State Theater musical comedy The Ukrainian SSR was founded in 1934, which is what it was called until 1941.
The theater is located in the building of the former Trinity People's House. The building was built at the beginning of the 20th century using charitable funds. IN people's house concerts were held and vaudeville performances were staged, the first of which took place on December 5, 1902. The first performance of the Musical Comedy Theater was the operetta “The Bird Seller” by K. Zeller (premiere December 1, 1935). Next to her in the theater’s repertoire were the best world classic operettas “Die Fledermaus”, J. Strauss, “Gypsy Love” by F. Lager, “Bluebeard” by J. Offenbach.
In 1938, a famous event in the history of modern theater took place - the brilliant premiere of the modern Ukrainian operetta “Wedding in Malinovka” by A. Ryabov (few people remember, but one of the most famous Soviet films“Wedding in a Robin” was filmed using storyline and musical fragments of this operetta).
In 1941 the theater was renamed Kiev state theater musical comedy, this title lasted until 1966.
During the war from 1942 to 1944, the Kiev Operetta Theater was evacuated to Kazakhstan. The theater began its first “war” season in Almaty. The theater’s immediate response to the events of the Second World War was A. Ryabov’s topical operetta “The Blue Stone” or “Maxim” with a libretto by B. Turovsky.
Over the course of many years of the theater's existence, people worked there. famous actors, namely V. Novinskaya, G. Loiko, M. Blashuk, L. Presman, D. Ponomarenko, E. Mamykina, D. Shevtsov and many others.
Among the first directors of the theater are S. Kargalsky, B. Balaban, O. Barseghyan. For a long time the chief conductor of the theater was famous composer and conductor Alexey Ryabov - author of the famous Ukrainian operettas “Wedding in a Robin” (1938), “Sorochinskaya Fair” (1943), “Red Kalina” (1954).
Classical vaudeville performances were also staged on the theater stage. Such as “Natalka-Poltavka” by N. Lysenko (1943), “Matchmaking in Goncharovka” by K. Stetsenko (1953), “Chasing Two Hares” by V. Rozhdestvensky (1953).
Along with Ukrainian works, the best world performances were staged in the theater with constant success: “Die Fledermaus”, “Night in Venice”, “Silva”, “Circus Princess”, “Bayadera” and many others.
In 1966, the theater was renamed the Kiev State Operetta Theater, and in 2004 - the Kiev academic theater operettas.
Since 2009, the theater has been called the Kiev National Academic Operetta Theater.
Today, taking into account the modernization of society and the qualitatively new needs of the viewer, the team of the Kyiv State Operetta Theater has long-term plan theater development. First of all, using the long traditions of the operetta theater, its image is modernized, bringing the theater closer to the needs of young spectators. Therefore, musicals are staged alongside traditional popular operettas. musical performances, musical and plastic performances, show programs.
New directors and young actors are invited to collaborate. Now the theater's repertoire includes more than 16 performances of different genres: operettas, musicals, musical comedies and musical fairy tales.
The chamber stage of the Kyiv Operetta Theater - “Theater in the Foyer” - was opened in 2004 (the 70th anniversary year for the theater). Its creation was initiated by the artistic director of the theater Bogdan Strutinsky.
From the first owners - the princes Shcherbatovs - the house on Bolshaya Dmitrovka passed to the merchants Solodovnikovs. With the direct participation of the new owners, at the beginning of the 20th century, with the help famous artists within its walls one of the best concert and theater halls Moscow. Today, the stage area of the Moscow Operetta Theater is also very popular. Modern lighting and sound equipment combines perfectly with the classical beauty of the hall, its soft, velvety comfort in burgundy and gold tones, and the amazing painted ceiling.
