Visiting the "Canon" program - the choirmaster of the State Academic Bolshoi Theater Russia, artistic director children's choir Bolshoi Theater Yulia Molchanova. The dialogue will focus on the history of the country's oldest children's group and the specifics of the work of young artists. The program uses fragments of a concert performance by the Bolshoi Theater children's choir in the Hall of Church Councils of the Cathedral of Christ the Savior.
Today our guest is the choirmaster of the Bolshoi Theater of Russia, artistic director of the Bolshoi Theater children's choir Yulia Molchanova.
The children's choir at the Bolshoi Theater is one of the oldest children's studios in the capital; it was founded in the early 20s of the last century. It’s quite difficult to get into the team; good voice and the basics musical literacy you need to pass a professional selection. The competition for a place is like in a good metropolitan university. Choir artists are involved in most of the theater's productions. In addition, the choir goes on tour with concert program. We’ll talk more about the life of the group with the choirmaster and artistic director children's choir of the Bolshoi Theater by Yulia Molchanova.
Although the choir you lead is called a children's choir, in fact it is not a child's age: your choir is almost 90 years old.
Yes, children's choir The Bolshoi Theater is one of the oldest groups in Russia (at least for children); it was created around 1924. Initially it consisted of children of theater artists. This is due to the fact that almost every opera has some part for the children’s choir, and naturally, when these operas were staged at the Bolshoi Theater, someone had to perform these parts. At first these were the children of artists, but the team grew as necessary.
- And now it no longer bears such continuity?
Yes. The Bolshoi Theater implies a very high performing level, and we have a very serious, tough competition. We recruit children only on a competitive basis; they go through several audition stages; We take only those children who really suit us, only talented ones.
- What age are the children who sing?
Ages range from six years to approximately sixteen, sometimes a little older. But the youngest are five and a half and six years old.
- And besides participating in productions and performances, does the team live some kind of concert life?
Yes. Fortunately, the team has a lot of independent projects and concerts, but, again, we also perform a lot as part of the Bolshoi Theater troupe, in some Bolshoi Theater concerts. But we also have an independent concert activities- for example, we cooperate with a number of very good large Moscow orchestras. We work closely with the Russian Philharmonic Orchestra under the direction of Dmitry Yurovsky, and quite often we perform with the Polyansky Chapel and the Pletnevsky Orchestra.
I know that this year you had a major project with the choir of the Cathedral of Christ the Savior. You took part in the Christmas service with His Holiness.
Yes. It was an overnight patriarchal Christmas service, and we were lucky enough to take part in it.
- Is this experience unusual for you, for children?
For the children, naturally, this was an unusual experience. This was our first time taking part in such a wonderful project.
- There was also a live broadcast?
Yes, everything was live broadcast. It happened like this: we received such a proposal from the regent of the Cathedral of Christ the Savior, Ilya Borisovich Tolkachev, and discussed with him how this could be done. It turned out quite interesting. We did antiphonal singing. Mostly, of course, the adult choir sang, but some parts of the service were sung by a children's choir, and it sounded very good. Antiphon in the church - in my opinion, it turned out just wonderful.
- Julia, tell me, what are your responsibilities as a choirmaster?
My responsibilities as a choirmaster include an absolutely complete range of preparing children for the performance. What does this mean? Learn the parts first; Naturally, theatrical parts. For example, some kind of new production(let's say " Queen of Spades"). First, you need to learn the parts: learn everything, sort it out, accept the parts so that all the children know it. Then work begins with the director, production rehearsals, at which the choirmaster is also always present. The next stage is, let's say, working with the conductor; a conductor comes and also expresses some of his requirements regarding performance at the stage, say, before orchestral rehearsals, before going to the orchestra. The next stage is when the production is almost completed or is at the last stage, when children (and not only children, but adults too) enter the main stage with the orchestra.
- This is the run, right?
Run-throughs in costumes and makeup have already begun.
- This is a colossal job.
Yes, that's enough big job, a fairly large layer - to bring everything to the final result.
- How many productions do you have in which you are involved now?
You know, a lot. The children's choir is busy almost everywhere. I’ll tell you more: there are even ballet performances where a children’s choir is involved, for example, “Ivan the Terrible”; there is an acapella children's choir; By the way, it's quite complicated. Naturally, the children's choir sings in “The Nutcracker,” and during the December-January period we have up to twenty-seven “Nutcrackers” literally in a month. That is, we are also involved in some ballets.
