Here they undergo internships in their specialty " opera artist"singers with professional musical education from Russia and other countries.
In the Center opera singing they prepare leading roles from the world operatic repertoire; The best professors of vocal art and highly professional accompanists, conductors, directors, teachers of stage movement and dance, acting, work with them, foreign languages.
Mine rich experience in daily classes the founder and artistic director Center Galina Pavlovna Vishnevskaya.
Meetings with students and master classes were held here by such luminaries of world art as Maestro Mstislav Rostropovich, directors Boris Pokrovsky and Peter Stein, conductors Zubin Mehta, Riccardo Muti, singers Teresa Berganza, Placido Domingo, Mimi Curzi, Paata Burchuladze, Dennis O'Neill , Thomas Hampson, artistic director of the Rome Opera Mauro Trombetta.
After studying, many singers became soloists of the Bolshoi Theater of Russia, Moscow musical theater them. K. Stanislavsky and Vl. Nemirovich - Danchenko, Novaya Opera, Helikon - Opera, largest theaters St. Petersburg, Omsk, Yekaterinburg and other cities of Russia; glorify Russian opera school on such famous European stages as the Rome Opera, Brussels Royal Opera, Royal Walloon Opera in Liege, Stadt Theater in Bonn, Salzburg Festival.
For short time The Galina Vishnevskaya Center has occupied a prominent place in the cultural landscape of Moscow and all of Russia. Since its opening, ten opera productions, numerous concerts were held that were highly praised by the public and music critics.
In addition to performing on his own stage, creative team The center actively tours both in Russia and abroad.
The Center for Opera Singing successfully cooperates with such major world institutions as the Arturo Toscanini Foundation in Parma, the Paris Conservatory, the Curtis Institute of Music in Philadelphia, the La Scala Academy in Milan, the Center performing arts Tampa, USA.
Of course, the activities of the Center would not be so intensive and diverse without the full support, first of all, of the Ministry of Culture Russian Federation, Moscow Government, Moscow Department of Culture.
Continuation of the great Russians opera traditions, formation of new perception Russian opera- Here main task Galina Vishnevskaya and her Center for Opera Singing.
Galina VISHNEVSKAYA Center for Opera Singing | Moscow, with the support of the Ministry of Culture of the Russian Federation, the National Foundation for the Development of Culture and the Protection of Intellectual Property, the All-Russian project "New Peredvizhnichestvo" and the Tomsk Regional State Philharmonic represent a grand event for Tomsk - P.I. Tchaikovsky "Eugene Onegin" Lyrical scenes
(in 3 acts with two intermissions)
Black swans. Recent history Bolshoi Theater Alexandrov B.S.
Galina Vishnevskaya: “Eugene Onegin” is militant mediocrity”
//- “This is not directing, this is hooliganism!” - //
Your anniversary should have been celebrated in Bolshoi Theater, but you canceled it because new production"Eugene Onegin".
I was at the premiere of “Eugene Onegin” at the Bolshoi Theater, and I was overcome by despair from what I saw on stage. I'm ashamed that I was even there. I told the director of the Bolshoi Theater, Anatoly Iksanov, that I was refusing to celebrate my anniversary at the Bolshoi, because what I saw on the stage of this theater was offensive to me. Why and what should I continue to teach singers if the Bolshoi Theater produces this on its stage?! It turns out that life was lived in vain? After all, for all generations of our public it meant something - Pushkin, Tchaikovsky, Lensky, Onegin!.. How many tears were shed, how many dreams, thoughts! My first meeting with Onegin occurred when I was nine years old. Then I got gramophone records with recordings of Onegin. Kruglikova, Nortsov, Kozlovsky sang there, and I listened to them from morning to evening. And maybe I became what I am because I heard this “Onegin” from the Bolshoi Theater at the age of nine. And when I now came to the Bolshoi Theater and watched the scene of the quarrel between Lensky and Onegin, which usually takes your breath away, the whole hall freezes, I suddenly felt: my God, why, why are they doing this? The chorus, like a herd of stallions and mares, neighs at how Onegin and Lensky quarrel. In the duel scene, Lensky is sitting in a goat sheepskin coat, Zaretsky is snoring drunk on the sofa. Lensky sings: “Where, where have you gone, the golden days of my spring,” and the aunts with dirty rags are cleaning the floor after the drinking session, that is, the Larinsky ball. What is this? I shuddered. I couldn't sleep for two nights.
