Big theater- one of the largest in Russia and one of the most significant opera and ballet theaters in the world. The complex of theater buildings is located in the center of Moscow, on Theater Square.

Opening in 1825

The theater opened on January 6 (18), 1825 with the performance "The Triumph of the Muses" - a prologue in verse by M. A. Dmitriev, music by F. E. Scholz, A. N. Verstovsky and A. A. Alyabyev: the plot in allegorical form told how The genius of Russia, having united with the muses, created a new one from the ruins of the burned-out Bolshoi Petrovsky Theater of Medox. The roles were performed by the best Moscow actors: the Genius of Russia - the tragedian P. S. Mochalov, Apollo - the singer N. V. Lavrov, Terpsichore's muse - the leading dancer of the Moscow troupe F. Gyullen-Sor. After the intermission, the ballet "Sandrillon" (Cinderella) was shown to the music of F. Sor, choreographers F.-V. Gyullen-Sor and I. K. Lobanov, the production was moved from the stage of the Theater on Mokhovaya. The performance was repeated the next day. S. Aksakov’s memories of this discovery have been preserved: “The Bolshoi Petrovsky Theater, which arose from old, burnt ruins ... amazed and delighted me ... A magnificent huge building, exclusively dedicated to my favorite art, already with its appearance alone led me into joyful excitement”; and V. Odoevsky, admiring the ballet performance, wrote about this performance as follows: “The brilliance of the costumes, the beauty of the scenery, in a word, all the theatrical splendor was combined here, as well as in the prologue”.In 1842, the theater came under the leadership of the St. Petersburg Directorate of Imperial Theaters; an opera troupe came from St. Petersburg to Moscow. On March 11, 1853, the theater burned down; the fire preserved only the stone outer walls and the colonnade of the main entrance. The architects Konstantin Ton, Alexander Matveev and the chief architect of the Imperial Theaters Albert Kavos were involved in the competition for the restoration of the theater. Won the Kavos project; the theater was restored in three years. Basically, the volume of the building and the layout were preserved, but Kavos slightly increased the height of the building, changed the proportions and completely redesigned the architectural decor, designing the facades in the spirit of early eclecticism. Instead of the alabaster sculpture of Apollo that died in the fire, a bronze quadriga by Peter Klodt was placed above the entrance portico. A plaster double-headed eagle was installed on the pediment - the state emblem Russian Empire. The theater reopened on August 20, 1856. In 1886, the rear side of the building was rebuilt according to the design of the architect E. K. Gernet. In 1895, according to the project of architects K. V. Tersky and K. Ya. Maevsky, a new foundation was laid under the theater building.

Bronze quadriga by Peter Klodt

Troupe

The theater includes ballet and opera troupes, Orchestra of the Bolshoi Theater and the Stage Brass Band. At the time of the creation of the theater, the troupe included only thirteen musicians and about thirty artists. At the same time, there was initially no specialization in the troupe: dramatic actors took part in operas, and singers and dancers - in dramatic performances. So, at different times, the troupe included Mikhail Shchepkin and Pavel Mochalov, who sang in operas by Cherubini, Verstovsky and other composers.

The title of artists of the Imperial Theaters is held by: Actors, directors of troupes, directors, bandmasters, choreographers, orchestra conductors, dancers, musicians, decorators, machinists, lighting inspectors and their assistants, painters, chief costume designer, prompters, wardrobe masters, fencing masters, theater masters, sculptors, overseer music office, figurants, music scribes, choristers and hairdressers; All these persons are considered to be members of public service and are divided into three categories, depending on the talents and the roles and positions they occupy.

By 1785, the troupe had already grown to 80 people, and continued to grow constantly, reaching 500 by the beginning of the 20th century, and by 1990 more than 900 artists.

Throughout the history of the Bolshoi Theater, its artists, artists, directors, conductors, apart from admiration and gratitude from the public, have repeatedly received various recognition from the state (Irina Arkhipova, Yuri Grigorovich, Elena Obraztsova, Ivan Kozlovsky, Evgeny Nesterenko, Maya Plisetskaya, Evgeny Svetlanov, Marina Semyonova, Galina Ulanova).

Theater repertoire

During the existence of the theater, more than 800 works have been staged here. The first production created by the theater troupe was D. Zorin's opera Rebirth (1777). Great success with the public, according to the memoirs of contemporaries, was the premiere of M. Sokolovsky's opera "The Miller - a sorcerer, a deceiver and a matchmaker" (1779). During this period of the theater's existence, the repertoire was quite varied: operas by Russians and Italian composers, dance pictures from Russian folk life, divertissement ballets, performances on mythological subjects.

19th century

By the 1840s, domestic vaudeville operas and romantic operas large form, which was largely facilitated by the administrative activities of the composer A. Verstovsky, in different years the inspector of music, the inspector of the repertoire and the manager of the Moscow theater office. In 1835, the premiere of his opera Askold's Grave took place.

events theater life productions at the opera theater of M. Glinka "Life for the Tsar" (1842) and "Ruslan and Lyudmila" (1845), A. Adam's ballet "Giselle" (1843) become staged. During this period, the theater focuses on the creation of a truly Russian repertoire, mainly a musical epic.

Performance at the Moscow Bolshoi Theater on the occasion of the coronation of Emperor Alexander II

The second half of the 19th century in ballet was marked by the activity outstanding choreographer M. Petipa, who staged a number of performances in Moscow, of which one of the most significant is Don Quixote of La Mancha by L. Minkus (1869). At this time, the repertoire was also enriched with the works of P. Tchaikovsky: "The Governor" (1869), "Swan Lake" (1877, choreographer Vaclav Reisinger) - both debuts of the composer in opera and ballet - "Eugene Onegin" (1881), "Mazepa" (1884). The premiere of the opera "Cherevichki" by Tchaikovsky in 1887 becomes the conductor's debut of its author. Outstanding operas by composers appear mighty handful": folk drama "Boris Godunov" by M. Mussorgsky (1888), "The Snow Maiden" (1893) and "The Night Before Christmas" (1898) by N. Rimsky-Korsakov, "Prince Igor" by A. Borodin (1898).

At the same time, works by G. Verdi, Ch. Gounod, J. Bizet, R. Wagner and others are staged at the Bolshoi Theater at this time. foreign composers.

Family Alexander III at the Bolshoi Theater

Late 19th - early 20th century

On turn of XIX and XX centuries, the theater reaches its peak. Many St. Petersburg artists seek the opportunity to participate in performances of the Bolshoi Theater. The names of F. Chaliapin, L. Sobinov, A. Nezhdanova are becoming widely known throughout the world.

In 1912 F. Chaliapin puts in Grand Opera M. Mussorgsky "Khovanshchina". The repertoire includes "Pan Voyevoda", "Mozart and Salieri", "The Tsar's Bride" by Rimsky-Korsakov, "The Demon" by A. Rubinstein, " Ring of the Nibelungs» R. Wagner, verist operas by Leoncavallo, Mascagni, Puccini.