There are performances (it is clear that they are in the minority) where the children's choir is engaged as mimance artists in a mimic ensemble; that is, even if the part of the children's choir is not written, the children still participate in something. For example, they take part in the opera “Così fan tutte” (“This is what all women do”), although there is no part for a children’s choir.
Despite the enormity of this work, these are still children. They still have time for some pranks, maybe?
There's always time for pranks!
- How do you organize young artists?
You know, we have quite strict discipline; and we simply part ways (naturally, after some warnings) with children who cannot cope with this discipline. Unfortunately, theater is a machine; theater is very difficult, very responsible. This is also connected with the responsibility of going on stage; it should absolutely always be the most high level performance, this must be the highest discipline, because it is connected, you understand, with machinery, scenery, costumes, with presence on stage sometimes huge amount of people. For example, in the opera “Boris Godunov” we have on stage 120-130 adult choir members, soloists, children’s choir, a large number of actors of the mimic ensemble. Even this alone requires enormous organization.
This also has its advantages. In my opinion, children become very responsible in a team.
- They grow up quickly.
Yes, they grow up quickly. How do they grow up? Maybe psychologically. They feel responsibility, they feel that they are taking part in some big and wonderful common cause and that they are a part of this huge wonderful process. In my opinion, this is very important.
Yulia, are there any restrictions in terms of nutrition or maybe physical activity have children? Any special diets?
Of course not. Naturally, there are no special diets. And there are no restrictions. The only thing is that children have the opportunity to eat at the theater for free, that is, the theater pays for their meals, and we, of course, categorically prohibit selling them chips and fizzy drinks; Besides the fact that there is nothing good about them at all, it also has a harmful effect on the voice. For example, after Coca-Cola or something else, your voice may completely go dead. Therefore, this is, of course, prohibited.
Forgive me for this perhaps a little dry question, but does staff turnover often occur in your team? After all, children grow up.
There is practically no turnover. We have such a wonderful, homely atmosphere that some are up to 20 years old...
- ... keep it in the children's choir.
Not that we hold it. I understand, of course, that the person is no longer a child, but they say: “Yulia Igorevna! Well, please, can we come and sing this performance? Yulia Igorevna, can we come and take part in the concert?” Actually we have this big family. To be honest, I myself sang for quite a long time in the children’s choir of the Bolshoi Theater when I was a child. I can just say that the tradition of this group is that we still all communicate, I still keep in touch with the guys with whom I sang. Many of them are now working at the Bolshoi Theater. I also cultivate such an atmosphere in my team. For example, we have several traditions. On the thirty-first of December there is a performance of “The Nutcracker”, and we definitely get together, many graduates come. Sometimes these graduates sing this performance; that is, not the children who are now in the theater, but graduates - the guys are already more mature; This is such an outlet, a tradition. We go together, as a choir, to the skating rink, that is, some such things.
- So the legends about the intrigues of the Bolshoi Theater are all legends?
In my opinion, yes. I don’t know, but this certainly doesn’t apply to the children’s choir. You know, intrigue and all sorts of things like that exist everywhere, not only at the Bolshoi Theater. I think this is present in any field and will always be present.
- Healthy competition is, in principle, necessary.
Yes, healthy competition is needed, but, you know, all our children are very good, and, fortunately, there are no evil children in the team, they simply do not take root with us. The guys are all very kind, always ready to help each other, they always help the kids: put on makeup, get dressed, and introduce them to the performance. Overall, the atmosphere is wonderful.
(To be continued.)
Presenter Alexander Kruse
Recorded by Lyudmila Ulyanova
Yulia Molchanova( director of the children's choir at the Bolshoi Theater.)
: “Many artists of the Bolshoi Theater children’s choir continue to try to connect their destiny with music”
Not a single large-scale opera production at the Bolshoi Theater is complete without a children's choir. Orpheus radio correspondent Ekaterina Andreas met with Yulia Molchanova, the director of the children's choir at the Bolshoi Theater.
- Yulia Igorevna, please tell us what is the history of the children’s choir at the Bolshoi Theater?
- The children's choir is one of the oldest groups of the Bolshoi Theater, it is almost 90 years old. The appearance of the children's choir dates back to 1925-1930. Initially, it was a group of children of theater artists who took part in opera performances, because almost every opera performance has a part for a children's choir. Later, when the theater during the Great Patriotic War was in evacuation, a professional creative team of the Bolshoi Theater children's choir was already formed, and strict selection began to be carried out for its groups. After which the choir received powerful creative development, and today it is a bright, strong group, which, in addition to participating in theatrical performances, now also performs in concert halls not only with the Bolshoi Theater Orchestra, but also with other famous orchestras and conductors.