Having seen the premiere of Chernyakov’s “Eugene Onegin,” Galina Vishnevskaya was so horrified that she abandoned her upcoming anniversary at the Bolshoi. After which the theater management “congratulated” the singer on this significant day with a performance she hated
Times are changing, many productions of unconventional direction are appearing...
This is not directing, this is hooliganism! Militant mediocrity, which has the opportunity to go on stage and spit on our national shrines, is easy to spit. It is no secret that it is much easier to stage such a “modern” performance and very difficult to do a classic one - with interesting mise-en-scenes, without inventing anything on top, without adding “neighing”, so that the orchestra cannot be heard. I think what's happening is the fall of art, the fall of the nation, if you like. When Lensky sang: “Where, where have you gone,” I could not help myself, tears flowed from humiliation that I was seeing an artist in such a situation. He sings a divine, brilliant aria, and people walk around and wipe some kind of vomit around him...
From an interview with El. Olshanskaya “Eugene Onegin” -
This is hooliganism!..”, “Theatrical New News”, 10/3/2006
//- Galina Vishnevskaya’s 80th birthday at the Bolshoi was replaced by “Eugene Onegin” - //
On October 25, the Bolshoi Theater will once again, outside of the plan, show the sensational premiere - Tchaikovsky's Eugene Onegin, directed by Dmitry Chernyakov. The performance will take place instead of Galina Vishnevskaya’s anniversary planned for that day. This is how the theater responded to her criticism of the new “Onegin” - the prima donna called the performance “a desecration of national shrines” and refused to celebrate the festival at the Bolshoi.
The famous domestic singer was going to celebrate October 25 at New scene Big 80th anniversary. Having attended the first performance of the new “Onegin” and publicly giving the performance a devastating assessment, Galina Vishnevskaya abandoned these intentions.
As Kommersant learned, the theater administration in this situation decided to behave in an emphatically principled manner: for the vacant evening of October 25, they had already scheduled not just some neutral performance from the repertoire, but namely “Eugene Onegin,” which became the cause of the conflict. […]
"Kommersant", 09.09.2006
//- Galina Vishnevskaya refuses her anniversary at the Bolshoi - //
When it came to the upcoming celebration of the singer’s anniversary in October, Galina Pavlovna pulled out a letter from her bag addressed to general director Bolshoi Theater, in which she resolutely refuses to celebrate her round date on the New Stage of the Theatre. Galina Vishnevskaya commented on her position as follows:
I went to the premiere of “Eugene Onegin” at the Bolshoi Theater, and I was overcome by despair at what was happening on stage. I didn’t sleep for two days and wrote a letter to the director. About the fact that I refuse to celebrate my anniversary in this theater. It turns out that life was lived in vain and why continue to teach at all if the Bolshoi Theater produces such things.
When it sounded: “Where, where have you gone?”, I simply cried from humiliation.
//- Galina Vishnevskaya: “I have nothing to do with this theater” - //
Dear Anatoly Gennadievich!
Forgive me, but I cannot accept the opportunity so kindly provided by you to celebrate my anniversary on the stage of the New opera house, which is opposite the Bolshoi.
While attending the premiere of “Eugene Onegin” on September 1 of this year, I suddenly realized that I had nothing to do with this theater. My theater is closed for renovation, but it was there that I experienced a sacred thrill when I appeared in my first performance in 1953 as Tatyana in the opera by two of our geniuses P.P. Tchaikovsky and A.S. Pushkin, staged by my teacher and great director B.A. Pokrovsky. And 30 years later, together with my Tatiana at the Paris Grand Opera, I said goodbye to the opera stage. As you can see, my entire creative life is connected with “Eugene Onegin”. At this 1944 production, audiences of several generations shed tears as they enjoyed Tchaikovsky's music and trembled at every word of Pushkin's magical poems, spoken from the famous stage by the great singers of Russia.
