Opera troupe of the Bolshoi Theater. Tickets to the Bolshoi Theater of Russia Surnames of opera singers of the Bolshoi Theater
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Bolshoi Theater stage. Photo – Vladimir Vyatkin
On March 28, the anniversary of the Bolshoi Theater was celebrated. We are talking about prima ballerinas who shine on the famous stage today.
Maria Alexandrova
The name of People's Artist of the Russian Federation Maria Alexandrova in the poster is an undoubted guarantee of a full house.
The ballerina entered the Bolshoi Theater back in 1997, becoming a laureate of the first prize at an international competition. And almost immediately she moved from corps de ballet dancers to the rank of leading soloists.
For 20 years now, not a single theater season has gone by without her participation.
All prima heroines have difficult characters, strong-willed and strong women. Today at the Bolshoi Theater you can see Alexandrova in the image of Ondine from “A Hero of Our Time” and in the title role of “Giselle” in Grigorovich’s version.
Svetlana Zakharova
Svetlana Zakharova first performed on the stage of the St. Petersburg Mariinsky Theater, but at the height of her career she was not afraid to start over and move to the Bolshoi.
Since 2003, the artist has been performing in Moscow, and in 2008 she even became a prima ballerina of the famous Milan theater La Scala. We can say that Zakharova managed to dance all the solo parts of cult ballets, including “Giselle”, “Swan Lake”, “La Bayadère”, “Carmen Suite”.
But, despite her worldwide fame, the prima remains devoted to the Bolshoi Theater, and her last work is Mary in the ballet “A Hero of Our Time.”
Evgenia Obraztsova
Another former prima of the Mariinsky Theater, and since 2011 a star of the Bolshoi Theater, is Evgenia Obraztsova.
An elegant, fragile girl is the ideal heroine of all romantic fairy tales, which is why she has behind her such gentle images as Sylphide, Giselle, Bayadère, Princess Aurora, Cinderella, Juliet.
However, the ballerina does not seek to limit herself to a narrow role: the main thing for her is to dance in such a way that the audience believes what they see on stage. Obraztsova tours a lot and even stars in foreign films.
Ekaterina Shipulina
Ekaterina Shipulina is one of the most sought-after ballerinas in Russia today. After graduating from the Moscow State Academy of Choreography, she was accepted into the Bolshoi Theater troupe, where she managed to work with absolutely all the choreographers.
Critics note Shipulina's desire for absolute precision in execution. The star's repertoire includes dozens of leading roles: Odette-Odile in Swan Lake, Esmeralda in Notre Dame, Giselle in Giselle.
Today you can see Prima on the Bolshoi stage in the image of Ondine in the ballet “Hero of Our Time”.
Ekaterina Krysanova
The biography of this prima may surprise many, because Ekaterina Krysanova’s first education was not choreographic.
At first, the famous ballerina studied at the Moscow Center for Opera Singing. Vishnevskaya and only after that she entered the Moscow Academy of Choreography. She did not immediately receive prima status, but after participating in the ballet “The Sleeping Beauty,” she once and for all became a favorite of audiences and theater critics.
Krysanova's last work at the Bolshoi Theater was Russian Seasons and the role of the Parisian ballerina Coralie in Lost Illusions.
Nina Kaptsova
Nina Kaptsova in 1996, immediately after graduating from the Moscow State Academy of Choreography, was accepted into the Bolshoi Theater troupe. She was an excellent student since childhood and was not used to working hard.
The result of hard training is obvious: in 2011, Kaptsova received the title of prima of the Bolshoi. After which she consolidated her success with leading roles in the ballets: “Emeralds”, “Ivan the Terrible”, “Onegin”. Today the prima ballerina can be seen on the Bolshoi stage in the image of Marguerite Gaultier in “The Lady of the Camellias”, as well as in “Classical Symphony”.
At the Women's Opera and London's Covent Garden, the Mariinsky Theater and the Metropolitan Opera in New York. We remember opera singers from Russia who became world famous for their soprano voices.
Galina Vishnevskaya
Galina Vishnevskaya. Photo: techno.com
Galina Vishnevskaya's musical career began in Kronstadt: first, the young singer performed in front of her grandmother and her guests, then at all concerts at school. She was called the "Pebble Artist." Vishnevskaya miraculously escaped starvation in besieged Leningrad, enrolled in an air defense detachment - and sang again: for sailors in the evenings.