During this period, S. Rachmaninov actively collaborated with the theater, who proved himself not only as a composer, but also as an outstanding opera conductor, attentive to the peculiarities of style performed work and achieving in the performance of operas a combination of extreme temperament with fine orchestral decoration. Rachmaninov improves the organization of the conductor's work - so, thanks to him, it unfolds and is transferred to his own modern place the conductor's stand, formerly located behind the orchestra (facing the stage).

As production designers participate in the creation of performances outstanding artists, participants of the "World of Art" Korovin, Polenov, Bakst, Benois, Golovin.

The first years after the 1917 revolution were marked, first of all, by the struggle to preserve the Bolshoi Theater as such and, secondly, to preserve a certain part of its repertoire. Thus, the operas The Snow Maiden, Aida, La Traviata, and Verdi in general were subjected to ideological criticism. There were also statements about the destruction of the ballet, as "a relic of the bourgeois past." However, despite this, both opera and ballet continue to develop at the Bolshoi.

Choreographer A. A. Gorsky, ballet conductor Yu. new production"Swan Lake".

Choreographers in the spirit of the times are looking for new forms in art. K. Ya. Goleizovsky staged the ballet "Joseph the Beautiful" by S. N. Vasilenko (1925), L. A. Lashchilin and V. D. Tikhomirov - the play "Red Poppy" by R. M. Glier (1927), which was a huge success with spectators, V. I. Vainonen - the ballet "The Flames of Paris" by B. V. Asafiev (1933).

The opera is dominated by works by M. I. Glinka, A. S. Dargomyzhsky, P. I. Tchaikovsky, A. P. Borodin, N. A. Rimsky-Korsakov, M. P. Mussorgsky. In 1927, director V. A. Lossky was born new edition Boris Godunov. Operas are staged Soviet composers— "Trilby" A. I. Yurasovsky(1924), "Love for three oranges" by S. S. Prokofiev (1927).

Also in the 1920s, the theater presents to the public the best operas foreign composers: "Salome" by R. Strauss (1925), "The Wedding of Figaro" by W.-A. Mozart (1926), "Chio-chio-san (Madama Butterfly)" (1925) and "Tosca" (1930) by J. Puccini (“Tosca” turned out to be a failure, despite the emphasis in the production of the “revolutionary line”).

In the 1930s, I. V. Stalin's demand for the creation of a "Soviet opera classics". The works of I. I. Dzerzhinsky, B. V. Asafiev, R. M. Glier are staged. At the same time, a ban is introduced to address the work of contemporary foreign composers.

In 1935, the premiere of D. D. Shostakovich’s opera “Lady Macbeth” was held with great success with the public. Mtsensk district". However, this work, highly appreciated by Soviet and foreign connoisseurs, causes a sharp rejection of the authorities. The article "Muddle Instead of Music", attributed to Stalin and which caused the disappearance of this opera from the repertoire of the Bolshoi, is well known.

During the years of the Great Patriotic War from October 1941 to July 1943, the Bolshoi Theater was evacuated to Kuibyshev.

The theater marks the end of the war with bright premieres of S. Prokofiev’s ballets Cinderella (1945, choreographer R. V. Zakharov) and Romeo and Juliet (1946, choreographer L. M. Lavrovsky), where G. S. Ulanova performs in the main roles .

In subsequent years, the Bolshoi Theater turns to the work of the composers of the “fraternal countries” - Czechoslovakia, Poland and Hungary (“The Bartered Bride” by B. Smetana (1948), “Pebble” by S. Moniuszko (1949) and others), and also reviews the productions of classical Russian operas (new productions of Eugene Onegin, Sadko, Boris Godunov, Khovanshchina and many others are being created). A significant part of these productions was carried out by the opera director B. A. Pokrovsky, who came to the Bolshoi Theater in 1943. His performances in these years and the next few decades serve as the "face" of the Bolshoi opera.

In the 1950s and 1960s, new productions of operas appeared: Verdi (Aida, 1951, Falstaff, 1962), D. Aubert (Fra Diavolo, 1955), Beethoven (Fidelio, 1954), theater actively cooperates with foreign artists, musicians, artists, directors from Italy, Czechoslovakia, Bulgaria, East Germany. For a short time, Nikolai Gyaurov, who is at the very beginning of his career, enters the troupe of the theater.

The choreographer Y. N. Grigorovich comes to the Bolshoi, the ballets he created The Stone Flower by S. S. Prokofiev (1959) and The Legend of Love by A. D. Melikov (1965), previously staged in Leningrad, are transferred to the Moscow stage. In 1964 Grigorovich headed the Bolshoi Ballet. He makes new editions of The Nutcracker (1966) and Swan Lake (1969) by Tchaikovsky, and also stages Spartacus by A. I. Khachaturian (1968).

This performance, created together with the artist Simon Virsaladze and conductor Gennady Rozhdestvensky, with the participation of virtuoso artists Vladimir Vasilyev, Maris Liepa, Mikhail Lavrovsky, has a phenomenal success with the public and receives the Lenin Prize (1970).

Another event in the life of the theater is the production of Carmen Suite (1967), created by the Cuban choreographer A. Alonso to the music of J. Bizet and R. K. Shchedrin especially for the ballerina M. M. Plisetskaya.

In the 1960s-1980s, advertising posters for the theater's ballet performances were created by Oleg Savostyuk.

In the 1970s and 1980s, V. Vasiliev and M. Plisetskaya acted as choreographers. Plisetskaya staged R. K. Shchedrin’s ballets Anna Karenina (1972), The Seagull (1980), Lady with a Dog (1985), and Vasilyev staged the ballets Icarus by S. M. Slonimsky (1976), Macbeth " K. V. Molchanov (1980), "Annie" V. A. Gavrilin (1986).

The troupe of the Bolshoi Theater often tours, having success in Italy, Great Britain, the USA and many other countries.

Modern period

July 1, 2005 Main stage of the Bolshoi Theater closed for renovation, originally scheduled for completion in 2008. last performance, which took place on the Main Stage before closing, was Mussorgsky's opera "Boris Godunov" (June 30, 2005).

At present, the repertoire of the Bolshoi Theater retains many classical productions of opera and ballet performances, but at the same time the theater is striving for new experiments.

In the field of ballet, productions of D. Shostakovich's works The Bright Stream (2003) and Bolt (2005) are being created.

Directors who have already gained fame as drama or film directors are involved in the work on operas. Among them are A. Sokurov, T. Chkheidze, E. Nyakroshyus and others.

Work is underway to "cleanse" the original opera scores from later stratifications and marks, and return them to the author's editions. Thus, a new production of "Boris Godunov" by M. Mussorgsky (2007), "Ruslan and Lyudmila" by M. Glinka (2011) was being prepared.