- That is, the children's choir is not tied only to theater performances?
- Of course, the choir is closely connected with the theater, but in addition to theatrical activities, it also conducts active independent concert activities. We perform with major Moscow orchestras, we are invited to significant concerts both in Russia and abroad. The choir has its own solo program, with which we have traveled abroad several times: to Germany, Italy, Lithuania, Japan....
- Does the choir go on tour with the theater?
- No not always. Since it is quite difficult to take a children’s troupe on theater tours. On tour, the theater usually performs with a local children's group. To do this, I arrive in advance, and in about a week or a week and a half I study with the local children’s choir, learn the parts with them, and introduce them into the performance. And by the time our theater troupe arrives, local children are already well versed in the repertoire. This is also part of my job as a choirmaster.
- Are there many people in the Bolshoi Theater children’s choir today?
- Today there are about 60 people in the choir. It is clear that all the guys go to performances together extremely rarely - after all, different performances require a completely different number of choir members.
- What composition does the team usually have on tour?
- The optimal number is 40-45 people. It doesn’t make sense to take a smaller roster (after all, you need to understand that someone may get sick, someone for some reason will suddenly not be able to perform), and taking more than 45 people is also not good – this is already overload.
- How do you resolve the issue of parental permission for children under 18 to travel?
- Here, of course, everything has been worked out for a long time. We take children abroad from the age of six. In addition to the conductor, a doctor, an inspector and an administrator must travel with the group. Of course, touring greatly brings the team together. Whenever there is preparation for a tour and the tour itself, the children become friendlier and more independent. Although, of course, we generally have very Friendly team– children have a common goal and idea, which they treat very touchingly and with care.
- And when children experience a loss of voice, do they continue to sing or take a creative break?
- As you know, the process of “voice breaking” goes differently for everyone. We have very good sound performers in the theater, and children have the opportunity to attend them. In addition, I myself also monitor this moment very carefully, and if the withdrawal is quite serious and is difficult, then, of course, you need to be silent for a while..... In this case, the children really go on a short academic leave. If the withdrawal occurs smoothly, then we gradually transfer the child to lower voices. For example, if a boy sang soprano and had a treble, and then his voice gradually lowers, then the child switches to altos. Usually this process occurs quite calmly. In girls, if they sing with the correct sound production and if their breathing is correct, as a rule, no problems with “voice breaking” arise.
Has it ever happened that the children of your group, who in principle are aimed at the classical repertoire, suddenly start going to the studio as well? pop vocals? Or is this basically impossible?
“It’s more like the opposite is happening here.” There have been cases when people from various children's pop groups came to audition for us... and we even took some children into our team. It is clear that pop and classical vocals are still different directions, so it is impossible to combine them. This is difficult for a child too - due to the difference in the style of singing. Let me note that we are not talking now which style of singing is better or worse. We are only talking about the fact that the directions are different, so it is almost impossible to combine them, and I think it is not necessary.
- Yulia Igorevna, please tell us about the rehearsal schedule?
- We, of course, try to adhere to a single schedule, mostly our rehearsals take place in the evening. But situations are different. We, of course, are very tied to the theater schedule, so if there are orchestral rehearsals (for example, morning ones), then it is quite understandable that children are called to them. Or if children are involved in a production, they are also called to the performance - in the schedule in which it appears on the playbill. Example: when the opera “Turandot” was on (in which some of the children sing, and some of the children dance on stage), the children were busy literally every other day. And there's nothing you can do about it. But when the production is over, we, of course, give the children a few days to rest.
- It is clear that the choir is a children’s group. There are probably some organizational difficulties associated with this?
- Of course, there are certain difficulties in the organization, but I want to emphasize that despite the fact that the team is for children, I immediately try to accustom them to the fact that they are already adults. Since they came to the theater, they are already artists, which means that they already have a certain share of responsibility. I try to raise them in such a way that here they should behave like adult artists. Firstly, it has to do with going on stage, the scenery, and discipline. That is, with great responsibility. Because when you go out somewhere kindergarten or reading a poem at school is one thing, and completely different when you go on stage at the Bolshoi Theater. In any case, this is very obliging. That is why they should feel like adult artists, feel responsible for every movement made and word sung... and it seems to me that even small children at 6-7 years old very quickly become adults and, in general, feel their responsibility.
- Are there any restrictions on food before a rehearsal or performance? Can they eat everything?
