alas, the first Russian theater in Moscow on Bolshaya Petrovskaya Street burned down even before it opened. This led to the decline of the prince's affairs. He handed over the affairs to his companion, the Englishman Mikhail Medox - an active and enterprising man. It was thanks to him that in the wasteland regularly flooded by Neglinka, despite all the fires and wars, the theater grew, which over time lost its geographical prefix Petrovsky and remained in history simply as the Bolshoi.

And yet, the Bolshoi Theater begins its chronology on March 17 (28), 1776. Therefore, in 1951 the 175th anniversary was celebrated, in 1976 - the 200th anniversary, and ahead is the 225th anniversary of the Bolshoi Theater of Russia.

Bolshoi Theater in the mid-19th century

The symbolic name of the performance that opened the Bolshoi Petrovsky Theater in 1825, “The Triumph of the Muses,” predetermined its history over the next quarter of a century. The participation in the first performance of outstanding stage masters - Pavel Mochalov, Nikolai Lavrov and Angelica Catalani - set the highest performing level. Second quarter XIX century is the awareness of Russian art, and the Moscow theater in particular, of its national identity. The work of composers Alexei Verstovsky and Alexander Varlamov, who were at the head of the Bolshoi Theater for several decades, contributed to its extraordinary rise. Thanks to their artistic will, a Russian operatic repertoire emerged on the Moscow Imperial stage. It was based on Verstovsky’s operas “Pan Tvardovsky”, “Vadim, or the Twelve Sleeping Maidens”, “Askold’s Grave”, and the ballets “The Magic Drum” by Alyabyev, “The Fun of the Sultan, or the Slave Seller”, “Tom Thumb” by Varlamov.

The ballet repertoire was not inferior to the operatic repertoire in richness and variety. The head of the troupe, Adam Glushkovsky, is a graduate of the St. Petersburg ballet school, a student of C. Didelot, who headed the Moscow ballet even before the Patriotic War of 1812, created original performances: “Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard,” “Three Belts, or the Russian Cendrillon” ", "Black Shawl, or Punished Infidelity", transferred to the Moscow stage best performances Didlo. They showed the excellent training of the corps de ballet, the foundations of which were laid by the choreographer himself, who was also at the head of the ballet school. The main roles in the performances were performed by Glushkovsky himself and his wife Tatyana Ivanovna Glushkovskaya, as well as the Frenchwoman Felicata Gyullen-Sor.

The main event in the activities of the Moscow Bolshoi Theater in the first half of the last century were the premieres of two operas by Mikhail Glinka. Both of them were first staged in St. Petersburg. Despite the fact that getting from one Russian capital to another it was already possible by train; Muscovites had to wait several years for new products. “A Life for the Tsar” was first performed at the Bolshoi Theater on September 7 (19), 1842. “...How can I express the surprise of true music lovers when, from the first act, they were convinced that this opera resolved an issue that was important for art in general and for Russian art in particular, namely: the existence of Russian opera, Russian music... With Glinka’s opera is something that has long been sought and not found in Europe, new element in art, and begins in its history new period- the period of Russian music. Such a feat, let’s say, hand on heart, is a matter not only of talent, but of genius!” - exclaimed the outstanding writer, one of the founders of Russian musicology V. Odoevsky.

Four years later, the first performance of “Ruslan and Lyudmila” took place. But both of Glinka’s operas, despite favorable reviews from critics, did not last long in the repertoire. Even the participation in the performances of guest performers - Osip Petrov and Ekaterina Semenova, who were temporarily forced out of St. Petersburg by Italian singers, did not save them. But decades later, it was “A Life for the Tsar” and “Ruslan and Lyudmila” that became the favorite performances of the Russian public; they were destined to defeat the Italian opera mania that arose in the middle of the century. And according to tradition, the Bolshoi Theater opened each theater season with one of Glinka’s operas.

On ballet stage By the middle of the century, performances on Russian themes, created by Isaac Abletz and Adam Glushkovsky, were also supplanted. Western romanticism ruled the roost. “La Sylphide,” “Giselle,” and “Esmeralda” appeared in Moscow almost immediately after their European premieres. Taglioni and Elsler drove Muscovites crazy. But the Russian spirit continued to live in the Moscow ballet. Not a single guest performer could outshine Ekaterina Bankskaya, who performed in the same performances as visiting celebrities.

In order to accumulate strength before the next upsurge, the Bolshoi Theater had to endure many shocks. And the first of these was the fire that destroyed the Osip Bove Theater in 1853. All that was left of the building was a charred shell. The scenery, costumes, rare instruments, and music library were destroyed.