According to State Archive at the end of 1927, the Moscow Council of Workers, Peasants and Red Army Deputies “categorically” decided: “The operetta must be preserved. The repertoire should be improved, bringing it closer to the challenges of our time.” Almost immediately, success and popularity came to the young team, led by G. Yaron. In the theater's poster, next to the recognized classics J. Offenbach, J. Strauss, F. Lehár, I. Kalman, P. Abraham, the brilliant composers of our country I. Dunaevsky, Yu. Milyutin, T. Khrennikov, D. Shostakovich, D. .Kabalevsky. They created their works with sincere interest especially for the stage of the operetta theater. Thanks to the brightest talent, excellent skill of actors and directors, the Moscow Operetta Theater has become a leader in its genre not only in Russia, but has also gained enormous prestige in Europe.
Today “Moscow Operetta” remains true to its traditions. Such wonderful actors as People's Artist of the USSR T. Shmyga, People's Artists of Russia L. Amarfiy, V. Bateyko, S. Varguzova, G. Vasilyev, M. Koledova, Yu. Vedeneev, V. Rodin, A. Markelov work on its stage , V. Michelet, Honored Artists of Russia V. Belyakova, I. Gulieva, J. Zherder, I. Ionova, E. Zaitseva, T. Konstantinova, E. Soshnikova, V. Ivanov, V. Shlyakhtov, artists S. Krinitskaya, M . Bespalov, P. Borisenko, A. Golubev, A. Kaminsky, A. Babenko and others. The theater's repertoire, revealing its enormous acting and production potential, combines classic and modern operetta, musical and show...
Honored Artist of Ukraine Vadim Prokopenko (since 2011)
Honored Artist of Ukraine Igor Yaroshenko (since 2014, since 2004 - theater choirmaster)
History of the theater
Founded in 1934 as the State Theater of Musical Comedy of the Ukrainian SSR. Since 1966 - Kiev State Operetta Theater. Since 2004 - academic, since 2009 - National. The theater is located in the building of the former Trinity People's House, built in 1901-1902. designed by the architect Gennady Antonovsky in the style of rationalism.
In the period from 1964 to 2003, the theater was led by prominent figures of Ukrainian art Boris Sharvarko, Alexander Barseghyan, Boris Ryabikin, Sergei Smeyan, Vladimir Begma (Ukrainian)Russian, Victor Shulakov.
From 1980 to 2010, the theater's chief choreographer was People's Artist Ukraine Alexander Segal.
From 1970 to 1973, the choirmaster of the theater was People's Artist of Ukraine, Hero of Ukraine Yevgeny Savchuk. From 1989 to 2014, the main choirmaster was the Honored Artist of Ukraine V.N. Vorvulev.
Since 2003, the theater has been headed by Honored Artist of Ukraine, People's Artist of Ukraine Bogdan Strutinsky (Ukrainian)Russian. The main artist of the theater is Andrey Romanchenko (Ukrainian)Russian(in 2014).
In 2013, the Ivan Kozlovsky Art and Concert Center of the Kyiv National Academic Operetta Theater was created - a multifunctional theater and concert cultural institution at the address Kyiv, st. Khreshchatyk, 50-b.
Theater personalities
Artistic directors of the theater
- - - Sergey Kargalsky (Ukrainian)Russian
- - - Boris Henkin (Ukrainian)Russian
- - - Vladimir Vilner
- - - Alexey Ryabov (Ukrainian)Russian
- - - Boris Henkin (Ukrainian)Russian
- - - Boris Ryabikin (Ukrainian)Russian
- - - Alexander Barseghyan
- - - Eduard Mitnitsky
- - - Vladimir Begma (Ukrainian)Russian
- - - Sergey Smeyan
- - - Victor Shulakov
- - - Boris Ryabikin (Ukrainian)Russian
- - - Sergey Smeyan
- - - Victor Shulakov
- - - Acting Vladimir Sheiko
- c - Bogdan Strutinsky (Ukrainian)Russian
Theater troupe
Selected repertoire
See also
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An excerpt characterizing the Kiev National Academic Operetta Theater
If Napoleon had not left on the evening of the 24th for Kolocha and had not ordered an attack on the redoubt immediately in the evening, but had launched an attack the next day in the morning, then no one would have doubted that the Shevardinsky redoubt was the left flank of our position; and the battle would take place as we expected. In this case, we would probably defend the Shevardinsky redoubt, our left flank, even more stubbornly; Napoleon would have been attacked in the center or on the right, and on the 24th a general battle would have taken place in the position that was fortified and foreseen. But since the attack on our left flank took place in the evening, following the retreat of our rearguard, that is, immediately after the battle of Gridneva, and since the Russian military leaders did not want or did not have time to start a general battle on the same evening of the 24th, Borodinsky’s first and main action the battle was lost on the 24th and, obviously, led to the loss of the one fought on the 26th.After the loss of the Shevardinsky redoubt, by the morning of the 25th we found ourselves without a position on the left flank and were forced to bend back our left wing and hastily strengthen it anywhere.
