The invitation to cooperation of Tugan Sokhiev is the first personnel move of the new director of the theater Vladimir Urin. Forced move ( The theater's previous conductor and music director, Vasily Sinaisky, left with a scandal in the middle of the season, two weeks before the important premiere of Verdi's opera Don Carlos, and a replacement had to be found incredibly urgently. - Approx. ed.). But successful, reasonable and very balanced. The name of Sokhiev was heard more often than others in conversations about who could replace Sinaisky, along with the names of two more young conductors, Vasily Petrenko and Dmitry Yurovsky. And it was obvious to many that Petrenko had a contract with the Mikhailovsky Theater, and young Yurovsky still had to grow and grow. In general, Sokhiev remains - reliable and proven. So this news did not come as a bolt from the blue.
In general, the reputation of Sokhiev, the current director of the National Orchestra of the Capitol of Toulouse and the German Symphony Orchestra of Berlin, pleasantly surprises with the normal - and not crazy, as is often the case with us - course of events. He became an important figure in the West gradually, without breaking with his St. Petersburg roots, in particular with Mariinsky Theater, where he worked at the Academy of Young Singers and became a permanent conductor in 2005, having already made his debut on the stages of the Welsh national opera(“La bohème”, 2002) and at the Metropolitan Opera (“Eugene Onegin”, 2003). Then there were the Houston Opera, La Scala, the Real Madrid Theater, and the Munich Opera. And a hell of a lot of first-class orchestras, from London to the Berlin and Vienna Philharmonic. He often chooses the Russian repertoire, and for the upcoming concert with the Philadelphia Symphony, the former orchestra of the legendary Eugene Ormandy, he is preparing “Pictures at an Exhibition.” That is, there he is Russian, here he is, as it were, Western.
Influential European magazines call the young maestro a miracle, his career is developing at incredible speed, while Sokhiev is not arrogant, not arrogant, and does not even particularly boast of belonging to the great St. Petersburg conducting school. Or he could: in St. Petersburg his conservatory mentors were Ilya Musin and Yuri Temirkanov, and godfather in the theater - Valery Gergiev. His modesty, professional adequacy and diplomacy are almost Martian traits in our latitudes, where every conductor is Muzykant Muzykantovich. And Bolshoi was clearly lucky with him; Moreover, the theater could only dream of such a conductor. And the fact that Vladimir Urin managed to come to an agreement with him, and even for such short term, in a situation of unprecedented time pressure - it’s almost incredible. It's not even a matter of the encouraging (and not the declining) age of the 36-year-old conductor who was signed to a four-year contract. The point is to hit the bull's eye absolutely accurately.
If previously the leaders of the Bolshoi were chosen either on the basis of fame and merit (Gennady Rozhdestvensky, Vasily Sinaisky), or from those who were at hand and ready to work as hard as possible (Alexander Vedernikov, under whom Nikolai Alekseev worked as the main invitee on the same basis), then Sokhiev, perhaps, is capable of becoming at the Bolshoi not a star or a victim, but a qualified accomplice in artistic politics. Evidence of this is the deadline he specified (until September) for gradual entry into the work process; the announced volume of their own projects in the coming season (2 projects, which ones have not yet been reasonably announced). And an implicit but implied plan for cooperation with Valery Gergiev, during which Sokhiev will be promoted from an opera conductor with an enviable reputation to a full-fledged opera quartermaster. This means that after the expiration of the director’s contract in 2018, Vladimir Urin will have someone to leave the Bolshoi Theater to.
The Soviet era was generous with talent. The history of world culture includes the names of brilliant Soviet pianists, violinists, cellists, singers and, of course, conductors. At this time, a modern understanding of the role of the conductor - leader, organizer, master - was formed.
What they were like, music leaders Soviet era?
Five portraits from the gallery of outstanding conductors.
NIKOLAI GOLOVANOV (1891–1953) 
Already at the age of six, during a walk, Nikolai tried to conduct a military orchestra. In 1900, the young music lover was admitted to the Synodal School. Here his vocal, conducting and composing abilities were revealed.