In the competition for best project The restoration of the theater was won by the architect Albert Kavos. In May 1855, construction work began, which was completed after 16 (!) months. In August 1856, the new theater opened with V. Bellini’s opera “The Puritans”. And there was something symbolic in the fact that it opened with Italian opera. The actual tenant of the Bolshoi Theater soon after its opening was the Italian Merelli, who brought a very strong Italian troupe to Moscow. The public, with the delight of converts, preferred Italian opera Russian. All of Moscow flocked to listen to Desiree Artaud, Pauline Viardot, Adeline Patti and other Italian opera idols. The auditorium at these performances was always crowded.

The Russian troupe had only three days a week left - two for ballet and one for opera. Russian opera, which had no material support and was abandoned by the public, was a sad sight.

And yet, despite any difficulties, the Russian operatic repertoire is steadily expanding: in 1858 “Rusalka” by A. Dargomyzhsky was presented, two operas by A. Serov - “Judith” (1865) and “Rogneda” (1868) - were staged for the first time. , “Ruslan and Lyudmila” by M. Glinka is resumed. A year later, P. Tchaikovsky made his debut on the stage of the Bolshoi Theater with the opera “The Voevoda”.

A turning point in public tastes occurred in the 1870s. Russian operas appear one after another in the Bolshoi Theater: “The Demon” by A. Rubinstein (1879), “Eugene Onegin” by P. Tchaikovsky (1881), “Boris Godunov” by M. Mussorgsky (1888), “ Queen of Spades"(1891) and "Iolanta" (1893) by P. Tchaikovsky, "The Snow Maiden" by N. Rimsky-Korsakov (1893), "Prince Igor" by A. Borodin (1898). Following the only Russian prima donna Ekaterina Semenova, a whole galaxy of outstanding singers appear on the Moscow stage. These are Alexandra Alexandrova-Kochetova, and Emilia Pavlovskaya, and Pavel Khokhlov. And they are already, not Italian singers, become favorites of the Moscow public. In the 70s, the owner of the most beautiful contralto, Eulalia Kadmina, enjoyed special affection from the audience. “Perhaps the Russian public has never known, either earlier or later, such a unique performer, full of real tragic power,” they wrote about her. M. Eikhenwald was called the unsurpassed Snow Maiden, the idol of the public was the baritone P. Khokhlov, whom Tchaikovsky highly valued.

In the middle of the century, the Bolshoi Theater ballet featured Marfa Muravyova, Praskovya Lebedeva, Nadezhda Bogdanova, Anna Sobeshchanskaya, and in their articles about Bogdanova, journalists emphasized “the superiority of the Russian ballerina over European celebrities.”

However, after their departure from the stage, the Bolshoi Theater ballet found itself in a difficult situation. Unlike St. Petersburg, where the single artistic will of the choreographer dominated, ballet Moscow in the second half of the century was left without a talented leader. The visits of A. Saint-Leon and M. Petipa (who staged Don Quixote at the Bolshoi Theater in 1869, and debuted in Moscow before the fire, in 1848) were short-lived. The repertoire was filled with random one-day performances (the exception was Sergei Sokolov’s Fernnik, or Midsummer Night, which lasted a long time in the repertoire). Even the production of “Swan Lake” (choreographer Wenzel Reisinger) by P. Tchaikovsky, who created his first ballet specifically for the Bolshoi Theater, ended in failure. Each new premiere only irritated the public and the press. The auditorium at ballet performances, which in the middle of the century provided a substantial income, began to be empty. In the 1880s, the question of liquidating the troupe was seriously raised.

And yet, thanks to such outstanding masters as Lydia Gaten and Vasily Geltser, the Bolshoi Theater ballet was preserved.

On the eve of the new century XX

Approaching the turn of the century, the Bolshoi Theater lived hectic life. At that time Russian art was approaching one of the peaks of its heyday. Moscow was at the center of a vibrant artistic life. A stone's throw from Theater Square, the Moscow Public Art Theater opened, the whole city was eager to see performances of the Mamontov Russian Private Opera and symphony meetings of the Russian musical society. Not wanting to lag behind and lose viewers, the Bolshoi Theater quickly made up for lost time in previous decades, ambitiously wanting to fit into the Russian cultural process.