Some of the new productions of the Bolshoi Theater caused disapproval of a part of the public and honored masters of the Bolshoi. Thus, the scandal accompanied the production of L. Desyatnikov's opera The Children of Rosenthal (2005), largely due to the reputation of the author of the libretto, the writer Vladimir Sorokin. Outrage and rejection of the new play "Eugene Onegin" (2006, director Dmitry Chernyakov) expressed famous singer Galina Vishnevskaya, refusing to celebrate her anniversary on the stage of the Bolshoi, where such productions take place. At the same time, the mentioned performances also have their fans. In March 2010, the Bolshoi Theater, together with Bel Air Media, began broadcasting its performances in cinemas around the world. On March 11, 2012, together with Google Russia, the Bolshoi Theater began broadcasting ballet performances on the YouTube channel in Russia.

History of the Bolshoi Theater

Bolshoi Theater Opera

The theater began with a small private troupe of Prince Peter Urusov. The performances of the talented group often pleased Empress Catherine II, who thanked the prince with the right to direct all the entertainment events of the capital. March 17, 1776 is considered the founding date of the theater - the day when Urusov received this privilege. Already six months after the will of the Empress, the prince erected a wooden building of the Petrovsky Theater on the banks of the Neglinka. But before it could open, the theater burned down. The new building required large financial investments, and Urusov got a partner - the Russified Englishman Medox, a successful entrepreneur and ballet dancer. The construction of the theater cost the British 130,000 silver rubles. The new three-story brick theater opened its doors to the public in December 1780. A few years later, due to financial troubles, the Englishman had to transfer the management of the theater to the state, after which the Melpomene temple began to be called Imperial. In 1805, the building built by Medox burned down.

For several years, the theater troupe performed on the home stage of the Moscow nobility. The new building, which appeared on the Arbat in 1808, was designed by the architect Karl Ivanovich Rossi. But this theater was also destroyed by fire in 1812.

Ten years later, the restoration of the theater began, ending in 1825. But, according to a sad tradition, this building could not escape the fire that happened in 1853 and left behind only the outer walls. The revival of the Bolshoi lasted three years. The chief architect of the Imperial Theatres, Albert Cavos, who supervised the restoration of the building, increased its height, added columns in front of the entrance and a portico, above which towered the bronze quadriga of Apollo by Peter Klodt. The pediment was decorated with a double-headed eagle - the coat of arms of Russia.

In the early 60s of the 19th century, the Bolshoi was rented by an Italian opera troupe. The Italians performed several times a week, while only one day remained for the Russian productions. Competition of two theater groups benefited Russian vocalists who were forced to hone and improve their skills, but the administration’s inattention to national repertoire prevented Russian art from gaining popularity with the audience. A few years later, the directorate had to heed the demands of the public and resume the operas Ruslan and Lyudmila and Rusalka. The year 1969 was marked by the production of The Voyevoda, the first opera by Pyotr Tchaikovsky, for whom the Bolshoi became the main professional venue. In 1981, the theater's repertoire was enriched with the opera Eugene Onegin.

In 1895, the theater was held overhaul, the end of which was marked by such productions as Mussorgsky's Boris Godunov and Rimsky-Korsakov's The Maid of Pskov with Fyodor Chaliapin as Ivan the Terrible.

At the end of the 19th century and at the beginning of the 20th century, the Bolshoi became one of the leading centers of theatrical and musical world culture. The theater's repertoire includes the world's best works ("Valkyrie", "Tannhäuser", "Pagliacci", "La Boheme") and outstanding Russian operas ("Sadko", "The Golden Cockerel", "The Stone Guest", "The Legend of the Invisible City of Kitezh" ). On the stage of the theater, great Russian singers and singers shine with their talent: Chaliapin, Sobinov, Gryzunov, Savransky, Nezhdanova, Balanovskaya, Azerskaya; famous Russian artists Vasnetsov, Korovin and Golovin are working on the scenery.

The Bolshoi managed to completely preserve its troupe during the revolutionary events and civil war. During the 1917-1918 season, the public saw 170 opera and ballet performances. And in 1919 the theater was awarded the title of "Academic".

The 20s and 30s of the last century became the time of the emergence and development of the Soviet operatic art. For the first time, Love for Three Oranges, Trilby, Ivan the Soldier, Katerina Izmailova by Shostakovich, Quiet Don”, “Battleship Potemkin”.

During the Great Patriotic War, part of the Bolshoi troupe was evacuated to Kuibyshev, where new performances continued to be created. Many theater artists went to the front with concerts. The post-war years were marked by talented productions by the outstanding choreographer Yuri Grigorovich, each performance of which was a notable event in cultural life countries.

From 2005 to 2011, a grandiose reconstruction was carried out in the theater, thanks to which a new foundation appeared under the Bolshoi building, the legendary historical interiors were recreated, and the technical equipment theater, the rehearsal base has increased.

More than 800 performances were born on the stage of the Bolshoi, the premieres of operas by Rachmaninov, Prokofiev, Arensky, Tchaikovsky took place in the theater. ballet troupe has always been and remains a welcome guest in any country. Actors, directors, artists and conductors of the Bolshoi have been awarded the most prestigious state and international awards many times.

Description

The Bolshoi Theater has three auditoriums open to the public:

• Historical (main) stage, accommodating 2500 people;
• New stage, opened in 2002 and designed for 1000 spectators;
• Beethoven Hall with 320 seats, famous for its unique acoustics.

The historical stage appears to visitors in the form in which it was in the second half of the century before last and is a semicircular hall with four tiers, decorated with gold and red velvet. Above the heads of the audience is the legendary chandelier with 26,000 crystals, which appeared in the theater in 1863 and illuminates the hall with 120 lamps.

The new stage is open at the address: Bolshaya Dimitrovka street, building 4, building 2. During large-scale reconstruction all repertoire performances of the Bolshoi were staged here, and at the present time foreign and Russian theaters are touring on the New Stage.

The Beethoven Hall was opened in 1921. Spectators are fascinated by its interior in the style of Louis XV: walls upholstered in silk, magnificent crystal chandeliers, Italian stucco, walnut floors. The hall is designed for chamber and solo concerts.

Every spring, two varieties of tulips bloom in front of the theater building - rich pink "Galina Ulanova" and bright red "Bolshoi Theatre", bred by the Dutch breeder Lefeber. At the beginning of the last century, the florist saw Ulanova on the stage of the Bolshoi. Lefeber was so impressed with the talent of the Russian ballerina that he created new varieties of tulips specifically in honor of her and the theater in which she shone. The image of the Bolshoi Theater building can be seen on many postage stamps and on hundred-ruble denomination banknotes.

Information for visitors

Theater address: Theater Square, 1. You can get to the Bolshoi by walking along Teatralnaya Proyezd from the Teatralnaya and Okhotny Ryad". From the station "Revolution Square" you will reach the Bolshoi by crossing the square of the same name. From the station "Kuznetsky most" you need to go along Kuznetsky most street, and then turn to the Theater Square.