What I saw at the premiere of the new production of Eugene Onegin on September 1 filled me with horror, which I cannot get rid of. The only consolation is the thought that this shamelessness did not happen on the stage of the Bolshoi Theater, where I sang for almost a quarter of a century, giving all of myself to the theater without reserve, like every artist who had the honor of singing on the famous stage.
I never sang in the theater across the street from the Bolshoi, it was not mine, and on such a significant day for me as my eightieth birthday, I don’t want to go on this stage and experience once again the feeling of despair and humiliation that gripped me at the premiere 1 September, and, probably, until the end of my days I will not get rid of the shame of my presence at the public desecration of our national shrines.
Sorry.
Your Galina Vishnevskaya
Tatiana - Galina Vishnevskaya, Gremin - Alexander Ognivtsev in the St. Petersburg Ball scene from the third act of the play “Eugene Onegin”, staged by the last of the Russian Mohicans opera stage Boris Pokrovsky.
Yesterday the editors received a response from the Bolshoi Theater, in which Anatoly Iksanov expressed his position.
//- Anatoly Iksanov: “Some even celebrate anniversaries at home” - //
With great surprise I read Galina Pavlovna Vishnevskaya’s letter. What surprised me most was that such a letter was written by our great prima donna, who herself suffered from aesthetic cliches and labels for many years. A man who remembers the political trials of Pasternak and Brodsky, who took an active part in the fate of Solzhenitsyn. She probably defended Alfred Schnittke after the infamous article about his version of The Queen of Spades.
The Bolshoi Theater today shows audiences a huge number of productions in which the traditions of Russian opera classics. We recently carried out a restoration of the 1948 production of Boris Godunov, which was shown with great success in London. We also retain in our repertoire the performance “Eugene Onegin”, in which Galina Pavlovna herself sang. But we must understand that the Bolshoi Theater must produce new productions of the “golden fund” of Russian national classics. The need for a new reading and interpretation of the classics is the dictate of the time. It's a pity that people like this don't understand it talented people. Regarding the venue anniversary concert Galina Pavlovna, then everyone has the right to decide where to celebrate their birthday. Some even celebrate anniversaries at home.
Anatoly Iksanov,
General Director of the Bolshoi Theater
From the editor:
We publish these two letters with great regret, but with the understanding that they reflect more than just the private interest of a determined and uncompromising singer. They revealed a broader conflict, which today involves a variety of areas of art and theater, the difference in creative wills and views on the art of opera. What an anniversary great singer will not take place at the Bolshoi Theater, with which she was inextricably linked by fate, is perceived as some kind of ridiculous mistake. It is worth remembering how in 1992 a triumphant celebration of the 45th anniversary took place on the stage of the Bolshoi creative activity Vishnevskaya, as the admiring audience applauded her, confident that from now on all borders and divisions were a thing of the past.
Meanwhile, divisions - not so much political, but also artistic - continue to tear apart the public consciousness.
"Rossiyskaya Gazeta", 09/07/2006
//- Vishnevskaya was the last of the Mohicans of Russian culture, Iksanov believes - //
“It was a shock for the Bolshoi Theater troupe when this news came literally before the start of the performance. Passed away greatest actress, who devoted many years to the Bolshoi Theater, and who was forced to leave it. But upon returning home, her first visit was to the Bolshoi. The departure of Vishnevskaya is the departure of the last of the Mohicans of the great Russian culture,” said General Director of the Bolshoi Theater Anatoly Iksanov.
RIA Novosti, 12/11/2012
//- “Eugene Onegin” - //
Viewer comments
I looked. I respected G.P. Vishnevskaya even more. Just a bad show. Badly done. Bad idea. Innovation for the sake of innovation.
Tell me, what is progress and innovation if we just stupidly force Lensky to make faces and sing Triquet’s verses, replace all balls with drinking parties, and replace the duel with a drunken fight with a gun? And this is innovation? It just went. Madame Larina is generally described as the owner of a brothel. Believe me, it’s not worth wasting your time on this at all. You'll just be upset. Shameful hack.