This was facilitated by two experienced musicians who came to the theater at that time. Hippolyte Altani led the orchestra, Ulrich Avranek led the choir. The professionalism of these groups, which had grown significantly not only quantitatively (each had about 120 musicians), but also qualitatively, invariably aroused admiration. Outstanding masters shone in the Bolshoi Theater opera troupe: Pavel Khokhlov, Elizaveta Lavrovskaya, Bogomir Korsov continued their careers, Maria Deisha-Sionitskaya came from St. Petersburg, Lavrenty Donskoy, a native of Kostroma peasants, became the leading tenor, Margarita Eikhenwald was just beginning her career.

This made it possible to include virtually all world classics- operas by G. Verdi, V. Bellini, G. Donizetti, S. Gounod, J. Meyerbeer, L. Delibes, R. Wagner. New works by P. Tchaikovsky regularly appeared on the stage of the Bolshoi Theater. With difficulty, but still, the composers of the New Russian School made their way: in 1888 the premiere of “Boris Godunov” by M. Mussorgsky took place, in 1892 - “The Snow Maiden”, in 1898 - “The Night Before Christmas” by N. Rimsky - Korsakov.

In the same year, A. Borodin’s “Prince Igor” appeared on the Moscow Imperial stage. This revived interest in the Bolshoi Theater and contributed to no small extent to the fact that by the end of the century singers joined the troupe, thanks to whom the Bolshoi Theater opera reached enormous heights in the next century. The Bolshoi Theater ballet also reached the end of the 19th century in excellent professional form. The Moscow Theater School worked without interruption, producing well-trained dancers. Caustic feuilleton reviews, such as the one posted in 1867: “What are the corps de ballet sylphs like now?.. all so plump, as if they deigned to eat pancakes, and their legs are dragging as they please” - have become irrelevant. The brilliant Lydia Gaten, who had no rivals for two decades and carried the entire ballerina repertoire on her shoulders, was replaced by several world-class ballerinas. One after another, Adelina Jury, Lyubov Roslavleva, and Ekaterina Geltser made their debuts. Vasily Tikhomirov was transferred from St. Petersburg to Moscow, becoming the premier of the Moscow ballet for many years. True, unlike the masters of the opera troupe, so far there was no worthy application for their talents: the secondary, meaningless extravaganza ballets of Jose Mendes reigned on the stage.

It is symbolic that in 1899, with the transfer of Marius Petipa’s ballet “The Sleeping Beauty”, choreographer Alexander Gorsky, whose name is associated with the heyday of Moscow ballet in the first quarter of the 20th century, made his debut on the stage of the Bolshoi Theater.

In 1899, Fyodor Chaliapin joined the troupe.

At the Bolshoi Theater it began new era, which coincided with the onset of a new one, XX century

It's 1917

By the beginning of 1917, nothing foreshadowed revolutionary events at the Bolshoi Theater. True, there were already some self-government bodies, for example, the corporation of orchestra artists, headed by the accompanist of the 2-violin group, Y. K. Korolev. Thanks to the active actions of the corporation, the orchestra received the right to be installed at the Bolshoi Theater symphony concerts. The last of them took place on January 7, 1917 and was dedicated to the work of S. Rachmaninov. The author conducted. "The Cliff", "Island of the Dead" and "Bells" were performed. The Bolshoi Theater choir and soloists - E. Stepanova, A. Labinsky and S. Migai - took part in the concert.

On February 10, the theater showed the premiere of “Don Carlos” by G. Verdi, which became the first production of this opera on the Russian stage.

After the February Revolution and the overthrow of the autocracy, the management of the St. Petersburg and Moscow theaters remained common and was concentrated in the hands of their former director V. A. Telyakovsky. On March 6, by order of the commissioner of the temporary committee of the State Duma N. N. Lvov, A. I. Yuzhin was appointed authorized commissioner for the management of Moscow theaters (Bolshoi and Maly). On March 8, at a meeting of all employees of the former imperial theaters - musicians, opera soloists, ballet dancers, stage workers - L.V. Sobinov was unanimously elected manager of the Bolshoi Theater, and this election was approved by the Ministry of the Provisional Government. On March 12, the search arrived; artistic part from the economic and service parts, and L. V. Sobinov headed the actual artistic part Bolshoi Theater.

It must be said that “Soloist of His Majesty”, “Soloist of the Imperial Theaters” L. Sobinov, back in 1915, broke the contract with the Imperial Theaters, unable to fulfill all the whims of the management, and performed either in performances of the Musical Drama Theater in Petrograd, or in Zimin Theater in Moscow. When it happened February Revolution, Sobinov returned to the Bolshoi Theater.