- Of course, in ordinary life they eat everything like ordinary children. Although during performances, when the theater feeds them (children are given special coupons for which they can take some food for a certain amount). These days I specifically go to the buffet and warn that the children have a performance today, so I categorically forbid selling sparkling water and chips to children. As you know, this is what children usually buy at the buffet instead of, for example, taking a full lunch.
- This is bad for the ligaments... chips cause a sore throat, hoarseness, and carbonated sweet water really “dries up the voice”... the voice becomes hoarse.
- In addition to serious everyday life, there are probably some funny incidents?
- Yes, of course, there are a lot of such cases. For example, during the opera Boris Godunov, children participate in a scene at St. Basil's Cathedral (where they sing with the Holy Fool). In this scene, children play beggars, ragamuffins, and they are made up accordingly - they are dressed in special rags, bruises, abrasions, characteristic pallor are painted on them... And before this appearance there is a scene of a completely different nature - a ball at Marina Mnishek, a scene at the fountain - with a very with magnificent ceremonial outfits depicting the richest audience, and in the middle of the stage there is a beautiful fountain. Before the start of this picture, the curtain, of course, is closed... so the children, having already dressed up as ragamuffins for their next appearance, went backstage - they are interested in seeing - there is a real fountain here! And so they, in their costumes of beggars, ran up to the fountain and began splashing in the water, catching something from there... and the stage director, not seeing the children on stage, gave the command to raise the curtain... And just imagine - the curtain opens - a secular audience, expensive decoration palace, everything sparkles... and about ten hungry people washing and splashing in this fountain... it was very funny...
- I wonder if there is also a make-up artist for children?
- Definitely – both make-up artists and costume designers. Everything is like in adults. They are made up in a special way, they are helped to dress and figure out the costume. The costume designers, of course, make sure that all the children are ready to go for the required scene. Moreover! When a new production comes out, each of them has their own costume sewn, the children go to fittings, this is also always very interesting for them.
- Have there been cases when a children’s choir grew into soloists?
- Certainly! It’s quite natural - children who start working here become very attached to the theater. After all, the theater is very attractive. And, as a rule, many children who came here try to further connect their fate with music. Therefore, many then enter music schools, conservatories, and institutes... Children here sing very well, have the opportunity to listen to leading opera stars, sing with them in the same performance, and learn stage skills from them. Some from the children's choir then move on to the adult choir, some become a soloist, some become an orchestra artist... In general, many return to the theater in one way or another, or simply connect their lives with music.
- Until what age can a young artist sing in a children's choir?
- Up to 17-18 years old. If there is a desire to continue singing, already in an adult choir, then in this case, of course, they need, just like everyone else, to pass the qualifying competition for an adult choir. To join an adult choir, you must already have musical education. At least School of Music. And you can join an adult choir from the age of 20.
- Probably all members of the children's choir receive music education in music schools?
- Of course, definitely. Almost all children study in music schools. This is, after all, a theater, not a music school. The choir is an absolutely concert group and, of course, we do not have such subjects as solfeggio, rhythm, harmony in our program... Naturally, children should study in music school, and it’s very good when they study there.
- As far as I know, you yourself also sang in the Bolshoi Theater choir as a child?
- Yes, for quite a long time I sang in the children's choir of the Bolshoi Theater. In addition, the director of the adult choir, Elena Uzkaya, was also an artist in the Bolshoi Theater children's choir as a child. For me personally, singing in a children's choir largely determined my future destiny.
- Yulia Igorevna, are your parents musicians?
- No. Although my dad is a very talented person. Plays the piano beautifully and improvises. He is very musical. Although he has a completely technical education.
- What was your path to the profession?
- I studied piano at regular music school No. 50, then through a competition (there was a very serious competition - several rounds) I entered the children's choir of the Bolshoi Theater. Then she began to study more seriously, first entered the music school and then the Moscow Conservatory as a choir conductor (to class of Professor Boris IvanovichKulikova, - approx. author).
Children are busy all the time different days – different groups, You call individual ensembles for rehearsal... Do you personally have fixed days off?
-Yes. I have one day off - like in the whole theater - Monday.
Interviewed by special correspondent of Radio Orpheus Ekaterina Andreas
polka backgammon
In Your Kingdom...(Castalsky - from the Divine Liturgy)
Cherubic (Castal - from the Divine Liturgy)
Holy God (Castalsky - from the Divine Liturgy)
On the eve of the anniversary of the Department of Choral Conducting of the Moscow Conservatory. P.I. Tchaikovsky, celebrating its 90th anniversary next year, the Orpheus radio station is beginning a series of interviews with artists and graduates of the famous department. In the first issue of the anniversary series - a meeting with Yulia Molchanova, the director of the children's choir at the Bolshoi Theater.