Arthur Gray, 26.10. 2009
If Pushkin had resurrected today, he would have challenged not Dantes to a duel, but Chernyakov for his vulgarization of Onegin. Why are innovators like Chernyakov so sick with the “itch of innovation”? Probably because they cannot give birth to their own. And the other, with his “Cultural Revolution,” tried to prove that today Pushkin is outdated. It’s a shame to bring Chernyakov’s vulgarity to the attention of young people, who will very easily chew up this “creation.”
Timur Garayev, 10/28/20 09
The fact that the debate about this production has been going on for three years does not mean that it stands out in any way. No, rather, she simply turned out to be a kind of personification of the vulgarity and rudeness of modern “postmodern” directors. It can only be approved by someone who is not only poorly acquainted with the work of two geniuses, but also has a very misunderstood understanding of such categories as style, taste and harmony (may my opponents forgive me for this attack). New theater does not at all mean a lack of logic and a shameless attitude towards the classics.
Suren Vartanyan, 03/14/12 Website “Immersion in the Classics”
//- Opera for opera - //
Onegin killed Lensky in a drunken brawl.
You can’t trust rumors, and even more so the theatrical ones. Indeed, what has not been said about the upcoming premiere of the opera “Eugene Onegin” staged by the scandalous young director Dmitry Chernyakov! That the action was transferred to the years of Stalinist repressions. Or what the scene depicts film set, where work is underway on the film of the same name.
Of course, in his previous works, Chernyakov tried a lot so that he would become famous as a “hooligan director”: either he would make Aida a victim of totalitarianism, or he would place Tristan and Isolde in a skyscraper in the middle of the city where civil war. But there is nothing like that in the new production. Of course, we will not find here a museum recreation of Pushkin’s time: the director understands that with the classical versions academic theaters It’s not worth competing - “not his territory.” But this time he dealt with the textbook work more delicately than had happened to him before. There is no obvious anachronism: the heroes are dressed in costumes stylized in the 19th century. And the furnishings of the Larins’ house are quite expected, simple, modest.
But Chernyakov would not be himself if he had not come up with “something like that.” The fantasy especially ran rampant in the Larins’ ball scene. Here Lensky does not quietly bite his lips, watching as Onegin, out of boredom and entertainment, beats Olga off. He makes a noisy demarche - he pushes aside the old man Triquet, who is already ready to creak his verses “Vi roza, bel Tatiana” to Tatiana, puts a jester’s cap on his head, and, grimacing, sings these verses himself! They say - you take away my fiancée, so I’ll hit on your girlfriend.
Well, witty and organic. But these qualities are not always properly combined in Chernyakov. For example, I understand the director’s desire to get away from romantic stiltedness in the duel film. Yes, according to Chernyakov, there was no duel at all: the heroes simply did not go home after the party and libations, but stayed with the Larins. In the morning, Lensky, tormented by jealousy and a hangover, grabs a gun that turned up at the wrong time, Onegin tries to reason with him, a fuss ensues, an accidental shot thunders, which becomes fatal.
It’s also interesting in its own way. But still, the text clearly speaks of a duel. Instead, under Zaretsky’s command “Now get together!” a bloody “everyday life” is played out in the spirit of crime cinema dramas. It turns out that the director, moving away from cliches that have become absurd, creates a new, even greater absurdity.
Why was it necessary to force Tatyana to grimace so neurotically throughout the performance?
The director's thought is clear: in secular society, sick with vulgarity, a person whose feelings are strong and sincere, himself seems sick. But the director and actress clearly went too far, and Tatiana’s endless schizophrenic grins are more likely to irritate than to evoke sympathy.
It’s all the more offensive that for the heroine’s namesake, singer Tatyana Monogarova, this role could have become a milestone. It was with her performance that young Tanya captivated musical Moscow on the stage of the Stanislavsky and Nemirovich-Danchenko Theater a decade and a half ago. It was a wonderful production by Stanislavsky himself, recreated from the surviving notes of the great director. Today, returning to the big metropolitan stage after a long break (for personal reasons, Monogarova hardly sang for several years, then performed abroad), the talented performer did not appear in the most advantageous stage version for herself.