On March 13, the first “free gala performance” took place at the Bolshoi Theater. Before it began, L. V. Sobinov made a speech:

Citizens and citizens! With today's performance, our pride, the Bolshoi Theater, opens the first page of its new free life. Bright minds and pure, warm hearts united under the banner of art. Art sometimes inspired fighters of ideas and gave them wings! The same art, when the storm that made the whole world tremble subsides, will glorify and sing folk heroes. From their immortal feat it will draw bright inspiration and endless strength. And then two best gift of the human spirit - art and freedom - will merge into a single powerful stream. And our Bolshoi Theater, this marvelous temple of art, will become a temple of freedom in its new life.

March 31 L. Sobinov is appointed commissioner of the Bolshoi Theater and Theater School. His activities are aimed at combating the tendencies of the former management of the Imperial Theaters to interfere with the work of the Bolshoi. It comes to a strike. As a sign of protest against the encroachments on the autonomy of the theater, the troupe suspended the performance of the play “Prince Igor” and asked the Moscow Council of Workers’ and Soldiers’ Deputies to support the demands of the theater staff. The next day, a delegation was sent from the Moscow Soviet to the theater, welcoming the Bolshoi Theater in the fight for its rights. There is a document confirming the respect of the theater staff for L. Sobinov: “The Corporation of Artists, having elected you as director, as the best and staunch defender and exponent of the interests of art, convincingly asks you to accept this election and notify you of your consent.”

In order No. 1 of April 6, L. Sobinov addressed the team with the following appeal: “I make a special request to my comrades, opera, ballet, orchestra and choir artists, to all production, artistic, technical and service personnel, artistic, pedagogical the composition and members of the Theater School to make every effort for successful completion theater season And school year schools and to prepare, on the basis of mutual trust and comradely unity, for the upcoming work in the next theater year.”

In the same season, on April 29, the 20th anniversary of L. Sobinov’s debut at the Bolshoi Theater was celebrated. The opera “The Pearl Fishers” by J. Bizet was performed. The comrades on stage warmly welcomed the hero of the day. Without taking off his make-up, in Nadir’s costume, Leonid Vitalievich delivered a response speech.

“Citizens, citizens, soldiers! I thank you from the bottom of my heart for your greeting and I thank you not on my own behalf, but on behalf of the entire Bolshoi Theater, which Hard time you provided such moral support.

On the difficult days of the birth of Russian freedom, our theater, which until then had represented an unorganized collection of people who “served” at the Bolshoi Theater, merged into a single whole and based its future on an elective basis as a self-governing unit.

This elective principle saved us from destruction and breathed into us the breath of new life.

It would seem to live and be happy. The representative of the Provisional Government, appointed to liquidate the affairs of the Ministry of the Court and Appanages, met us halfway - he welcomed our work and, at the request of the entire troupe, gave me, the elected manager, the rights of a commissar and director of the theater.

Our autonomy did not interfere with the idea of ​​uniting everyone state theaters in the interests of the state. For this, a person with authority and close to the theater was needed. Such a person was found. It was Vladimir Ivanovich Nemirovich-Danchenko.

This name is familiar and dear to Moscow: it would have united everyone, but... he refused.

Other people came, very respectable, respected, but alien to the theater. They came with the confidence that it would be people outside the theater who would give reforms and new beginnings.

Less than three days have passed since attempts to end our self-government began.

Our elected offices have been postponed, and we are promised one of these days a new regulation on the management of theaters. We still don’t know who and when it was developed.

The telegram vaguely says that it meets the wishes of theater workers, which ones we do not know. We did not participate, were not invited, but we know that the recently released chains of command are again trying to confuse us, again the discretion of the command argues with the will of the organized whole, and the quieted command rank raises its voice, accustomed to shouts.

I could not take responsibility for such reforms and resigned as director.

But as an elected theater manager, I protest against the capture of the fate of our theater in irresponsible hands.

And we, our entire community, are now turning to representatives public organizations and the Soviets of Workers' and Soldiers' Deputies to support the Bolshoi Theater and not give it to Petrograd reformers for administrative experiments.

Let them take care of the stable department, the appanage winemaking, and the card factory, but they will leave the theater alone.”

Some provisions of this speech require clarification.

A new regulation on the management of theaters was issued on May 7, 1917 and provided for separate management of the Maly and Bolshoi theaters, and Sobinov was called a commissioner for the Bolshoi Theater and the Theater School, and not a commissioner, i.e., in fact, a director, according to the order of March 31.