You can buy tickets for the Bolshoi's productions both on the theater's website - www.bolshoi.ru, and at the box office opened in the Administration Building (daily from 11.00 to 19.00, break from 15.00 to 16.00); in the building of the Historical Stage (daily from 12.00 to 20.00, break from 16.00 to 18.00); in a buiding new scene(daily from 11.00 to 19.00, break from 14.00 to 15.00).

The cost of tickets varies from 100 to 10,000 rubles, depending on the performance, the time of the performance and the place in the auditorium.

The Bolshoi Theater has a comprehensive security system, which includes video surveillance and the mandatory passage of all visitors through a metal detector. Do not take piercing and sharp objects with you - they will not let you into the theater building with them.

Children are allowed to evening performances from the age of 10. Until this age, the child can attend morning performances on a separate ticket. Children under 5 years old are not allowed in the theater.

IN historic building theater on Mondays, Wednesdays and Fridays guided tours telling about the architecture of the Bolshoi and its past.

For those wishing to buy something to remember the Bolshoi Theater daily, from 11.00 to 17.00, a souvenir shop is open. To get into it, you need to enter the theater through entrance number 9A. Visitors who come to the performance can enter the store directly from the Bolshoi building before or after the performance. Landmark: left wing of the theatre, ground floor, next to the Beethoven Hall.

Photo and video filming is not allowed in the theatre.

When going to the Bolshoi Theater, calculate your time - after the third call you will not be able to enter the hall!

The Bolshoi Theater is the largest in Russia and one of the most significant opera and ballet theaters in the world. It is customary to start the history of the theater from March 1776, when the provincial prosecutor, Prince Pyotr Vasilyevich Urusov, received the highest permission of Empress Catherine II "to maintain ... all kinds of theatrical performances, as well as concerts, vocals and masquerades." The prince began the construction of the theater, which - at the location on Petrovka Street (on the right bank of the Neglinka) - was named Petrovsky. However, the Urusov Theater burned down even before its opening, and the prince handed over the business to his partner, the English businessman Michael Medox. It was Medox who built the Bolshoi Petrovsky Theatre. The Petrovsky Theater of Medox stood for 25 years - in 1805 the building burned down. In 1821, the construction of the next building of the theater began according to the project of O. Bove and the rector of the St. Petersburg Academy A. Mikhailov. March 11, 1853 the theater burned down; the fire preserved only the stone outer walls and the colonnade of the main entrance. Within three years, the theater was restored under the guidance of the architect A.K. Kavos. Instead of the alabaster sculpture of Apollo that died in the fire, a bronze quadriga by Peter Klodt was placed above the entrance portico. The theater reopened on August 20, 1856.

The five-tier hall of the Bolshoi Theater is famous for its excellent acoustics and can accommodate up to 2,150 people. The hall is decorated with gilded stucco and red velvet, which gives it a special splendor and solemnity.

Important role in the history of the Bolshoi Theater, opera and ballet performances to the music of Pyotr Tchaikovsky were played, among which are "Eugene Onegin", " Queen of Spades"," Iolanthe", "Swan Lake", "Sleeping Beauty". Bolshoi Theater the names of famous artists - Anton Rubinstein, Pyotr Tchaikovsky, Sergei Rachmaninov, Fyodor Chaliapin, Galina Ulanova, Maya Plisetskaya and many others are connected.

The Bolshoi Theater Orchestra is one of the best symphony orchestras peace. Today, his repertoire includes ballet and opera performances performed by brilliant masters of art.

In continuation of a series of stories about the world's opera houses, I want to tell you about the Bolshoi Opera Theater in Moscow. The State Academic Opera and Ballet Theater of Russia, or simply the Bolshoi Theater, is one of the largest in Russia and one of the largest opera and ballet theaters in the world. Located in the center of Moscow, on Theater Square. The Bolshoi Theater is one of the main assets of the city of Moscow

The birth of the theater dates back to March 1776. This year, Groti ceded his rights and obligations to Prince Urusov, who undertook to build a stone public theater in Moscow. With the assistance of the famous M.E. Medox, a place was chosen in Petrovskaya Street, in the parish of the Church of the Savior in Spear. By the vigilant labors of Medox, in five months, was built Grand Theatre, according to the plan of the architect Rozberg, which cost 130,000 rubles. The Petrovsky Theater of Medox stood for 25 years - on October 8, 1805, during the next Moscow fire, the theater building burned down. The new building was built by K. I. Rossi on Arbat Square. But it, being wooden, burned down in 1812, during the invasion of Napoleon. In 1821, the construction of the theater began on the original site according to the project of O. Bove and A. Mikhailov.

The theater opened on January 6, 1825 with a performance of The Triumph of the Muses. But on March 11, 1853, the theater burned down for the fourth time; the fire preserved only the stone outer walls and the colonnade of the main entrance. Within three years, the Bolshoi Theater was restored under the guidance of the architect A.K. Kavos. Instead of the alabaster sculpture of Apollo that died in the fire, a bronze quadriga by Peter Klodt was placed above the entrance portico. The theater was reopened on August 20, 1856.

In 1895, a major overhaul of the theater building was carried out, after which many wonderful operas were staged in the theater, such as Mussorgsky's Boris Godunov, Rimsky-Korsakov's The Maid of Pskov with Chaliapin as Ivan the Terrible and many others. In 1921-1923, another reconstruction of the theater building took place, the building was also reconstructed in the 40s and 60s

Above the pediment of the Bolshoi Theater is a sculpture of Apollo, patron of the arts, in a chariot drawn by four horses. All figures of the composition are hollow, made of sheet copper. The composition was made by Russian masters in XVIII century after the model of the sculptor Stepan Pimenov

The theater includes a ballet and opera troupe, the Bolshoi Theater Orchestra and the Brass Band. At the time of the creation of the theater, the troupe included only thirteen musicians and about thirty artists. At the same time, the troupe initially had no specialization: dramatic actors took part in operas, and singers and dancers - in dramatic performances. So, at different times, the troupe included Mikhail Shchepkin and Pavel Mochalov, who sang in operas by Cherubini, Verstovsky and other composers