From the review by Sergei Biryukov, “Trud”, 5.09. 2006
//- Lensky exposed - //
The Bolshoi Theater opened the season with a brand new “Eugene Onegin”
Given Chernyakov’s extremely strange disposition, which sometimes turns into extravagance, there was, of course, no talk of a traditional production. However, he was smart enough to understand that a completely shocking production for the opening of the season was not suitable for the Bolshoi Theater.
So in his “Onegin,” which is still anecdotal in places (in the sense that the director’s ideas are already roaming the musical and theatrical Moscow by word of mouth with gusto), Onegin is not associated with Lensky intimate relationships. The title character was not flattered by mother Larina either. The nanny is not a vampire who pumps blood from meek sisters at night. And Tatyana, although a dreamer, still does not smoke joints in the shade of oak forests.
Phew, thank God! But much has become obvious that follows either from the literary or from musical text. Landowner Larina (Makvala Kasrashvili) is not a very delicate lady: during the tender singing of Tatyana and Olga “Did you hear?” she loudly, loudly, not very casually, indulges in her own thoughts out loud with her nanny (Emma Sarkisyan) assenting to her - this is how the duet, turning into a quartet, is interpreted.
Olga is not all rosy in her soul. But it’s true that in her carefree aria, the last phrase “I’m carefree and playful, everyone calls me a child,” by Tchaikovsky’s strange will, is wrapped in such bass voices that you always wonder: the child is good! In Chernyakov’s production, Olga (Margarita Mamsirova) buries her face in her hands at these words, as if her sobs are choking her.
So there’s something to it: her dear friend Lensky is one of those bores who are always assigned the role of toastmaster.
Nice guy Lensky, it would be a sin to reject such a person, but my God, what a bore it is to listen to all his poems on occasion! At first, he looks like a modestly dressed, sprightly young architect with a bag over his shoulder from some Soviet film of the 60s. And in the duel scene, he looks straight at the gloomy watchman: in a sheepskin coat, with a short fur hat (it’s not for nothing that conductor Vedernikov sneered at a press conference: “Why are you worried? It will be, it will be for your Lensky fur hat!”) and with a gun in his hands. What a city Göttingen is here with shoulder-length black curls! It would be interesting to know what Nikolai Baskov, sitting in the hall, thought about such Lensky, who had the opportunity to sing “Where, where have you gone?” on the old stage in Lemeshevsky sables.
Let us note in the margin that Yuri Lotman convincingly proved that Lensky’s dying elegy “has a completely quotative character,” in fact, it is a parody of the average poetry of Pushkin’s time. Wasn’t this where Chernyakov came from? Paradoxically, it was Lensky (Andrei Dunaev) who turned out to be the brightest hero of the new production. Chernyakov even pushed this, giving him Triquet's verses and thereby adding another unexpected solo. It turned out that Lensky, in anticipation of death, is desperately clowning around. Even gets on all fours, imitating a wind-up poodle<.>
From the review by Natalia Zimyanina “Evening Moscow”, 4.09. 2006
Some exalted adherents of Chernyakov have already rushed to declare this performance a victory for the Bolshoi Theater in mastering Russian classics. However, if we use military terminology, every victory presupposes the presence of the vanquished. IN in this case One can only talk about the victory won on the stage of the Bolshoi Theater (even its New Stage) by the radical branch of the director's theater and personally by Dmitry Chernyakov over the composer Tchaikovsky. But victories of this kind most often turn out to be Pyrrhic.
From the review by Dmitry Morozov “Duel of Directing and Music”, “Culture”, 09/07/2006, Weekend. Ru, 11.2007
//- How to handle classics - //
In honor of its fifth anniversary
The Galina Vishnevskaya Center for Opera Singing has released a new, already eighth, production - Tchaikovsky's opera "Eugene Onegin"
It was no coincidence that Tchaikovsky's masterpiece opened a series of festive events, dedicated to the anniversary Opera Singing Center. It was Tatyana who became Galina Vishnevskaya’s most beloved heroine, who, “like the most faithful and devoted friend,” went through “the whole creative life, giving joy and inspiration." There is another, more scandalous, background: last year Vishnevskaya watched “Eugene Onegin” at the Bolshoi Theater, after which she considered herself mortally insulted and pointedly refused to celebrate her anniversary on stage, where they are engaged in “shamelessness” and “public desecration of national shrines.” Festive celebrations in honor of the opera diva were immediately removed from the Bolshoi’s posters, and the same “Eugene Onegin” by Dmitry Chernyakov, who became a bone of contention, was appointed to the empty date. Now, exactly a year later, Galina Vishnevskaya is releasing Tchaikovsky’s opera at her Center, apparently wanting to demonstrate how to handle classics.