When mentioning the telegram, Sobinov means the telegram he received from the Commissioner of the Provisional Government for the department of the former. courtyard and estates (this included the stable department, winemaking, and card factory) of F.A. Golovin.

And here is the text of the telegram itself: “I am very sorry that due to a misunderstanding you resigned. I urge you to continue working until the matter is clarified. One of these days there will be a new one general position about the management of theaters, known to Yuzhin, meeting the wishes of theater workers. Commissioner Golovin."

However, L.V. Sobinov does not cease to direct the Bolshoi Theater and works in contact with the Moscow Council of Workers' and Soldiers' Deputies. On May 1, 1917, he himself took part in a performance in favor of the Moscow Council at the Bolshoi Theater and performed excerpts from Eugene Onegin.

Already on the eve October revolution, October 9, 1917. The Political Directorate of the War Ministry directs next letter: “To the Commissioner of the Moscow Bolshoi Theater L.V. Sobinov.

According to the petition of the Moscow Council of Workers' Deputies, you are appointed commissar over the theater of the Moscow Council of Workers' Deputies ( former theater Zimina)".

After the October Revolution, E.K. Malinovskaya was placed at the head of all Moscow theaters, who was considered the commissar of all theaters. L. Sobinov remained as director of the Bolshoi Theater, and an (elected) council was created to help him.

BIG THEATER, State Academic Bolshoi Theater of Russia, the leading Russian theater that 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 of 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 of the ballet school of the Moscow Orphanage (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 to form 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, from generation to generation passed on the traditions of Russian vocal school. 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. Sobinov, A.V. Nezhdanova opened 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, the Bolshoi Theater's opera repertoire was replenished with artistically outstanding 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 Rachmaninov, 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 on opera stage The Bolshoi Theater featured such singers as G.A. Baklanov, V.R. Petrov, G.S. Pirogov, A.P. Bonachich, I.A. Alchevsky and others. In the 1900s, a choreographer came to the Bolshoi Theater ballet troupe A.A. Gorsky, 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 the cultural life of the country. In 1920 the theater was awarded the title of academic. In 1924, a branch of the Bolshoi Theater opened in the premises of the former Zimin Private Opera (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), Trope 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 more broad 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 by 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.Molchanova (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 Notre Dame Cathedral, 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 Adventures 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.

Fast artistic director The theater in the 1990s was occupied by V. Vasiliev and G. Rozhdestvensky, since 2001 the chief conductor and musical director of 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). In terms of its internal structure, the theater consists of a five-tier auditorium that seats more than 2,100 spectators and is 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 Adventures Stravinsky and opera Macbeth Verdi.

Nina Revenko

BIG THEATER

Oldest theater opera and ballet in Russia. The official name is the State Academic Bolshoi Theater of Russia. IN colloquial speech the theater is simply called Big.

Bolshoi Theater Hall:

Russia. Large linguistic and cultural dictionary. - M.: State Institute Russian language named after. A.S. Pushkin. AST-Press. T.N. Chernyavskaya, K.S. Miloslavskaya, E.G. Rostova, O.E. Frolova, V.I. Borisenko, Yu.A. Vyunov, V.P. Chudnov. 2007 .

See what "BIG THEATER" is in other dictionaries:

Big theater- Building of the Main Stage of the Bolshoi Theater Location Moscow, Coordinates 55.760278, 37.618611 ... Wikipedia

Grand Theatre- Big theater. Moscow. Bolshoi Theater (State academic theater opera and ballet of Russia) (, 2), the largest center of Russian and world musical culture. The history of the Bolshoi Theater dates back to 1776 (see). Original title Petrovsky... Moscow (encyclopedia)

Grand Theatre- State Academic Bolshoi Theater of the USSR (SABT), presenter Soviet theater opera and ballet, the largest center of Russian, Soviet and world music theatrical culture. The modern theater building was built in 1820 24... ... Art encyclopedia

Grand Theatre- Big theater. theatre square on the opening day of the Bolshoi Theater on August 20, 1856. Painting by A. Sadovnikov. BOLSHOY THEATER State academic (SABT), opera and ballet theater. One of the centers of Russian and world musical theater... ... Illustrated Encyclopedic Dictionary

BIG THEATER- State Academic (SABT), Opera and Ballet Theater. One of the centers of Russian and world musical theater culture. Founded in 1776 in Moscow. Modern building from 1824 (architect O. I. Bove; reconstructed in 1856, architect A. K. ... ... Russian history