But not only did the Russian troops stand only under the protection of weak, unfinished fortifications on August 26, but the disadvantage of this situation was increased by the fact that the Russian military leaders did not recognize the completely accomplished fact (the loss of position on the left flank and the transfer of the entire future battlefield from right to left ), remained in their extended position from the village of Novy to Utitsa and, as a result, had to move their troops during the battle from right to left. Thus, during the entire battle, the Russians had twice as weak forces against the entire French army directed at our left wing. (Poniatowski’s actions against Utitsa and Uvarov on the French right flank were actions separate from the course of the battle.)
So, the Battle of Borodino did not happen at all as they describe it (trying to hide the mistakes of our military leaders and, as a result, diminishing the glory of the Russian army and people). The Battle of Borodino did not take place in a chosen and fortified position with forces that were somewhat weaker on the Russian side, but the Battle of Borodino, due to the loss of the Shevardinsky redoubt, was accepted by the Russians in an open, almost unfortified area with forces twice as weak against the French, that is, in such conditions in which it was not only unthinkable to fight for ten hours and make the battle indecisive, but it was unthinkable to keep the army from complete defeat and flight for three hours.
On the morning of the 25th, Pierre left Mozhaisk. On the descent from the huge steep and crooked mountain leading out of the city, past the cathedral standing on the mountain to the right, in which a service was going on and the gospel was being preached, Pierre got out of the carriage and went on foot. Behind him, some cavalry regiment with singers in front was descending onto the mountain. A train of carts with those wounded in yesterday's case was rising towards him. The peasant drivers, shouting at the horses and lashing them with whips, ran from one side to the other. The carts, on which three or four wounded soldiers lay and sat, jumped over the stones thrown in the form of a pavement on a steep slope. The wounded, tied with rags, pale, with pursed lips and frowning brows, holding onto the beds, jumped and pushed in the carts. Everyone looked at Pierre's white hat and green tailcoat with almost naive childish curiosity.
Pierre's coachman angrily shouted at the convoy of wounded to keep them together. A cavalry regiment, singing, descending from the mountain, approached Pierre's droshky and blocked the road. Pierre stopped, pressing himself against the edge of the road dug into the mountain. Because of the slope of the mountain, the sun did not reach the deepening of the road, it was cold and damp here; It was a bright August morning above Pierre's head, and the ringing of bells resounded cheerfully. One cart with the wounded stopped at the edge of the road near Pierre himself. The driver in bast shoes, out of breath, ran up to his cart, slipped a stone under the rear tireless wheels and began to straighten the harness on his little horse.
One wounded old soldier with a bandaged arm, walking behind the cart, took hold of it with his good hand and looked back at Pierre.
- Well, fellow countryman, they’ll put us here, or what? Ali to Moscow? - he said.
Pierre was so lost in thought that he did not hear the question. He looked first at the cavalry regiment that had now met the train of wounded, then at the cart where he stood and on which two wounded were sitting and one was lying, and it seemed to him that here, in them, lay the solution to the question that was occupying him. One of the soldiers sitting on the cart was probably wounded in the cheek. His whole head was tied with rags, and one cheek was swollen as big as a child's head. His mouth and nose were on one side. This soldier looked at the cathedral and crossed himself. The other, a young boy, a recruit, fair-haired and white, as if completely without blood in his thin face, looked at Pierre with a fixed, kind smile; the third lay face down, and his face was not visible. The choir cavalrymen passed right over the cart.