Throughout the history of the Bolshoi Theater of Moscow, its artists, apart from admiration and gratitude from the public, have repeatedly received various recognition from the state. IN Soviet period more than 80 of them received the title People's Artists USSR, Stalin and Lenin Prizes, eight were awarded the title of Heroes of Socialist Labor. Among the soloists of the theater are such outstanding Russian singers as Sandunova, Zhemchugova, E. Semyonova, Khokhlov, Korsov, Deisha-Sionitskaya, Salina, Nezhdanova, Chaliapin, Sobinov, Zbrueva, Alchevsky, E. Stepanova, V. Petrov, the Pirogov brothers, Katulskaya, Obukhova, Derzhinskaya, Barsova, L. Savransky, Ozerov, Lemeshev, Kozlovsky, Reizen, Maksakova, Khanaev, M. D. Mikhailov, Shpiller, A. P. Ivanov, Krivchenya, P. Lisitsian, I. Petrov, Ognivtsev, Arkhipova, Andzhaparidze, Oleinichenko, Mazurok, Vedernikov, Eisen, E. Kibkalo, Vishnevskaya, Milashkina, Sinyavskaya, Kasrashvili, Atlantov, Nesterenko, Obraztsova and others.
Of singers over younger generation I. Morozov, P. Glubokoy, Kalinina, Matorin, Shemchuk, Rautio, Tarashchenko, N. Terentyeva, who advanced in the 80-90s, should be noted. Major conductors Altani, Suk, Cooper, Samosud, Pazovsky, Golovanov, Melik-Pashaev, Nebolsin, Khaikin, Kondrashin, Svetlanov, Rozhdestvensky, Rostropovich worked at the Bolshoi Theater. He performed here as a conductor Rachmaninov (1904-06). Among the best directors theater Bartsal, Smolich, Baratov, B. Mordvinov, Pokrovsky. On the stage of the Bolshoi Theater there were tours of the world's leading opera houses People: La Scala (1964, 1974, 1989), Vienna State Opera(1971), Berlin Komische Oper (1965)

Bolshoi Theater repertoire

During the existence of the theater, more than 800 works have been staged here. The repertoire of the Bolshoi Theater includes such operas as Meyerbeer's Robert the Devil (1834), Bellini's The Pirate (1837), Marschner's Hans Heiling, Adana's The Postman from Longjumeau (1839), Donizetti's The Favorite (1841), Aubert's "Mute from Portici" (1849), Verdi's "La Traviata" (1858), Verdi's "Il Trovatore", "Rigoletto" (1859), Gounod's "Faust" (1866), Thomas's "Mignon" (1879), "Masquerade Ball "Verdi (1880), "Siegfried" Wagner (1894), "Trojans in Carthage" Berlioz (1899), " Flying Dutchman Wagner (1902), Verdi's Don Carlos (1917), Dream in midsummer night Britten (1964), Bartók's Duke Bluebeard's Castle, Ravel's Spanish Hour (1978), Gluck's Iphigenia in Aulis (1983) and others.

The Bolshoi Theater hosted world premieres of Tchaikovsky's operas The Voyevoda (1869), Mazeppa (1884), Cherevichki (1887); Rachmaninov's operas Aleko (1893), Francesca da Rimini and The Miserly Knight (1906), Prokofiev's The Gambler (1974), a number of operas by Cui, Arensky and many others.

At the turn of the 19th and 20th centuries, the theater reached its peak. Many St. Petersburg artists seek the opportunity to participate in performances of the Bolshoi Theater. The names of F. Chaliapin, L. Sobinov, A. Nezhdanova are becoming widely known all over the world. In 1912 Fyodor Chaliapin staged Mussorgsky's opera Khovanshchina at the Bolshoi Theatre.

In the photo Fedor Chaliapin

During this period, Sergei Rachmaninov collaborated with the theater, who proved himself not only as a composer, but also as an outstanding opera conductor, attentive to the peculiarities of the style of the work being performed and achieving in the performance of operas a combination of ardent temperament with fine orchestral decoration. Rachmaninov improves the organization of the conductor's work - so, thanks to Rachmaninov, the conductor's stand, which was previously located behind the orchestra (facing the stage), is transferred to its modern place.

In the photo Sergei Vasilyevich Rachmaninov

The first years after the revolution of 1917 are characterized by the struggle to preserve the Bolshoi Theater as such and, secondarily, to preserve part of its repertoire. Operas such as The Snow Maiden, Aida, La Traviata, and Verdi in general were attacked for ideological reasons. There were also proposals for the destruction of the ballet, as "a relic of the bourgeois past." However, despite this, both opera and ballet continued to develop in Moscow. The opera is dominated by works by Glinka, Tchaikovsky, Borodin, Rimsky-Korsakov, Mussorgsky. In 1927, director V. Lossky created a new version of Boris Godunov. Operas by Soviet composers are staged - "Trilby" by A. Yurasovsky (1924), "Love for Three Oranges" by S. Prokofiev (1927).

In the 1930s, Joseph Stalin's demand for the creation of "Soviet opera classics" appeared in the press. Works by I. Dzerzhinsky, B. Asafiev, R. Gliere are staged. At the same time, a strict ban on works by foreign composers is introduced. In 1935, the premiere of D. Shostakovich's opera Lady Macbeth of the Mtsensk District was held with great success with the public. However, this work, highly appreciated around the world, causes sharp discontent at the top. The well-known article "Muddle instead of Music", authored by Stalin, caused the disappearance of Shostakovich's opera from the repertoire of the Bolshoi Theater

During the Great Patriotic War, the Bolshoi Theater was evacuated to Kuibyshev. The theater celebrates the end of the war with bright premieres of S. Prokofiev's ballets Cinderella and Romeo and Juliet, where Galina Ulanova shone. In subsequent years, the Bolshoi Theater turns to the work of the composers of the "fraternal countries" - Czechoslovakia, Poland and Hungary, and also reviews the productions of classical Russian operas (new productions of "Eugene Onegin", "Sadko", "Boris Godunov", "Khovanshchina" and many other). Most of These productions were staged by opera director Boris Pokrovsky, who came to the Bolshoi Theater in 1943. His performances in these years and the next few decades served as the "face" of the Bolshoi Opera

The troupe of the Bolshoi Theater often tours, having success in Italy, Great Britain, the USA and many other countries.


At present, the repertoire of the Bolshoi Theater has retained many classical productions of opera and ballet performances, but at the same time the theater is striving for new experiments. Directors who have already gained fame as film directors are involved in the work on operas. Among them are A. Sokurov, T. Chkheidze, E. Nyakroshus and others. Some of the new productions of the Bolshoi Theater caused disapproval of a part of the public and honored masters of the Bolshoi. Thus, the scandal accompanied the staging of L. Desyatnikov's opera "Children of Rosenthal" (2005), in connection with the reputation of the author of the libretto, the writer V. Sorokin. The famous singer Galina Vishnevskaya expressed her indignation and rejection of the new play "Eugene Onegin" (2006, director D. Chernyakov), refusing to celebrate her anniversary on the stage of the Bolshoi, where such performances take place. At the same time, the mentioned performances, in spite of everything, have their fans.

The history of the Bolshoi Theatre, which is celebrating its 225th anniversary, is as majestic as it is intricate. From it, with equal success, you can create both an apocrypha and an adventurous novel. The theater was repeatedly burned, restored, rebuilt, merged and separated its troupe.