Having already become a mature master, Golovanov will write with great love about his years of study: “The Synodal School gave me everything - moral principles, principles of life, the ability to work hard and systematically, instilled sacred discipline.”
After several years of working as regent, Nikolai entered the composition class of the Moscow Conservatory. In 1914 he graduated with a small gold medal. Throughout his life, Nikolai Semenovich wrote spiritual chants. He continued to work in this genre even when religion was proclaimed “the opium of the people.”
Fragment of the performance of Tchaikovsky's overture "1812"
In 1915, Golovanov was accepted into the Bolshoi Theater. It all started with a modest position as an assistant choirmaster, and in 1948 he became the chief conductor. Relations with the famous theater were not always smooth: Nikolai Golovanov had to endure many insults and disappointments. But it is not they who remain in history, but brilliant interpretations of Russian opera and symphonic classics, brilliant premieres of works by contemporary composers and the first radio broadcasts classical music in the USSR with his participation.
Conductor Gennady Rozhdestvensky recalls the master this way: “He couldn’t stand the middle. The indifferent middle. And in nuance, and in phrasing, and in attitude to the matter.”
Although Golovanov had no student conductors, his interpretations of Russian classics became models for young musicians. Alexander Gauk was destined to become the founder of the Soviet conducting school.
ALEXANDER GAUK (1893–1963) 
Alexander Gauk studied at the Petrograd Conservatory. He studied composition in the class of Alexander Glazunov, conducting in the class of Nikolai Cherepnin.
In 1917, the musical and theatrical period of his life began: he worked at the Petrograd Theater of Musical Drama, and then at the Leningrad Opera and Ballet Theater.
In the 1930s, symphonic music became the center of Gauck's interests. For several years he led symphony orchestra Leningrad Philharmonic, and in 1936 he headed the newly created State Symphony Orchestra of the USSR. He didn’t miss the theater, he only regretted that he never had a chance to stage his favorite “ Queen of Spades» Tchaikovsky.
A. Honegger
Pacific 231
In 1953, Gauk became the chief conductor of the Great Symphony Orchestra of the USSR State Television and Radio. This work was very intense and interesting. The orchestra played programs, as they say, in live. In 1961, the maestro was “politely” sent into retirement.
Gauk's joy was pedagogical activity. Evgeny Mravinsky, Alexander Melik-Pashaev, Evgeny Svetlanov, Nikolai Rabinovich - all of them were students of the maestro.
Evgeniy Mravinsky, himself already a renowned master, will write to his teacher in congratulatory letter: “You are our only conductor who carries the traditions of a truly great culture.”
EVGENY MRAVINSKY (1903–1988) 
Mravinsky's entire life was connected with St. Petersburg-Leningrad. He was born into a noble family, but in difficult years he had to deal with “non-noble” affairs. For example, work as an extra at the Mariinsky Theater. An important role in his fate was played by the personality of the theater director, Emil Cooper: “It was he who introduced into me that “grain of poison” that connected me with the art of conducting for the rest of my life.”
For the sake of music, Mravinsky left university and entered the Petrograd Conservatory. At first the student worked diligently on composition, and then became interested in conducting. In 1929, he came to Gauck’s class and very quickly mastered the basics of this complex (or “dark”, as Rimsky-Korsakov said) business. After graduating from the conservatory, Mravinsky became an assistant conductor of the Leningrad Opera and Ballet Theater.
In 1937, the conductor's first meeting with the music of Dmitry Shostakovich took place. Mravinsky was entrusted with the premiere of his Fifth Symphony.
At first, Shostakovich was even frightened by the conductor’s method of work: “About every measure, about every thought, Mravinsky subjected me to a genuine interrogation, demanding from me an answer to all the doubts that arose in him. But already on the fifth day of our collaboration I realized that this method is absolutely correct.”
After this premiere, Shostakovich’s music will become a constant companion in the maestro’s life.