BIG THEATER- State Academic (SABT), Opera and Ballet Theater. One of the centers of Russian and world musical theater culture. Founded in 1776 in Moscow. Modern building from 1824 (architect O.I. Bove; reconstructed in 1856, architect A.K.... ... Modern encyclopedia

BIG THEATER- State Academic Theater (SABT), Founded in 1776 in Moscow. Modern building from 1825 (architect O. I. Bove; reconstructed in 1856, architect A. K. Kavos). Foreign and first Russian operas and ballets by M. I. Glinka, A. S. were staged... ... Big Encyclopedic Dictionary

Grand Theatre- This term has other meanings, see Bolshoi Theater (meanings). Bolshoi Theater ... Wikipedia

Grand Theatre- BOLSHOY THEATER, State Order of Lenin Academic Bolshoi Theater of the USSR (SABT), leading Soviet musical theater. tr, who played an outstanding role in the formation and development of the national. traditions of ballet art. Its emergence is associated with the rise of Russian... ... Ballet. Encyclopedia

BIG THEATER- State Order of Lenin Academic Bolshoi Theater of the USSR, the oldest Russian. music theater, the largest center of music. theatrical culture, the building was also a venue for congresses and celebrations. meeting and other societies. events. Main... Soviet historical encyclopedia

Books

• Big theater. Culture and politics. New history, Volkov Solomon Moiseevich. The Bolshoi Theater is one of the most famous brands in Russia. In the West, the word Bolshoi does not need translation. Now it seems that it has always been this way. Not at all. Long years main musical...

Bolshoi Theater: history of creation

The year of birth of the theater is considered to be 1776. It was on this day that Prince Peter Urusov received permission from Catherine II to hold balls and masquerades, as well as various performances and other events. At first, the number of artists did not exceed fifty people. The history of the Bolshoi Theater building in Moscow is particularly interesting. At that time, the troupe did not have space for performances, and all performances took place in the Vorontsovs’ house. Then the audience saw for the first time opera production"Rebirth". Later, the construction of the building itself began, and since the facade of the building was directed towards Petrovskaya Street, the theater received the corresponding name - Petrovsky. The architect was H. Rosberg. Mainly shown here musical performances- it is not surprising that over time the theater began to be called the Opera House.

Bolshoi Theater: the story of the first fire

1805 is a fateful year for the Bolshoi Theater. At this time there was a fire that completely destroyed the creation of H. Rosberg. The theater troupe had to seek shelter in other cultural institutions. Then their performances took place in the house of Apraksin, Pashkov, in the new Arbat Theater.

Early XIX century

New project The building was designed by A. Mikhailov, and its implementation was undertaken by O. Beauvais. Soon a new building appeared on the site of the fire, which surpassed the previous building in its scale and majesty. In size it was second only to the La Scala theater in Milan.

Second fire

In 1853, a fire broke out again, the causes of which are still unknown. The flames of the fire destroyed almost the entire building in a short time. The theater suffered colossal damage. Two years later, construction of a new cultural institution began on this site under the leadership of A. Kavos. In process famous statues and the curtain took part in the famous sculptor P. Klodt and the professional painter Cosroe-Duzi from Venice.

Mid XIX centuries - first half of the 20th century

This time is characterized by creative upsurge. Becoming increasingly popular at the Bolshoi Theater musical art. The main vocalists are such famous opera singers, like F. Shalyapin, A. Nezhdanova, L. Sobinov. The theater's repertoire is being transformed, and new interesting works are appearing.

Great Patriotic War

The work of the Bolshoi Theater was suspended. Part of the team was transported to Samara. Those who remained in the capital continued to give performances. Performances were often interrupted due to bombing: spectators hid in protective structures. During the war, one of the shells destroyed the facade of the theater. A year later it was already restored.

USSR times

At this time, the number of performances on the stage of the Bolshoi Theater increased several times. A new rehearsal hall was built in the building, which was located at the very top. At that time, there were many shortcomings in the design of the building - it was necessary to revive the foundation and solve the problem with the number of seats in the hall. It was decided to restore the Bolshoi and build New scene. It was possible to begin the task only in 1993. In 2005 the theater was closed for reconstruction.

Currently, the Bolshoi Theater has three spacious halls, each of which corresponds modern trends. Thanks to the renovation, new visual and acoustic structures were installed within the walls of the theater, made using the latest technologies. The size of the scenes is striking in its scale and monumentality.