- Yulia Igorevna, please tell us what is the history of the children’s choir at the Bolshoi Theater?
The children's choir is one of the oldest groups of the Bolshoi Theater, almost 90 years old. The appearance of the children's choir dates back to 1925-1930. Initially, it was a group of children of theater artists who took part in opera performances, because almost every opera performance has a part for a children's choir. Later, when the theater was evacuated during the Great Patriotic War, a professional creative group of the Bolshoi Theater children's choir was formed, and a strict selection process began for its groups. After which the choir received powerful creative development, and today it is a bright, strong group, which, in addition to participating in theatrical performances, now also performs in concert halls not only with the Bolshoi Theater orchestra, but also with other famous orchestras and conductors.
- That is, the children's choir is not tied only to theater performances?
Of course, the choir is closely connected with the theater, but in addition to theatrical activities, it also conducts active independent concert activities. We perform with major Moscow orchestras, we are invited to significant concerts both in Russia and abroad. The choir has its own solo program, with which we have traveled abroad several times: to Germany, Italy, Lithuania, Japan.
- Does the choir go on tour with the theater?
No not always. Since it is quite difficult to take a children’s troupe on theater tours. On tour, the theater usually performs with a local children's group. To do this, I arrive in advance, and in about a week or a week and a half I study with the local children’s choir, learn the parts with them, and introduce them into the performance. And by the time our theater troupe arrives, local children are already well versed in the repertoire. This is also part of my job as a choirmaster.
- Are there many people in the Bolshoi Theater children’s choir today?
Today there are about 60 people in the choir. It is clear that all the guys go to performances together extremely rarely, because different performances require a completely different number of choir members.
- What composition does the team usually have on tour?
The optimal number is 40-45 people. It doesn’t make sense to take a smaller roster (after all, you need to understand that someone may get sick, someone for some reason will suddenly not be able to perform), and taking more than 45 people is also not good - this is already overload.
- How do you resolve the issue of parental permission for children under 18 to travel?
Here, of course, we have worked out everything for a long time. We take children abroad from the age of six. In addition to the conductor, a doctor, an inspector and an administrator must travel with the group. Of course, touring greatly brings the team together. Whenever there is preparation for a tour and the tour itself, the children become friendlier and more independent. Although, of course, we generally have a very friendly team; the children have a common goal and idea, which they treat very touchingly and with care.
As you know, the process of “breaking your voice” goes differently for everyone. We have very good sound performers in the theater, and children have the opportunity to attend them. In addition, I myself also monitor this moment very carefully, and if the withdrawal is quite serious and is difficult, then, of course, you need to be silent for a while.. In this case, the children really go on a short academic leave. If the withdrawal occurs smoothly, then we gradually transfer the child to lower voices. For example, if a boy sang soprano and had a treble, and then his voice gradually lowers, then the child switches to altos. Usually this process occurs quite calmly. In girls, if they sing with the correct sound production and if their breathing is correct, as a rule, no problems with “voice breaking” arise.
Has it ever happened that the children of your group, who in principle are aimed at the classical repertoire, suddenly start going to pop vocal studios? Or is this basically impossible?
Here, rather, the opposite happens. There have been cases when people from various children's pop groups came to audition for us and we even took some children into our team. It is clear that pop and classical vocal directions are still different, so it is impossible to combine them. This is difficult for a child too because of the difference in singing style. Let me note that we are not talking now which style of singing is better or worse. We are only talking about the fact that the directions are different, so it is almost impossible to combine them, and I don’t think it’s necessary.
- Yulia Igorevna, please tell us about the rehearsal schedule?
We, of course, try to adhere to a single schedule; most of our rehearsals take place in the evening. But situations are different. We, of course, are very tied to the theater schedule, so if there are orchestral rehearsals (for example, morning ones), then it is quite understandable that children are called to them. Or if children are involved in a production, they are also called to the performance according to the schedule in which it appears on the playbill. Example: when the opera “Turandot” was on (in which some of the children sing, and some of the children dance on stage), the children were busy literally every other day. And there's nothing you can do about it. But when the production is over, we, of course, give the children a few days to rest.
- It is clear that the choir is for children. There are probably some organizational difficulties associated with this?