In 1938, Mravinsky won the First All-Union Conducting Competition and was immediately appointed director of the Leningrad Philharmonic Orchestra. Many of the orchestra's artists were much older than the conductor, so they did not hesitate to give him “valuable instructions.” But very little time will pass, a working atmosphere will be established at rehearsals, and this team will become the pride of national culture.
Rehearsal of the Leningrad Philharmonic Orchestra
It is not so often in the history of music that we come across examples where a conductor works with one ensemble for several decades. Evgeny Mravinsky led the Philharmonic Orchestra for half a century, his younger colleague Evgeny Svetlanov led the State Orchestra for 35 years.
Dmitri Shostakovich, Symphony No. 8
EVGENY SVETLANOV (1928–2002) 
For Svetlanov, the Bolshoi Theater was home in a special sense of the word. His parents are soloists opera troupe. The future maestro made his debut on the famous stage at a tender age: he played little son Cio-Cio-san in Puccini's opera Madama Butterfly.
Almost immediately after graduating from the conservatory, Svetlanov came to the Bolshoi Theater and mastered all the theater classics. In 1963 he became the theater's chief conductor. Together with him, the troupe goes on tour to Milan, to La Scala. Svetlanov brings “Boris Godunov”, “Prince Igor”, “Sadko” to the demanding public.
In 1965, he headed the USSR State Symphony Orchestra (the same one that his teacher Alexander Gauk once led). Together with this team, which became academic in 1972, Svetlanov implemented a large-scale project - “Anthology of Russian symphonic music in the recording." The significance of this work was very accurately defined by the music director of Radio France, Rene Goering, who worked a lot with the conductor: “This is a real feat of Svetlanov, another evidence of his greatness.”
M. Balakirev, symphony No. 2, finale
When working with the State Conservatory, the conductor does not forget about the Bolshoi Theater. In 1988, the production of “The Golden Cockerel” (directed by Georgy Ansimov) became a real sensation. Svetlanov invited the “non-opera” singer Alexander Gradsky to play the extremely complex role of the Astrologer, which added even more originality to the performance.
Concert “Hits of the Outgoing Century”
Among the most important achievements of Evgeniy Svetlanov is the introduction wide range listeners to music outstanding composer Nikolai Myaskovsky, very rarely performed by Soviet orchestras.
The return of little-known works to the concert stage has become one of the key tasks for maestro Gennady Rozhdestvensky.
GENNADY ROZHDESTVNSKY (BORN 1931) 
Conductors playing instruments or composing music are not uncommon. But conductors who can talk about music are rare. Gennady Rozhdestvensky is a real unique person: he can talk and write fascinatingly about musical works different eras.
Rozhdestvensky studied conducting from his father, the famous conductor Nikolai Anosov. Mom, singer Natalya Rozhdestvenskaya, did a lot for development artistic taste son. Not yet graduating from the conservatory, Gennady Rozhdestvensky was accepted into the Bolshoi Theater. His debut was Tchaikovsky's The Sleeping Beauty. In 1961, Rozhdestvensky headed the Great Symphony Orchestra of Central Television and Radio Broadcasting. At this time, the conductor's repertoire preferences emerged.
He mastered the music of the twentieth century with great interest, and also introduced the public to “non-hit” compositions. Musicologist, Doctor of Art History Viktor Tsukkerman admitted in a letter to Rozhdestvensky: “I have long wanted to express my deep respect and even admiration for your selfless, perhaps even ascetic activity in performing either undeservedly forgotten or little-known works.”
A creative approach to the repertoire determined the maestro’s work with other orchestras - well-known and not so well-known, youth and “adult” ones.
All aspiring conductors dream of studying with Professor Rozhdestvensky: for 15 years now he has been heading the department of opera and symphony conducting at the Moscow Conservatory.
The professor knows the answer to the question “Who is a conductor?”: “This is a medium between the author and the listener. Or, if you like, some kind of filter that passes through itself the flow emitted by the score, and then tries to transmit it to the audience."