- Oh, it’s gone... yes, the hedgehog’s head...
“Yes, they are tenacious on the other side...” they performed a soldier’s dance song. As if echoing them, but in a different kind of fun, the metallic sounds of ringing were interrupted in the heights. And, in yet another kind of fun, the hot rays of the sun poured over the top of the opposite slope. But under the slope, near the cart with the wounded, next to the out of breath horse where Pierre was standing, it was damp, cloudy and sad.
The soldier with a swollen cheek looked angrily at the cavalrymen.
- Oh, dandies! – he said reproachfully.
“Today I’ve seen not only soldiers, but also peasants!” The peasants are being driven away too,” said the soldier standing behind the cart with a sad smile, turning to Pierre. - Nowadays they don’t understand... They want to attack all the people, one word - Moscow. They want to do one end. “Despite the vagueness of the soldier’s words, Pierre understood everything he wanted to say and nodded his head approvingly.
The road cleared, and Pierre went downhill and drove on.
Pierre drove along, looking on both sides of the road, looking for familiar faces and everywhere meeting only unfamiliar military faces of different branches of the army, who looked with equal surprise at his white hat and green tailcoat.
Having traveled about four miles, he met his first acquaintance and joyfully addressed him. This acquaintance was one of the leading doctors in the army. He was driving towards Pierre in a chaise, sitting next to a young doctor, and, recognizing Pierre, he stopped his Cossack, who was sitting on the box instead of the coachman.
Moscow Operetta Theater was formed in a house on Bolshaya Dmitrovka by the merchant Solodovnikov, with the support of famous Moscow artists, and since then has been one of the most popular theater halls in the capital.
The beautiful auditorium is designed in classic style and gives a feeling of coziness with burgundy tones and gold trim. The hall is decorated with an amazingly beautiful painted ceiling. This is one of the most interesting theater halls, in which classical interiors are combined with excellent acoustics and modern lighting and stage equipment.
In the 20-30s of the last century Operetta Theater under the leadership of G. Yaron, he became one of the leaders of the new art. Along with classical works I. Kalman, J. Offenbach, I. Strauss, operas by young talented composers appeared in his repertoire: D. Shostakovich, I. Dunaevsky, D. Kabalevsky, T. Khrennikov.
Composers who were the pride of Soviet music created works specifically for productions Operetta Theater. Talented operas, brilliant directorial works and the skill of the actors brought the theater enormous recognition in Russia and abroad and made it one of the leaders in its genre.
And today in Operetta Theater Wonderful and beloved artists appear on stage: T. Shmyga, G. Vasiliev, L. Amarfiy, Yu. Vedeneev, S. Varguzova, V. Rodin, V. Michelet, A. Markelov and many others.
In the repertoire Operetta Theater classical works and modern operetta, famous musicals and shows. It was here that they began to master the musical genre, which was new to the domestic theater. In 2001, the musical “Metro” appeared on the theater stage, which became a bold experiment and caused a great response from the audience.
A year later the public swept away box office All tickets to the Operetta Theater to the famous musical "Notre Dame de Paris", which made even the biggest skeptics look differently at the appropriateness of existence in Russian theater new genre. The resounding success of Notre Dame de Paris prompted a number of productions at other theater venues.
Moscow Operetta Theater continues to develop the musical genre, and now on its stage you can see productions of “My lovely lady"F. Lowe, "Parisian Life" by J. Offenbach, "Jane" by A. Kremer and the classic musical "Hello, Dolly" to the music of J. Gershwin.
Since October 2008, the grandiose musical “Monte Cristo” has been on the stage of the theater with great success, which has become one of the most successful performances in Moscow for recent years. In the first season alone, this vibrant production was seen by more than 200,000 spectators.
Order tickets to the Operetta Theater You can make a reservation for the famous Russian musical “Monte Cristo” and other wonderful productions at any time convenient for you on the TicketService website.