Of course, there are certain difficulties in the organization, but I want to emphasize that despite the fact that the team is for children, I immediately try to accustom them to the fact that they are already adults. Since they came to the theater, they are already artists, which means that they already have a certain share of responsibility. I try to raise them in such a way that here they should behave like adult artists. Firstly, it has to do with going on stage, the scenery, and discipline. That is, with great responsibility. Because when you go out somewhere in a kindergarten or at school to read a poem, it’s one thing, and completely different when you go on the stage of the Bolshoi Theater. In any case, this is very obliging. That is why they should feel like adult artists, feel responsible for every movement made and word sung and it seems to me that even small children at 6-7 years old very quickly become adults and, in general, feel their responsibility.
- Are there any restrictions on food before a rehearsal or performance? Can they eat everything?
Of course, in ordinary life they eat everything, like ordinary children. Although during performances, when the theater feeds them (children are given special coupons for which they can take some food for a certain amount). These days I specifically go to the buffet and warn that the children have a performance today, so I categorically forbid selling sparkling water and chips to children. As you know, this is what children usually buy at the buffet instead of, for example, taking a full lunch.
This is bad for the ligaments; chips cause a sore throat and hoarseness, and carbonated sweet water really “dries up the voice”; the voice becomes hoarse.
- Besides serious everyday life, there are probably some funny incidents?
Yes, of course, there are a lot of such cases. For example, during the opera Boris Godunov, children participate in a scene at St. Basil's Cathedral (where they sing with the Holy Fool). In this scene, children play beggars, ragamuffins, and they are made up accordingly they are dressed in special rags, bruises, abrasions, and characteristic pallor are painted on them And before this exit there is a scene of a completely different nature a ball at Marina Mnishek, a scene at the fountain with very magnificent with ceremonial outfits depicting the richest audience, and a beautiful fountain was installed in the middle of the stage. Before the start of this picture, the curtain, of course, is closed and so the children, having already dressed up as ragamuffins for their next appearance, went backstage - they are interested in seeing - there is a real fountain here! And so they, in their costumes of beggars, ran up to the fountain and began splashing in the water, catching something from there and the stage director, not seeing the children on stage, gave the command to raise the curtain And now imagine the curtain opens - the secular audience, the expensive decoration of the palace, everything sparkles and there are about ten hungry people washing and splashing in this fountain.. it was very funny
- I wonder if there is also a make-up artist for children?
Make-up artists and costume designers are a must. Everything is like in adults. They are made up in a special way, they are helped to dress and figure out the costume. The costume designers, of course, make sure that all the children are ready to go for the required scene. Moreover! When a new production comes out, each of them has their own costume sewn, the children go to fittings, this is also always very interesting for them.
- Have there been cases when a children’s choir grew into soloists?
Certainly! It’s quite natural - children who start working here become very attached to the theater. After all, the theater is very attractive. And, as a rule, many children who came here try to further connect their fate with music. Therefore, many then enter music schools, conservatories, and institutes. Children here sing very well, have the opportunity to listen to leading opera stars, sing with them in the same performance, and learn stage skills from them. Some from the children's choir then move on to the adult choir, some become a soloist, some become an orchestra artist In general, many return to the theater in one way or another, or simply connect their lives with music.
- Until what age can a young artist sing in a children's choir?
Up to 17-18 years old. If there is a desire to continue singing, already in an adult choir, then in this case, of course, they need, just like everyone else, to pass the qualifying competition for an adult choir. To join an adult choir, you must already have a musical education. At least a music school. And you can join an adult choir from the age of 20.
- Probably all members of the children's choir receive music education in music schools?
Of course, definitely. Almost all children study in music schools. This is, after all, a theater, not a music school. The choir is an absolutely concert group and, of course, we do not have such subjects as solfeggio, rhythmics, harmony in our program Naturally, children should study at a music school, and it is very good when they study there.
- As far as I know, you yourself also sang in the Bolshoi Theater choir as a child?
Yes, for quite a long time I sang in the children's choir of the Bolshoi Theater. In addition, the director of the adult choir, Elena Uzkaya, was also an artist in the Bolshoi Theater children's choir as a child. For me personally, singing in a children's choir largely determined my future destiny.
- Yulia Igorevna, are your parents musicians?
No. Although my dad is a very talented person. Plays the piano beautifully and improvises. He is very musical. Although he has a completely technical education.
- What was your path to the profession?