The production is directed by Andris Liepa in collaboration with set designer and costume designer Anna Nezhnaya. Leading soloists of the Center take part in the performance: Maria Pakhar, Georgy Gaivoronsky, Oleg Dolgov, Sergey Plyusnin, Alexey Tikhomirov. Conductor-producer Yaroslav Tkalenko, choreographer - Ekaterina Mironova, lighting designer - Vladislav Frolov. It will be especially interesting for those who have seen Chernyakov’s “Eugene Onegin” (which, by the way, took first place in the top best performances seasons chosen by critics) and will be able to compare classical and modern interpretation the same opera by Tchaikovsky.
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The opera genre today is considered to be an elitist art form, popular only among a narrow circle of connoisseurs. This myth was easily debunked by a unique concert that took place on November 24 at the Seversky Musical Theater. The soloists of the Galina Vishnevskaya Center for Opera Singing performed on its stage, presenting a production of Tchaikovsky’s famous opera “Eugene Onegin” to the residents of the closed city.
To the start of the show auditorium was filled to capacity - people from the most different generations: from teenagers and young couples to retirees. The Siberian Chemical Combine provided invitations to all of them, thanks to which this performance took place within the framework of the Rosatom Cultural Territory project. Not only the plant workers and their families received the coveted tickets, but also local students music schools, employees of city cultural institutions and social sphere, representatives of public and veteran organizations of Seversk.
The favorite child of the great prima donna
The Galina Vishnevskaya Center for Opera Singing celebrated its tenth birthday this year. The favorite brainchild of the world-famous opera diva Galina Vishnevskaya is today a recognized source of personnel for the leading theaters of Russia. Young singers undergo an internship here for two years, receiving a unique opportunity to hone their vocal and stage skills, prepare leading opera roles under the guidance of the best vocal teachers, accompanists, conductors, and directors. Master classes at the center were conducted by such luminaries as maestro Mstislav Rostropovich, the great tenor Placido Domingo, directors Boris Pokrovsky and Peter Stein. Galina Vishnevskaya herself conducts classes with students almost every day. It is not surprising that after such preparation, most graduates subsequently make a brilliant career, becoming soloists of the Bolshoi Theater, the Moscow Musical Theater. Stanislavsky and Nemirovich-Danchenko, “ New Opera", "Helikon Opera", the largest theaters of St. Petersburg and other cities. In addition, they glorify the Russian opera school on famous European stages. Every year the Opera Singing Center presents to the public new performance, staged on our own, invariably giving preference to the best examples of opera classics. Today his repertoire includes “Ruslan and Lyudmila” by Glinka, “ The Tsar's Bride"Rimsky-Korsakov, "Rigoletto" by Verdi, "Carmen" by Bizet, "Faust" by Gunno, "Boris Godunov" by Mussorgsky, "Iolanta" and "Eugene Onegin" by Tchaikovsky and other performances. Premieres traditionally take place on the stage of the center, the hall of which has unique acoustics, is equipped with the most modern sound and lighting equipment and is rightfully considered one of the best chamber venues. concert venues capitals. In addition to performing on its own stage, the center’s team actively tours both throughout our country and abroad - in Milan, Paris, Rome, Vienna and other capitals of world opera.
– Just a few weeks ago we returned from Mexico, where we performed at one of the international festivals. We were pleasantly surprised by the warm reception of the local public - shared our impressions Ekaterina Mironycheva, one of the soloists of the Center for Opera Singing.
In “Eugene Onegin” she sings the part of Tatiana Larina. However, exactly what role is assigned to her is clear at first glance to everyone who is familiar with Pushkin’s novel.