In 1944, Galina Vishnevskaya easily entered the Leningrad Regional Operetta Theater and went with concerts to small towns and villages. Since 1947, already in the status of a soloist of the Leningrad Regional Philharmonic, the singer performed with pop programs. And soon vocal teacher Vera Garina appeared in Vishnevskaya’s life. The singer wrote about this meeting in her book “Galina”: “I don’t know how my future creative destiny would have developed without her, but I would never have become an opera singer.”.
Garina, who had extensive stage experience, discovered a real opera soprano in her new student. Two years of Vishnevskaya’s studies were enough for her to join the trainee group of the Bolshoi Theater of the USSR in 1952.
Among the first roles performed on the main stage of the country are Tatiana in “Eugene Onegin” by Pyotr Tchaikovsky, Kupava in “The Snow Maiden” by Nikolai Rimsky-Korsakov. However, trainee Vishnevskaya dreamed of the role of Aida in the opera of the same name by Giuseppe Verdi. She prepared it under the guidance of maestro Alexander Melik-Pashayev and captivated not only the Soviet, but also the Western public. Foreign theaters vied with each other to invite the Soviet singer. The New York Times correspondent wrote: “Vishnevskaya is a knockout in the eyes and ears.”
However, all the creative achievements of the opera singer were crossed out by her “politically unreliable” act. In 1969, Galina Vishnevskaya and her husband Mstislav Rostropovich sheltered the disgraced writer Alexander Solzhenitsyn at their dacha near Moscow. In 1974, after numerous trials, the couple decided to leave their friends, home, and beloved audience and go abroad. And in March 1978, Galina Vishnevskaya and Mstislav Rostropovich were deprived of Soviet citizenship and state awards.
Abroad, the opera singer continued to perform in theaters until 1982. Then, having said goodbye to the stage, Galina Vishnevskaya gave concerts and master classes. In 1990, Vishnevskaya and Rostropovich returned to the USSR. In 2002, the Galina Vishnevskaya Center for Opera Singing opened in Moscow, whose graduates today sing in the best theaters in the world.
Documentary film about the life of Galina Vishnevskaya:
“Life Line” program with the participation of Vishnevskaya:
Lyubov Kazarnovskaya
Lyubov Kazarnovskaya. Photo: timg.com
In 1989, when the Iron Curtain that protected Soviet citizens from the “corruptive influence of the West” fell, foreigners - opera impresarios - flocked to Russia in search of new voices. Representatives of the Vienna Opera invited Lyubov Kazarnovskaya to the capital of Austria.
Next - performances on the world's best opera stages in a variety of images. She succeeded in the fiery Tosca in Puccini's opera of the same name and the resigned Desdemona in Verdi's Othello. There were both rave reviews from the press and scandals associated with the prima donna’s refusal to participate in dubious directorial ventures.
During her trips to Western countries, Lyubov Kazarnovskaya always had time for serious Russian projects. In 1995, she sang the title role in Richard Strauss's Salome at the Mariinsky Theater, and in 1999 at the Bolshoi Theater she sang the role of Manon in the experimental play Portrait of Manon, composed of scenes from two operas of the same name by Massenet and Puccini.
In the 2000s, Lyubov Kazarnovskaya began to spend most of her time in Russia. For several years now, her focus has been on educational activities and media projects.
Habanera from the opera “Carmen” performed by Lyubov Kazarnovskaya:
Maria Guleghina
Maria Guleghina. Photo: classicalmusicnews.ru
Maria Guleghina's career began at the opera house in Minsk. The young singer performed successfully and was popular with the public. In 1987, at the invitation of the management of La Scala, Maria made her stage debut as Amelia (Un ballo in maschera by Giuseppe Verdi). By that time, the singer’s voice had transformed from a mezzo-soprano to a dramatic soprano, which is capable of all the “bloody” parts of the Italian repertoire. Performing in operas by Verdi and Puccini, Cilea and Giordano, she captivated music lovers around the world. Accompanist and teacher Larisa Gergieva called the role of Tosca in Puccini's opera the greatest in the singer's repertoire.
Two years later, at her native opera house, Maria Guleghina decided to perform operas in the original language, but her colleagues did not support her.
“And the situation was such that I couldn’t sing in the West, because they wouldn’t let me out, and in the theater, because folk artists were against me.<...>And then, by hook or by crook, I get tourist passports with visas for myself and my family, learn Aida in Italian in five days and fly, while alone, to the Spanish town of Oviedo, because the local theater invited me to sing.”
Maria Guleghina
Later she moved to Hamburg. Maria Guleghina has performed at the Metropolitan Opera in New York and London's Covent Garden, in Vienna and Los Angeles, Munich and Zurich. In the 2000s, the singer appeared before the Russian public - on the stage of the Mariinsky Theater. She also gives master classes and participates in charity events.