I studied piano at regular music school No. 50, then through a competition (there was a very serious competition several rounds) I entered the children's choir of the Bolshoi Theater. Then she began to study more seriously, first entered the music school and then the Moscow Conservatory as a choir conductor (to class of Professor Boris IvanovichKulikova, - approx. author).
Children are busy all the time on different days different groups, you call separate ensembles for rehearsals Do you personally have fixed days off?
Yes. I have one day off like in the whole theater Monday.
Interviewed by special correspondent of Radio Orpheus Ekaterina Andreas
Musical Theater named after. Stanislavsky and Nemirovich-Danchenko dreamed of having his own children's choir for many years. Children’s participation was demanded by “Carmen”, “La Boheme”, “The Nutcracker”, “The Tale of Tsar Saltan”, “Tosca”... And in February 2004, two dozen excited parents brought two dozen frisky and much less excited children to an audition. The wish turned into reality, and children's voices began to ring in the classrooms and corridors of the theater, which had not yet been opened after the reconstruction. And soon the first performance took place. May 6, 2006 in the Hall. Tchaikovsky opera troupe Musical theater presented the opera "Carmen" in concert performance at French and with spoken dialogues. This day became the birthday of the children's choir, its first participation in the play, albeit not yet on its native stage.
And since the fall of 2006, when the theater opened after reconstruction, classes, rehearsals and performances have become real adult work. They now perfectly understood what stage and orchestral rehearsals were, they learned to perform the most difficult director's tasks, they knew that they had to come to make-up in advance and also learned many other theatrical secrets.
Now, more than 10 years later, our children's choir is real, experienced artists. They themselves can tell a lot about the theater, introducing the choir recruits to the secrets. They not only take part in theatrical performances, but also perform solo choir concerts. And adult artists, directors, and conductors now know for sure that the theater cannot do without a children’s choir. The children's choir takes part in theater performances: "
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Children's choir directors: Tatyana Leonova, Marina Oleynik, Alla Baykova.
The children's choir includes children aged 9 to 14 years.Class days: Tuesday and Saturday.
Schedule:
Tuesday:
17.00 – 18.30 (choir – junior and senior group)
18.30 – choreography
Saturday:
16.00 – 17.00 (choir – junior group)
17.00 – general choir
ANNOUNCEMENTS AND SCHEDULE:
Dear parents, congratulations to everyone on the beginning of the new season! We wish good health and creative energy for the whole year!
FOR NEW KINDS:
Bring children to class 10-15 minutes before the start. You need to have spare shoes and a choir folder with you. Passage of parents to the theater (with the exception of parent meetings) is prohibited.
Performances of the first half of the year:
29.10 (Tuesday) – no classes
NOVEMBER
1.11 (Friday) – rehearsal of the play “Aladdin’s Magic Lamp” from 11:30 to 14:30
2.11 (Saturday) – no classes
9.11. (Saturday) - NO CHORUS CLASSES, performance "Aladdin's Magic Lamp" ("Tomboys" gathering at 12:00, busy until 4:30 p.m., "Emeralds" gathering at 2:00 p.m., busy until 4:30 p.m.)
13.11. (Wednesday) – performance “Tosca”
DECEMBER
07.12. (Saturday) – performance “The Queen of Spades”
11.12. (Wednesday) – performance "Othello"
12.12. (Thursday) – performance “The Nutcracker”
13.12. (Friday) – performance “The Nutcracker”
25.12. (Wednesday) – performance “Aida”
26.12. (Thursday) – performance “Aida”
27.12. (Friday) – performance “La Bohème”
28.12. (Saturday) – morning and evening performance of “The Nutcracker”
29.12. (Sunday) – morning and evening performance of “The Nutcracker”
30.12. (Monday) – morning and evening performance of “The Nutcracker”
31.12. (Tuesday) – morning and evening performance “The Nutcracker”
For questions, please email the choir inspector
All performances may have additional rehearsals. Class times and days are subject to change!
The youth opera program of the Bolshoi Theater of Russia announces additional set participants for the 2018/19 season with the specialty “soloist-vocalist” (from two to four places). Performers from 1984 - 1998 are allowed to participate in competitive auditions in the program. born with incomplete or completed higher musical education.
The deadline for auditions in the city chosen by the contestant is three calendar days before the audition date in that city. Deadline filing applications for auditions in Moscow - five calendar days before the start of these auditions.
All expenses for participation in auditions (travel, accommodation, etc.) are borne by the contestants themselves.