Twice-born (1776-1856)

The history of the Bolshoi Theatre, which is celebrating its 225th anniversary, is as majestic as it is intricate. From it, with equal success, you can create both an apocrypha and an adventurous novel. The theater was repeatedly burned, restored, rebuilt, merged and separated its troupe. And even the Bolshoi Theater has two dates of birth. Therefore, its centenary and bicentennial anniversaries will not be separated by a century, but by only 51 years. Why? Initially, the Bolshoi Theater counted its years from the day when a magnificent eight-column theater with the chariot of the god Apollo over the portico arose on Theater Square - the Bolshoi Petrovsky Theater, the construction of which became a real event for Moscow early XIX century. Great building in classical style, inside decorated in red and gold tones, according to contemporaries, was the best theater in Europe and in scale was second only to Milan's La Scala. Its opening took place on January 6 (18), 1825. In honor of this event, the prologue "The Triumph of the Muses" by M. Dmitriev was given with music by A. Alyabyev and A. Verstovsky. It allegorically depicted how the Genius of Russia, with the help of the muses, creates a new beautiful art on the ruins of the Medox theater - the Bolshoi Petrovsky Theater.

However, the troupe, by whose forces the “Celebration of the Muses” that caused general delight was shown, had already existed for half a century by that time.

It was started by the provincial prosecutor Prince Pyotr Vasilyevich Urusov in 1772. On March 17 (28), 1776, the highest permission was given “to keep him all kinds of theatrical performances, as well as concerts, vauxhalls and masquerades, and besides him, no one should be allowed any such entertainment at all the time appointed by privilege, so that he would not be undermined.”

Three years later, he petitioned Empress Catherine II for a ten-year privilege to maintain a Russian theater in Moscow, undertaking to build a permanent theater building for the troupe. Alas, the first Russian theater in Moscow on Bolshaya Petrovsky Street burned down before the opening. This led to the decline of the prince's affairs. He handed over the business to his partner, the Englishman Michael Medox, an active and enterprising man. It was thanks to him that in the wasteland, regularly flooded by the Neglinka, despite all the fires and wars, the theater grew up, which eventually lost its geographical prefix Petrovsky and remained in history simply as the Bolshoi.

And yet, the Bolshoi Theater begins its calendar on March 17 (28), 1776. Therefore, in 1951, the 175th anniversary was celebrated, in 1976 - the 200th anniversary, and ahead - the 225th anniversary of the Bolshoi Theater of Russia.

Bolshoi Theater in the middle of the 19th century

The symbolic name of the performance, which opened the Bolshoi Petrovsky Theater in 1825, "The Triumph of the Muses" - predetermined its history over the next quarter of a century. Participation in the first performance of outstanding masters of the stage - Pavel Mochalov, Nikolai Lavrov and Angelica Catalani - set the highest level of performance. Second quarter XIX century - this is the awareness of Russian art, and the Moscow theater in particular, of its national identity. The work of the composers Alexei Verstovsky and Alexander Varlamov, who for several decades were at the head of the Bolshoi Theater, contributed to its extraordinary rise. Thanks to their artistic will, the Russian operatic repertoire was formed on the Moscow Imperial stage. It was based on Verstovsky's operas "Pan Tvardovsky", "Vadim, or the Twelve Sleeping Maidens", "Askold's Grave", the ballets "The Magic Drum" by Alyabyev, "The Sultan's Amusements, or the Slave Seller", "Boy with a Finger" by Varlamov.

The ballet repertoire was as rich and varied as the opera. The head of the troupe Adam Glushkovsky is a pupil of the St. Petersburg ballet school, a student of Sh. Didlo, who headed the Moscow ballet even before the Patriotic War of 1812, created original performances: “Ruslan and Lyudmila, or the Overthrow of Chernomor, evil wizard”, “Three belts, or Russian Sandrilona”, “Black shawl, or Punished infidelity”, transferred to the Moscow stage best performances Didlo. They showed the excellent training of the corps de ballet, the foundations of which were laid by the choreographer himself, who was also at the head of the ballet school. The main roles in the performances were performed by Glushkovsky himself and his wife Tatyana Ivanovna Glushkovskaya, as well as the Frenchwoman Felicata Gullen-Sor.

The main event in the activities of the Moscow Bolshoi Theater in the first half of the last century was the premiere of two operas by Mikhail Glinka. Both of them were first staged in St. Petersburg. Even though reach from one Russian capital to another it was already possible by train, Muscovites had to wait for new products for several years. "Life for the Tsar" was first performed at the Bolshoi Theater on September 7 (19), 1842. “... How to express the surprise of true music lovers when they were convinced from the first act that this opera solved a question important for art in general and for Russian art in particular, namely: the existence of Russian opera, Russian music ... With Glinka's opera is something that has long been sought and not found in Europe, a new element in art, and begins in its history new period- the period of Russian music. Such a feat, let's say, in all honesty, is a matter not only of talent, but of genius! -- exclaimed eminent writer, one of the founders of Russian musicology V. Odoevsky.

Four years later, the first performance of Ruslan and Lyudmila took place. But both operas by Glinka, despite favorable reviews from critics, did not last long in the repertoire. Even participation in the performances of guest performers Osip Petrov and Ekaterina Semyonova, who were temporarily ousted from St. Petersburg by Italian singers, did not save them. But decades later, it was "Life for the Tsar" and "Ruslan and Lyudmila" that became the favorite performances of the Russian public, they were destined to defeat the Italian opera mania that arose in the middle of the century. And by tradition, each theatrical season the Bolshoi Theater opened with one of Glinka's operas.

On the ballet stage, by the middle of the century, performances on Russian themes, created by Isaac Ablez and Adam Glushkovsky, were also forced out. The ball was ruled by Western romanticism. "La Sylphide", "Giselle", "Esmeralda" appeared in Moscow almost immediately after the European premieres. Taglioni and Elsler drove Muscovites crazy. But the Russian spirit continued to live in the Moscow ballet. Not a single guest performer could outshine Ekaterina Bankova, who performed in the same performances as visiting celebrities.

In order to accumulate strength before the next rise, the Bolshoi Theater had to endure many upheavals. And the first of them was a fire that in 1853 destroyed the theater of Osip Bove. All that was left of the building was a charred shell. The scenery, costumes, rare instruments, and the music library were destroyed.

In the competition for best project restoration of the theater was won by the architect Albert Cavos. In May 1855, construction work began, which was completed after 16 (!) months. In August 1856, the opera by V. Bellini "The Puritani" opened new theater. And there was something symbolic in the fact that he opened with an Italian opera. Shortly after its opening, the actual tenant of the Bolshoi Theater was the Italian Merelli, who brought a very strong Italian troupe to Moscow. The audience, with the enthusiasm of the new converts, preferred the Italian opera to the Russian one. All of Moscow flocked to listen to Desiree Artaud, Pauline Viardot, Adeline Patti and other Italian opera idols. Auditorium these performances were always crowded.

Only three days a week were left for the Russian troupe - two for ballet and one for opera. The Russian opera, which had no material support and was abandoned by the public, was a sad sight.