A fragment of Maria Guleghina’s performance on the stage of the Mariinsky Theater:
“Life Line” with Maria Guleghina:
Anna Netrebko
Anna Netrebko. Photo: classicalmusicnews.ru
Anna Netrebko was born in Krasnodar and began appearing on stage there. However, the young singer dreamed of the theaters of St. Petersburg - and she realized her dream. She easily entered the music school, and soon fluttered to the conservatory, into the class of Tamara Novichenko. While still a student, Anna Netrebko shone at an audition for young singers at the Mariinsky Theater, and Valery Gergiev invited her to make her debut as Suzanne in Mozart’s “The Marriage of Figaro.” After that, on the stage of the legendary Mariinsky Theater, the very young Anna performed the roles of the courtesan Violetta (La Traviata by Verdi), Lyudmila (Ruslan and Lyudmila by Glinka), the gentle Gilda (Rigoletto by Verdi) and many other roles.
In 2002, she performed in New York as Natasha Rostova (War and Peace by Sergei Prokofiev), and soon after that, in Salzburg she performed the part of Donna Anna in Mozart’s Don Giovanni.
Over time, Anna Netrebko's voice acquired new colors, and the fragile heroines were replaced by completely different images - for example, the bloodthirsty Lady Macbeth in Verdi's opera. The singer said about this role: “In the image of Lady Macbeth, I was finally able to be myself.” But with Tatiana in “Eugene Onegin,” Netrebko, in her words, “suffered”: “By my nature, I was and am her exact opposite”.
In the fall of 2016, Anna Netrebko made her debut at the Bolshoi Theater. Together with her husband, tenor Yusif Eyvazov, she performed in Puccini's opera Manon Lescaut.
In February 2017, the singer was awarded the honorary title of Kammersängerin, which is awarded to outstanding performers in Germany and Austria. She became the first Russian woman to be awarded this title.
“She is not only a singer, but also an actress. And with her presentation of the material she brought ordinary people closer to opera.”
Albina Shagimuratova, opera singer
Giuditta's aria from Lehar's operetta performed by Anna Netrebko:
Film about Anna Netrebko “And then I come out!” (2013):
In 2007, she graduated from graduate school at the Moscow State Conservatory. P.I. Tchaikovsky, and in the same year became the winner of the XIII International Tchaikovsky Competition.
“Shagimuratova is very talented and performed brilliantly at all three rounds and at the laureates’ concert. She has a real fighting spirit, although she is sweet, charming and modest.”
Evgeny Nesterenko, opera singer, teacher, professor
Immediately after winning the competition, the singer was invited to Salzburg and, after an audition, she was offered her debut in the role of the Queen of the Night (Mozart’s The Magic Flute) under the direction of maestro Riccardo Muti. A brilliant performance at the Salzburg Festival in 2008 attracted the attention of representatives of European and American theaters to Albina. The young singer received interesting contracts, and the virtuoso role of the Queen of the Night became her calling card.
However, Albina Shagimuratova wanted to sing in Russia. In 2011, she took part in the production of “Ruslan and Lyudmila” by Mikhail Glinka at the Bolshoi Theater. In 2012, for her performance of the role of Lucia in Donizetti’s opera “Lucia di Lammermoor”, Shagimuratova became a laureate of the Golden Mask theater award. Today this part is one of the most beloved in the singer’s repertoire: “I adore Lucia, everything about her is mine! I can show myself as a person in it, and this is very important if you want to reach the audience!”.
Today Albina Shagimuratova sings mainly in Italian operas, which require mastery of the virtuoso bel canto singing style. In the West, the performer is called the “Tatar nightingale.” Not forgetting the first difficulties in the profession, she tells her students: “Everyone is given some kind of chance. And if we take advantage of every opportunity to get closer to the goal, remaining human despite any temptations, working hard and not expecting easy victories, then everything will work out in the end.”.
Documentary film about Albina Shagimuratova:
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 international competitions in Prague (“Prague Spring”, 1960), Bucharest (1961) and Montreal (1967), II All-Union Competition named after M. I. Glinka (1962). Had a soft in a beautiful voice, 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 teenage years 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 Serene One (“Cherevichki” by Tchaikovsky; State Prize USSR, 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 named after. 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 latest recent history The Bolshoi Theater already knows a lot: this is the opera “The Children of Rosenthal” 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 staged by 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 throughout 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