Procedure for holding the competition
First tour:
- Audition in Tbilisi, Georgian Opera and Ballet Theater. Z. Paliashvili - May 25, 2018
- Audition in Yerevan, Yerevan State Conservatory. Komitas - May 27, 2018
- Auditions in St. Petersburg, Palace of Student Youth of St. Petersburg - May 30, 31 and June 1, 2018.
- Audition in Chisinau, Academy of Music, Theater and fine arts- June 5, 2018
- Audition in Novosibirsk, Novosibirsk academic theater Opera and Ballet - June 11, 2018
- Audition in Yekaterinburg, Ural State Conservatory named after. M. P. Mussorgsky - June 12, 2018
- Audition in Minsk, National Academic Bolshoi Opera and Ballet Theater of the Republic of Belarus - June 16, 2018
- Auditions in Moscow, Bolshoi Theater, opera classes in the Administrative Auxiliary Building - September 20 and 21, 2018.
Due to the FIFA World Cup in June-July 2018, rounds I, II and III in Moscow are postponed to September 2018.
The participant comes to the audition with his own accompanist, having first filled out an electronic form on the website.
The questionnaire is considered accepted if within 10-15 MINUTES after sending it an automatic notification is sent to the sender's email address.
In Moscow, for non-resident participants, upon prior request, the theater provides an accompanist.
At each stage of the auditions, the participant must present to the commission at least two arias - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list provided by the contestant earlier in the questionnaire and including five prepared arias. The list of arias must include arias in three or more languages, necessarily Russian, Italian, French and/or German. All arias listed must be performed in their original language. The commission reserves the right to listen to fewer or more arias.
The number of participants in the first round is not limited.
Second round:
Auditions in Moscow, Bolshoi Theater, New Stage - September 22, Historical Stage - September 23, 2018. The participant comes to the audition with his own accompanist (the theater provides an accompanist for non-resident participants upon prior request). The participant must present two or three arias to the commission - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list prepared for the first round. All arias listed must be performed in their original language. The Commission reserves the right to ask for a smaller or larger number of arias. The number of participants in the second round is no more than forty people.
Third round:
- Audition in Moscow, Bolshoi Theatre, Historical Stage - September 24, 2018. The participant comes to the audition with his own accompanist (for non-resident participants, upon prior request, the theater provides an accompanist). The participant must present to the commission one or two arias according to the preliminary selection of the commission (based on the results of the 2nd round) from his repertoire list.
- Lesson/interview with program leaders.
The number of participants in the third round is no more than twenty people.
YOUTH OPERA PROGRAM OF THE BOLSHOI THEATER
In October 2009, the State Academic Bolshoi Theater of Russia created a Youth Opera Program, within the framework of which young singers and pianists from Russia and the CIS undergo professional development courses. For several years, young artists who entered the program as a result of competitive auditions study various academic disciplines, including vocal lessons, master classes famous singers and teachers-tutors, training foreign languages, stage movement and acting. In addition, each of the participants Youth program has extensive stage practice, performing roles in premiere and current productions of the theater, as well as preparing various concert programs.
Throughout the years of the Youth Program’s existence, the largest professionals in the field have worked with the participants. opera art: singers - Elena Obraztsova, Evgeny Nesterenko, Irina Bogacheva, Maria Gulegina, Makvala Kasrashvili, Carol Vaness (USA), Neil Shicoff (USA), Kurt Riedl (Austria), Nathalie Dessay (France), Thomas Allen (Great Britain); pianists - Giulio Zappa (Italy), Alessandro Amoretti (Italy), Larisa Gergieva, Lyubov Orfenova, Mark Lawson (USA, Germany), Brenda Hurley (Ireland, Switzerland), John Fisher (USA), George Darden (USA); conductors - Alberto Zedda (Italy), Vladimir Fedoseev (Russia), Mikhail Yurovsky (Russia), Giacomo Sagripanti (Italy); directors - Francesca Zambello (USA), Paul Curren (USA), John Norris (USA), etc.
Artists and graduates of the Youth Opera Program perform at the largest venues in the world, such as the Metropolitan Opera (USA), Royal Opera Covent Garden (UK), Teatro alla Scala (Italy), Berlin State Opera (Germany), Deutsche Oper Berlin (Germany) , Parisian national opera(France), Vienna State Opera (Austria), etc. Many graduates of the Youth Opera Program joined the troupe of the Bolshoi Theater of Russia or became guest soloists of the theater.
The artistic director of the Youth Opera Program is Dmitry Vdovin.
Participants are paid a stipend while studying in the program; non-resident participants are provided with a hostel.