What material is the theater made of? The beginning of formation

Story

The Bolshoi Theater began as a private theater of the provincial prosecutor Prince Peter Urusov. On March 28, 1776, Empress Catherine II signed a “privilege” to the prince for the maintenance of performances, masquerades, balls and other amusements for a period of ten years. This date is considered the founding day of the Moscow Bolshoi Theater. At the first stage of the existence of the Bolshoi Theater, the opera and drama troupe constituted a unified whole. The composition was the most diverse: from serf artists to stars invited from abroad.

In the formation of an opera and drama troupe big role played Moscow University and the gymnasiums established under it, in which good musical education. Theater classes were established at the Moscow Orphanage, which also supplied personnel to the new troupe.

The first theater building was built on the right bank of the Neglinka River. It overlooked Petrovka Street, hence the theater got its name - Petrovsky (later it will be called the Old Petrovsky Theater). Its opening took place on December 30, 1780. They gave a solemn prologue "Wanderers", written by A. Ablesimov, and a large pantomimic ballet "Magic School", staged by L. Paradis to the music of J. Startzer. Then the repertoire was formed mainly from Russian and Italian comic operas with ballets and individual ballets.

The Petrovsky Theatre, built in record time - less than six months, became the first public theater building of such size, beauty and convenience built in Moscow. By the time it was opened, Prince Urusov, however, had already been forced to cede his rights to a partner, and later on the “privilege” was extended only to Medox.

However, he was also disappointed. Forced to constantly ask for loans from the Board of Trustees, Medox did not get out of debt. In addition, the opinion of the authorities - previously very high - about the quality of his entrepreneurial activity has changed radically. In 1796, Madox's personal privilege expired, so that both the theater and its debts were transferred to the Board of Trustees.

In 1802-03. the theater was given at the mercy of Prince M. Volkonsky, the owner of one of the best Moscow home theater troupes. And in 1804, when the theater again came under the jurisdiction of the Board of Trustees, Volkonsky was actually appointed its director "on a salary."

Already in 1805, a project arose to create a theater directorate in Moscow "in the image and likeness" of St. Petersburg. In 1806, it was implemented - and the Moscow theater acquired the status of an imperial theater, passing under the jurisdiction of a single Directorate of Imperial Theaters.

In 1806, the school, which the Petrovsky Theater had, was reorganized into the Imperial Moscow Theater School for the training of opera, ballet, drama and theater orchestra musicians (in 1911 it became a choreographic school).

In the autumn of 1805 the building of the Petrovsky Theater burned down. The troupe began to perform on private stages. And since 1808 - on the stage of the new Arbat Theater, built according to the project of K. Rossi. This wooden building also perished in the fire - during Patriotic War 1812

In 1819, a competition was announced for the design of a new theater building. The project of Andrei Mikhailov, professor of the Academy of Arts, won, however, it was recognized as too expensive. As a result, the Moscow governor, Prince Dmitry Golitsyn, ordered the architect Osip Bove to fix it, which he did, and significantly improved it.

In July 1820, the construction of a new theater building began, which was to become the center of the town-planning composition of the square and adjacent streets. The facade, decorated with a powerful portico on eight columns with a large sculptural group - Apollo on a chariot with three horses, "looked" at the Theater Square under construction, which contributed a lot to its decoration.

In 1822–23 Moscow theaters were separated from the general Directorate of Imperial Theaters and transferred to the jurisdiction of the Moscow Governor-General, who received the authority to appoint Moscow directors of the Imperial Theaters.

“Even closer, on a wide square, rises the Petrovsky Theater, a work of the latest art, a huge building, made according to all the rules of taste, with a flat roof and a majestic portico, on which towers the alabaster Apollo, standing on one leg in an alabaster chariot, motionlessly driving three alabaster horses and looking with annoyance at the Kremlin wall, which jealously separates it from the ancient shrines of Russia!
M. Lermontov, youthful composition "Panorama of Moscow"

January 6, 1825 took place Grand opening the new Petrovsky Theater - much larger than the lost old one, and therefore called the Bolshoi Petrovsky. The prologue “The Triumph of the Muses” written specially for the occasion in verse (M. Dmitrieva), with choirs and dances to the music of A. Alyabyev, A. Verstovsky and F. Scholz, as well as the ballet “Sandrillon” staged by a dancer invited from France and choreographer F. .IN. Güllen-Sor to the music of her husband F. Sor. The Muses triumphed over the fire that destroyed the old theater building, and, led by the Genius of Russia, whose role was played by the twenty-five-year-old Pavel Mochalov, they revived a new temple of art from the ashes. And although the theater was really very large, it could not accommodate everyone. Emphasizing the importance of the moment and condescending to the suffering of the suffering, the triumphant performance was repeated in its entirety the next day.