Film "Triangles of Life"
(with fragments of the conductor's performances), in three parts
The program is hosted by Leila Giniatulina. Radio Liberty correspondent Marina Timasheva is taking part.
Leila Giniatulina:
The Bolshoi Theater is in Milan. We just successfully played “Eugene Onegin” directed by Dmitry Chernyakov. Alexander Vedernikov was behind the control panel. On July 18, he plans to announce that he is leaving his post as chief conductor. Bolshoi Theater.
Marina Timasheva: Alexander Vedernikov considers the tour in Milan as “a certain result of 8 years of work at the Bolshoi Theater,” and says that he is leaving “due to disagreements with the theater administration.” Director Anatoly Iksanov confirms the information about the resignation of the chief conductor and reports that for the next five to seven years the theater will work with guest conductors: Vladimir Yurovsky, Vasily Sinaisky, Alexander Lazarev, Teodor Currentzis and Kirill Petrenko. Here's how musicologists comment on the news: music critics, columnists for central publications. Ekaterina Kretova...
Ekaterina Kretova: In my opinion, the figure of Alexander Vedernikov was never adequate to the scale and level of the Bolshoi Theater that we generally knew. As for the very idea of guest conductors, it is some kind of compromise, and it seems that it is intermediate.
Marina Timasheva: Professor Alexey Parin...
Alexey Parin: Vedernikov’s departure from the post of chief conductor of the Bolshoi Theater should be perceived rather positively, because after all, the Bolshoi Theater is the leading theater in the country, and of course, the post of chief conductor should be outstanding personality musical, which is what it is after all good conductor Alexander Vedernikov is not. As for the conducting board, there are conductors with names, each of them even represents some specific direction in modern conducting, but it is still necessary, if not the chief conductor, then the chief bandmaster, as it was previously called, who will monitor the high technological qualities of this orchestra.
Marina Timasheva: Let me clarify that there is no talk of a conducting board yet, just five conductors have been invited to cooperate. Yuri Vasiliev called this design a “ten-legged man”.
Yuri Vasiliev: This, in my opinion, is not the first time big changes at the Bolshoi Theater occur when part of the troupe or the entire troupe is on tour. As for the conducting board, we really need some kind of first among equals, who will ultimately be responsible for the musical policy of the entire Bolshoi Theater. We all know the huge selection of conductors who conduct at the Mariinsky Theater, but we know that Gergiev is there. As for the path of Alexander Vedernikov, it is very good and working opera conductor. The Bolshoi Theater was undergoing reconstruction, a new stage was built, which had to be tested, to which old things had to be transferred and, of course, new deliveries had to be made - Vedernikov coped with all of this.
Marina Timasheva: I give the floor to Natalya Zimyanina.
Natalya Zimyanina: For me, the departure of Alexander Vedernikov is an undoubted loss, although I was not satisfied with all of his works. But the fact that he is a high professional is absolutely certain. I absolutely do not understand how such an administratively dilapidated creation as the Bolshoi Theater can exist without a chief conductor. Someone must watch the orchestra all the time, it must be one person who knows the orchestral details well, knows the scores well, understands perfectly what it is to conduct an opera and what it is to conduct a ballet. There is complete uncertainty for me about how the Bolshoi Theater will continue to exist.
Marina Timasheva: Petr Pospelov, musicologist and composer, recognizes Vedernikov’s merits and highly appreciates creative possibilities five guest conductors, but does not believe that the resignation of Alexander Vedernikov can solve all the problems of the Bolshoi Theater.
Petr Pospelov: Waves of reforms in the theater are very short-lived, very soon everything calms down, and you need to start over. Neither the departure of Vedernikov nor the arrival of new conductors will solve the problems of the Bolshoi Theater, because there is a bloated permanent troupe that no one needs, the contract system has not been introduced and does not work. There are a lot of very creative problems, mainly related to the fact that the theater simply does not have an artistic director. It is not run by a musician or an artist, although it is a very professional director, Anatoly Iksanov. And, in my opinion, those conductors who will work at the Bolshoi Theater will not develop any kind of joint line. And the theater will be managed by a director who will, naturally, listen carefully to each of them. This situation, in my opinion, is still not ideal, because there should be some kind of artistic will at the head.