And yet, despite any difficulties, the Russian operatic repertoire is steadily expanding: in 1858, A. Dargomyzhsky's "Mermaid" was presented, two operas by A. Serov, "Judith" (1865) and "Rogneda" (1868), were staged for the first time , "Ruslan and Lyudmila" by M. Glinka is resumed. A year later, P. Tchaikovsky made his debut on the stage of the Bolshoi Theater with the opera Voyevoda.

A turning point in the tastes of the public occurred in the 1870s. IN Bolshoi Theater Russian operas appear one after another: The Demon by A. Rubinstein (1879), Eugene Onegin by P. Tchaikovsky (1881), Boris Godunov by M. Mussorgsky (1888), The Queen of Spades (1891) and Iolanta (1893) P. Tchaikovsky, "The Snow Maiden" N. Rimsky Korsakov (1893), "Prince Igor" A. Borodin (1898). Following the only Russian prima donna Ekaterina Semyonova, a whole galaxy of outstanding singers enters the Moscow stage. This is Alexandra Alexandrova-Kochetova, and Emilia Pavlovskaya, and Pavel Khokhlov. And already they, not italian singers, become favorites of the Moscow public. In the 70s, the owner of the most beautiful contralto Eulalia Kadmina enjoyed special affection of the audience. “Perhaps the Russian public never knew, either before or later, such a peculiar, full of real tragic force performer”, wrote about her. M. Eikhenvald was called the unsurpassed Snow Maiden, the baritone P. Khokhlov, whom Tchaikovsky highly appreciated, was the idol of the public.

In the ballet of the Bolshoi Theater in the middle of the century, Martha Muravyova, Praskovya Lebedeva, Nadezhda Bogdanova, Anna Sobeshchanskaya were played, and in their articles about Bogdanova, journalists emphasized "the superiority of the Russian ballerina over European celebrities."

However, after their departure from the stage, the Bolshoi Ballet found itself in a difficult position. Unlike St. Petersburg, where the unified artistic will of the choreographer dominated, ballet Moscow in the second half of the century was left without a talented leader. The raids of A. Saint-Leon and M. Petipa (who staged Don Quixote at the Bolshoi Theater in 1869, and made his debut in Moscow before the fire, in 1848) were short-lived. The repertoire was filled with occasional one-day performances (the exception was Sergey Sokolov's Fern, or Night on Ivan Kupala, which had long lingered in the repertoire). Even the production of "Swan Lake" (choreographer - Wenzel Reisinger) by P. Tchaikovsky, who created his first ballet specifically for the Bolshoi Theater, ended in failure. Each new premiere caused only irritation of the public and the press. The auditorium at ballet performances, which in the middle of the century gave a solid income, began to be empty. In the 1880s, the question of liquidating the troupe was seriously raised.

And yet, thanks to such outstanding masters as Lydia Geiten and Vasily Geltser, the Bolshoi Ballet was preserved.

On the eve of the new century XX

Approaching the turn of the century, the Bolshoi Theater lived hectic life. At that time Russian art approached one of the peaks of its heyday. Moscow was in the center of the seething artistic life. A stone's throw from Theater Square, the Moscow Art and Public Theater opened, the whole city was eager to see the performances of the Russian private opera Mamontov and Russian Symphony Collections musical society. Not wanting to fall behind and lose the audience, the Bolshoi Theater rapidly made up for lost time in previous decades, ambitiously wanting to fit into the Russian cultural process.

This was facilitated by two experienced musicians who came to the theater at that time. Ippolit Altani led the orchestra, Ulrich Avranek - the choir. The professionalism of these bands, which have grown significantly not only quantitatively (there were about 120 musicians in each), but also qualitatively, invariably aroused admiration. The opera troupe of the Bolshoi Theater shone outstanding masters: Pavel Khokhlov, Elizaveta Lavrovskaya, Bogomir Korsov continued their careers, Maria Deisha-Sionitskaya arrived from St. Petersburg, Lavrenty Donskoy, a native of Kostroma peasants, became the leading tenor, Margarita Eikhenwald was just starting her journey.

This made it possible to include in the repertoire virtually all world classics - operas by G. Verdi, V. Bellini, G. Donizetti, C. Gounod, J. Meyerbeer, L. Delibes, R. Wagner. New works by P. Tchaikovsky regularly appeared on the stage of the Bolshoi Theater. With difficulty, but still, the composers of the New Russian School made their way: in 1888, the premiere of "Boris Godunov" by M. Mussorgsky took place, in 1892 - "The Snow Maiden", in 1898 - "The Night Before Christmas" by N. Rimsky- Korsakov.

In the same year he got on the Moscow Imperial stage "Prince Igor" by A. Borodin. This revived interest in the Bolshoi Theater and, in no small measure, contributed to the fact that by the end of the century singers joined the troupe, thanks to whom the opera of the Bolshoi Theater reached great heights in the next century. Approached in excellent professional form. late XIX century and the ballet of the Bolshoi Theatre. The Moscow Theater School worked without interruption, producing well-trained dancers. Caustic feuilleton comments, such as the one posted in 1867: “And what are the corps de ballet sylphs now? .. all so well-fed, as if deigning to eat pancakes, and dragging their legs as if they were caught” - have become irrelevant. The brilliant Lydia Gaten, who had no rivals for two decades and carried the entire ballerina repertoire on her shoulders, was replaced by several world-class ballerinas. One after another debuted Adeline Juri, Lyubov Roslavleva, Ekaterina Geltser. Vasily Tikhomirov was transferred from St. Petersburg to Moscow and became the premier of the Moscow ballet for many years. True, unlike the masters of the opera troupe, so far their talents have not had a worthy application: secondary empty ballet extravaganzas by Jose Mendes reigned on the stage.

It is symbolic that in 1899 choreographer Alexander Gorsky, whose name is associated with the heyday of Moscow ballet in the first quarter of the 20th century, made his debut on the stage of the Bolshoi Theater with the transfer of Marius Petipa's The Sleeping Beauty.

In 1899 Fyodor Chaliapin joined the troupe.

began at the Bolshoi Theater new era, which coincided with the onset of a new XX century

1917 has come

By the beginning of 1917, there were no signs of revolutionary events at the Bolshoi Theater. True, there were already some self-governing bodies, for example, a corporation of orchestra artists, headed by the concertmaster of the group of 2 violins, Ya.K. Korolev. Thanks to the active actions of the corporation, the orchestra received the right to arrange symphony concerts at the Bolshoi Theater. The last of them took place on January 7, 1917 and was dedicated to the work of S. Rachmaninov. Conducted by the author. "Cliff", "Isle of the Dead" and "Bells" were performed. The choir of the Bolshoi Theater and soloists E. Stepanova, A. Labinsky and S. Migai took part in the concert.

On February 10, the theater showed the premiere of Verdi's Don Carlos, which became the first production of this opera on the Russian stage.