“Is it really the same Tatyana”?
A young, fragile, dark-haired girl with huge eyes, a girlish braid, in a light dress with frills... There is no doubt - “that same Tatyana.” Catherine is only slightly older than her opera heroine, and therefore the latter’s mental torment is understandable and close to her.
– It seems to me that in any century, all girls in love are the same - they wait just as anxiously for dates, are afraid to be the first to confess their love, and suffer from the coldness of their chosen ones. Therefore, “Eugene Onegin”, Tatiana’s love story, will touch hearts at all times, Ekaterina is convinced.
A graduate of the Nizhny Novgorod Conservatory, she has been studying at the Center for Opera Singing for the second year and, as she herself admits, she still cannot believe her luck:
– Just the opportunity to personally meet Galina Vishnevskaya herself, to see this amazing woman is already rare luck, and to receive invaluable professional advice from her, to become her student is real happiness!
Vishnevskaya herself approved her for the role of Tatyana Larina - Galina Pavlovna treats this role with particular passion. At one time, it was with the role of Tatiana that her brilliant career at the Bolshoi Theater began; it was in the image of Tatiana that she completed her opera career on the stage of the Paris Grand Opera four decades later. Vishnevskaya became one of the youngest performers of the role of Tatiana at the Bolshoi Theater, bringing into this image all the colors of youth, girlish beauty, and a crystal voice. After that, never again Big Tatiana mature “matrons” did not sing! Having created her own center, the diva decided to return to her favorite work.
Spirit of two geniuses
The premiere of “Eugene Onegin” performed by students of the Opera Singing Center took place in November 2007. The production director of the play, at the suggestion of Galina Vishnevskaya, was famous dancer and choreographer Andris Liepa. “The general idea was that everything in this performance should breathe and be permeated with the spirit of two geniuses - Pushkin and Tchaikovsky. Even in the scenography, Pushkin’s sketches and drawings for the novel were used,” said Andris Liepa immediately after the premiere.
The production was shown triumphantly in the capital and received rave reviews from critics. Then for tours based on it, a lyrical performance was created, including the most famous scenes operas. He was presented to the Seversk public.
Tomsky accompanied the capital's artists symphony orchestra under the baton of conductor Yaroslav Tkalenko. For 3.5 hours the audience was transported to magical world music and poetry, fascinated by following the story of the main characters, empathizing, sympathizing with them, expressing their admiration for the artists by shouting “Bravo!” and applause.
Stanislav Mostovoy brilliantly played the role of Lensky. His timbre reminded connoisseurs of the voice of Lemeshev, the most famous performer of this role. Evgeny Onegin, performed by Sergei Atyushev, appeared before the audience as a cold, cynical, metropolitan snob. More than once the wise nanny Filippevna (Maria Gulik) received applause from the audience. When the last sounds of the opera died down in the air, the applause of the audience turned into a real ovation. The audience gave a standing ovation. On behalf of the Sibirsky team chemical plant for the holiday high art Boris Pirogov, head of the plant’s social work department, warmly thanked the artists. Lydia Tokarskaya, the director of the last performance, spoke in response, admitting that all members of the troupe would remember such a warm welcome for a long time.
See you again with the beautiful!
There have been no opera tours of this level in Seversk for a good two decades, which is why the meeting turned out to be so memorable and joyful, becoming a real event cultural life cities, which once again showed that true art everyone understands. Be it a classical opera from the center of Galina Vishnevskaya, the instrumental mastery of the Terem Quartet, which visited Seversk in the spring, or soulful singing male choir Moscow Danilov Monastery or engravings by Pablo Picasso. Seversk residents were able to see all this within the framework of the Rosatom Cultural Territory project only for last year. But the project continues, which means that many more encounters with beauty await the residents of the closed city.
Young performers on stage try to let every word pass through them. Director Lidiya Tokarskaya is convinced: opera is still theater, albeit musical, which means the singer must also be an actor
On behalf of the staff of the Siberian Chemical Plant, Boris Pirogov, head of the social work department of the plant, warmly thanked the artists for the celebration of high art