Tugan Sokhiev. Photo – Kirill Kallinikov
The scandal surrounding the Nureyev ballet could ruin the reputation of the Russian Bolshoi Theater, which will participate in the Finnish Opera festival in the city of Savonlinna. Chief conductor And music director theater Tugan Sokhiev says that questions regarding ballet should be asked to the director of the theater.
The chief conductor of the Moscow Bolshoi Theater Tugan Sokhiev still believes in artistic freedom its troupe, although the recent postponement of the premiere of the Nureyev ballet damaged the reputation of the legendary house of ballet and opera, which takes part in the Opera Festival in the Finnish city of Savonlinna.
Nureyev is a legendary dancer and homosexual. The Minister of Culture is said to have wondered whether the ballet would violate the law prohibiting the “propaganda of homosexuality” among minors. The law has already been used, for example, to ban gay pride parades.
"Ask general director, who made the decision to postpone the premiere of the ballet. I'm in charge of the music."
Reminds me of Sokhiev.
The editors of Helsingin Sanomat agreed to interview CEO Vladimir Urin later. Sokhiev can only tell what he heard himself.
“As far as I know, the project staged in the studio was more difficult to transfer to big stage. For the ballet "Nureyev" were invited good composer, brilliant choreographer, interesting director.
They probably need additional time, and, as far as I know, the premiere should take place before the new year, although initially it was about next May, since they have a lot of other work,”
He said.
Sokhiev is responsible for the opera productions of “Iolanta” and “Eugene Onegin” to the music of Pyotr Tchaikovsky. On July 25, 2017, spectators were able to enjoy the one-act opera “Iolanta”.
“In the composer’s time, the ballet “The Nutcracker” and the opera “Iolanta” were shown on the same evening. Then they prepared theatrical evenings that lasted 4-5 hours. We, in turn, present excerpts from “The Nutcracker”, which reflect the hidden aspects of “Iolanta” in this version of the production,
The conductor notes.
Symbolic “black” and “white” rooms will appear on the Olavinlinna Fortress stage.
“In Moscow they also move and unite, but in Olavinlinna this is impossible. For this performance we made special new and simple decorations,”
Sokhiev says.
The opera “Eugene Onegin” will be shown on July 26. Unfortunately, a concert version of the opera will be presented, as was recently done as part of the Aix-en-Provence Opera Festival.
“In fact, concert performance is also possible. Eugene Onegin" is an unusual opera. The composer presents a series of lyrical fragments in it. This is more chamber music than many imagine."
The conductor speaks.
The Bolshoi Theater made headlines four years ago when the then director of the theater had acid thrown in his face. A ballet dancer was accused of assault.
“This happened, fortunately, before I took up my post. As far as I understand, it was about a personal conflict that became a problem for the entire theater. Now we have a good healthy atmosphere,”
Sokhiev says.
Sokhiev is also responsible for the opera performance, which the presidents of Russia and Finland are to attend on July 27, and utters polite words appropriate to the situation: “It’s great that Finland’s centenary can be celebrated in this way among its neighbors.”
Sokhiev works in Moscow five months a year. At the same time, he remains the conductor of the Toulouse Orchestra in France. He takes part in the most significant events - for example, he comes to philharmonic concerts in Berlin and Vienna.
“And to the performance of the Finnish Radio Symphony Orchestra! There’s a lot to do, but I’ll try to get to this beloved country to conduct the orchestra in 2019,”
Conductor Tugan Sokhiev, currently the musical director of the National Orchestra of the Capitol of Toulouse and the German Symphony Orchestra of Berlin, became the musical director and chief conductor of the Bolshoi Theater, RIA Novosti reports, citing a statement by the General Director of the Bolshoi Theater Vladimir Urin.