After the February Revolution and the overthrow of the autocracy, the management of St. Petersburg and Moscow theaters remained common and concentrated in the hands of their former director V. A. Telyakovsky. March 6, by order of the Commissioner of the Provisional Committee State Duma N. N. Lvov, A. I. Yuzhin was appointed authorized commissioner for the management of theaters in Moscow (Big and Small). On March 8, at a meeting of all employees of the former imperial theaters - musicians, opera soloists, ballet dancers, stage workers - L.V. Sobinov was unanimously elected manager of the Bolshoi Theater, and this election was approved by the Ministry of the Provisional Government. On March 12, searchers arrived; the ludicrous part from the economic and service, and L. V. Sobinov headed the actual artistic part Bolshoi Theatre.

It must be said that “Soloist of His Majesty”, “Soloist of the Imperial Theaters” L. Sobinov broke the contract with the Imperial Theaters back in 1915, unable to fulfill all the whims of the directorate, and performed either in performances of the Musical Drama Theater in Petrograd, or in Zimin theater in Moscow. When the February Revolution took place, Sobinov returned to the Bolshoi Theater.

On March 13, the first "free solemn performance" took place at the Bolshoi Theater. Before it began, L. V. Sobinov delivered a speech:

Citizens and citizens! With today's performance, our pride, the Bolshoi Theater, opens the first page of its new free life. Bright minds and pure, warm hearts united under the banner of art. Art sometimes inspired the fighters of the idea and gave them wings! The same art, when the storm subsides, which made the whole world tremble, will glorify and sing folk heroes. In their immortal feat, it will draw bright inspiration and endless strength. And then the two best gifts of the human spirit - art and freedom - will merge into a single mighty stream. And our Bolshoi Theatre, this marvelous temple of art, will become a temple of freedom in the new life.

March 31 L. Sobinov is appointed commissar of the Bolshoi Theater and the Theater School. Its activities are aimed at combating the tendencies of the former directorate of the Imperial Theaters to interfere with the work of the Bolshoi. It comes down to a strike. In protest against encroachments on the autonomy of the theater, the troupe suspended the performance of Prince Igor and asked the Moscow Council of Workers' and Soldiers' Deputies to support the demands of the theater staff. The next day, a delegation was sent from the Moscow City Council to the theater, welcoming the Bolshoi Theater in the struggle for its rights. There is a document confirming the respect of the theater staff for L. Sobinov: “The Corporation of Artists, having elected you as a director, as the best and staunchest defender and spokesman for the interests of art, earnestly asks you to accept this election and notify you of your consent.”

In order No. 1 dated April 6, L. Sobinov addressed the team with the following appeal: “I make a special request to my comrades, artists of the opera, ballet, orchestra and choir, to all staging, artistic, technical and service personnel, artistic, pedagogical the staff and members of the Theater School to make every effort for the successful completion of the theater season and the academic year of the school and for the preparation, on the basis of mutual trust and comradely unity, of the upcoming work in the next theatrical year.

In the same season, on April 29, the 20th anniversary of L. Sobinov's debut at the Bolshoi Theater was celebrated. There was an opera by J. Bizet "Pearl Seekers". Comrades on the stage warmly welcomed the hero of the day. Without undressing, in the costume of Nadir, Leonid Vitalyevich delivered a response speech.

“Citizens, citizens, soldiers! I thank you from the bottom of my heart for your greeting and thank you not on my own behalf, but on behalf of the entire Bolshoi Theater, which Hard time you have provided such moral support.

In the difficult days of the birth of Russian freedom, our theater, which until then represented an unorganized collection of people who “served” in the Bolshoi Theater, merged into a single whole and based its future on the elective principle as a self-governing unit.

This elective principle saved us from ruin and breathed into us the breath of new life.

It would seem to live and be happy. The representative of the Provisional Government, appointed to liquidate the affairs of the Ministry of the Court and Appanages, went to meet us halfway - welcomed our work and, at the request of the entire troupe, gave me, the elected manager, the rights of commissar and director of the theater.

Our autonomy did not interfere with the idea of ​​uniting all state theaters in the interests of the state. For this, a person of authority and close to the theater was needed. Such a person has been found. It was Vladimir Ivanovich Nemirovich-Danchenko.

This name is familiar and dear to Moscow: it would unite everyone, but... he refused.

Other people came, very respectable, respected, but alien to the theater. They came with the confidence that it was people outside the theater who would give reforms and new beginnings.

Three days had not passed before attempts began to put an end to our self-government.

Our elective offices have been postponed, and we have been promised a new regulation on the management of theaters the other day. We still do not know who and when it was developed.

The telegram muffledly says that it meets the wishes of theater workers, which ones we do not know. We did not participate, we were not invited, but on the other hand, we know that the recently thrown down fetters of the order are again trying to confuse us, again the discretion of the order is arguing with the will of the organized whole, and the hushed order rank is raising its voice, accustomed to shouting.

I could not take responsibility for such reforms and resigned as director.

But as an elected theater manager, I protest against the seizure of the fate of our theater in irresponsible hands.

And we, our entire community, are now appealing to representatives public organizations and the Soviets of Workers' and Soldiers' Deputies to support the Bolshoi Theater and not give it to the Petrograd reformers for administrative experiments.

Let them be engaged in the stable department, specific winemaking, card factory, but they will leave the theater alone.

Some points of this speech require clarification.

A new regulation on the management of theaters was issued on May 7, 1917 and assumed separate management of the Maly and Bolshoi Theaters, and Sobinov was called the commissioner for the Bolshoi Theater and Theater School, and not a commissioner, i.e., in fact, a director, according to the order of March 31.

Mentioning the telegram, Sobinov means the telegram he received from the Commissioner of the Provisional Government for the department of the former. yard and destinies (this included the stable department, and winemaking, and the card factory) F.A. Golovina.

And here is the text of the telegram itself: “I am very sorry that you resigned your powers due to a misunderstanding. I earnestly ask you to continue working until the case is clarified. New one coming out in a few days general position about the management of theaters, known to Yuzhin, meeting the wishes of the theater workers. Commissar Golovin.

However, L.V. Sobinov does not stop directing the Bolshoi Theater, he works in contact with the Moscow Soviet of Workers' and Soldiers' Deputies. On May 1, 1917, he himself participates in a performance in favor of the Moscow Council at the Bolshoi Theater and performs excerpts from Eugene Onegin.

Already on the eve October revolution, October 9, 1917. The Political Directorate of the Military Ministry sends the following letter: “To the Commissar of the Moscow Bolshoi Theater L.V. Sobinov.

In accordance with the petition of the Moscow Soviet of Workers' Deputies, you are appointed commissar over the theater of the Moscow Soviet of Workers' Deputies (the former Zimin Theater).

After the October Revolution, E.K. Malinovskaya, who was considered the commissar of all theaters, was placed at the head of all Moscow theaters. L. Sobinov remained as director of the Bolshoi Theater, and a council (elected) was created to help him.