Vasily Sinaisky, who served as musical director and chief conductor of the Bolshoi Theater since 2010, left the theater in early December 2013. at will. The premiere performances of the opera Don Carlos, which Sinaisky was to conduct, were presented by Robert Treviño and Giacomo Sagripanti.
“I said that we would decide on our new musical director by February 1. As you know, at the beginning of December Vasily Serafimovich Sinaisky left the walls of the Bolshoi Theater, so in the middle of the season we had to decide. I would like to introduce him (the new musical director) - Tugan Taimurazovich Sokhiev is one of the most sought-after conductors in the West, he leads the Orchestra of the Capitol of Toulouse and the German Symphony Orchestra of Berlin,” Urin said.
The General Director of the Bolshoi Theater noted that the conductor has a very busy schedule and has other contractual obligations. “We agreed that Tugan will gradually enter the affairs of the theater,” said Urin. “Now he is flying to Philadelphia, his contracts will be fulfilled. Until the end of the season, he will appear in Moscow. In reality, he will start working and will take over the control next season. Next season he will implement two projects."
Urin emphasized that the new music director is very young and he has no experience working in a theater like the Bolshoi. “But I considered this not the most important thing. Valery Gergiev headed the Mariinsky Theater at the age of 33,” he said.
“It was important to understand that our views are very similar, we coincide with how we understand the Bolshoi Theater. Which is very important, because we have to make decisions together,” added the general director.
Sokhiev explained why he decided to head the theater, although his schedule is very busy. “The offer was very unexpected, I thought for a long time. The most important thing that convinced me to head this one of the great theaters in the world is a serious and responsible task. The personality of the current director of the theater, who clearly understands how the theater should develop. When there is a team with which you can build a theater, that’s a lot,” said the conductor.
The conductor said he would have to cut back on his Western contracts. “I will maintain my relationships with the orchestras with which I work. But year by year I will become more and more involved in the work of the Bolshoi Theater. If possible, I will spend as much time here as possible, because this is the only way to improve the work and outline future paths development," he explained.
Urin noted that after the music director starts working, they intend to outline plans for the opera troupe for the next three years.
Sokhiev noted that the Bolshoi Theater's opera repertoire should include a wide variety of music: “The Bolshoi Theater should not focus on certain composers, the repertoire should be very large. Such opportunities and such talents - I don’t think that we should limit ourselves to only Russian or only French opera.” .
About our musical preferences Sokhiev said: “I love everything.”
Tugan Sokhiev was born in 1977 in Vladikavkaz (then Ordzhonikidze). He studied at the St. Petersburg State Conservatory in the class of the legendary professor Ilya Musin. In 2002, Sokhiev made his debut in the Welsh National opera house("La Bohème"), and in 2003 - at the New York Metropolitan Opera ("Eugene Onegin"). In the same year, the conductor performed for the first time with the London Philharmonic Orchestra; the concert marked the beginning of Sokhiev’s long-term collaboration with this group. In 2004, at the Aix-en-Provence festival, he conducted Prokofiev's opera The Love for Three Oranges. Since 2005, Sokhiev has actively collaborated with the Mariinsky Theater, on the stage of which, under his direction, the premieres of the operas “Journey to Reims”, “Carmen” and “The Tale of Tsar Saltan” took place.
In 2008, the conductor became music director of the National Orchestra Capitole of Toulouse, where he had previously been chief guest conductor for three years. Since 2010 he has also led the German Symphony Orchestra Berlin.
Currently, the conductor is actively touring around the world. In the 2012-2013 season, Sokhiev made his debut with the Chicago Symphony Orchestra and the Leipzig Gewandhaus Orchestra, and also continued his collaboration with the Vienna and Rotterdam philharmonic orchestras. His theatrical works include Boris Godunov at the Vienna State Opera and ballets by Stravinsky at the Théâtre Capitole in Toulouse. National artist Republic of North Ossetia-Alania.