The new theatre, which surpassed in size even the St. Petersburg Bolshoy Kamenny Theatre, was notable for its monumental grandeur, proportionality of proportions, harmony of architectural forms and richness of interior decoration. It turned out to be very convenient: the building had galleries for the passage of spectators, stairs leading to the tiers, corner and side lounges and spacious dressing rooms. The huge auditorium could accommodate over two thousand people. The orchestra pit was deepened. At the time of masquerades, the floor of the stalls was raised to the level of the proscenium, the orchestra pit was covered with special shields, and a wonderful “dance floor” turned out.

In 1842, the Moscow theaters were again placed under the control of the General Directorate of the Imperial Theaters. A. Gedeonov was then the director, and the famous composer A. Verstovsky was appointed the manager of the Moscow theater office. The years when he was "in power" (1842–59) were called the "epoch of Verstovsky."

And although dramatic performances continued to be staged on the stage of the Bolshoi Petrovsky Theater, operas and ballets began to occupy an increasing place in its repertoire. Works by Donizetti, Rossini, Meyerbeer, the young Verdi, Russian composers - both Verstovsky and Glinka were staged (in 1842 the Moscow premiere of A Life for the Tsar took place, in 1846 - the opera Ruslan and Lyudmila).

The building of the Bolshoi Petrovsky Theater existed for almost 30 years. But he also suffered the same sad fate: on March 11, 1853, a fire broke out in the theater, which lasted three days and destroyed everything that it could. Theatrical machines, costumes, musical instruments, notes, scenery burned down... The building itself was almost completely destroyed, from which only charred stone walls and columns of the portico remained.

The competition for the restoration of the theater was attended by three prominent Russian architects. It was won by the professor of the St. Petersburg Academy of Arts, the chief architect of the imperial theaters, Albert Cavos. He specialized mainly in theatrical buildings, was well versed in theatrical technology and in the design of multi-tiered theaters with a box stage and with Italian and French types of boxes.

Restoration work progressed rapidly. In May 1855, the dismantling of the ruins was completed and the reconstruction of the building began. And in August 1856 it had already opened its doors to the public. This speed was explained by the fact that the construction had to be completed by the celebrations on the occasion of the coronation of Emperor Alexander II. The Bolshoi Theater, practically rebuilt and with very significant changes compared to the previous building, opened on August 20, 1856 with the opera I Puritani by V. Bellini.

The total height of the building has increased by almost four meters. Despite the fact that the porticos with Beauvais columns have been preserved, the appearance of the main facade has changed quite a lot. A second pediment appeared. The troika of Apollo was replaced by a quadriga cast in bronze. An alabaster bas-relief appeared on the inner field of the pediment, representing flying geniuses with a lyre. The frieze and capitals of the columns have changed. Over the entrances of the side facades, inclined canopies were installed on cast-iron pillars.

But the theatrical architect, of course, paid the main attention to the auditorium and the stage part. In the second half of the 19th century, the Bolshoi Theater was considered one of the best in the world in terms of its acoustic properties. And he owed this to the skill of Albert Cavos, who designed the auditorium as a huge musical instrument. Wooden panels from resonant spruce were used to decorate the walls, a wooden ceiling was made instead of an iron ceiling, and a picturesque ceiling was made of wooden shields - everything in this hall worked for acoustics. Even the decor of the boxes, made of papier-mâché. In order to improve the acoustics of the hall, Cavos also filled in the rooms under the amphitheater, where the wardrobe was placed, and moved the hangers to the level of the stalls.

Significantly expanded space auditorium, which made it possible to make advance lodges - small living rooms, furnished to receive visitors from the stalls or boxes located in the neighborhood. The six-tier hall accommodated almost 2300 spectators. On both sides, near the stage, there were letter boxes intended for the royal family, the ministry of the court and the theater directorate. The ceremonial royal box, protruding slightly into the hall, became its center, opposite the stage. The barrier of the Royal Lodge was supported by consoles in the form of bent atlantes. The raspberry-gold splendor amazed everyone who entered this hall, both in the first years of the existence of the Bolshoi Theater and decades later.

“I tried to decorate the auditorium as splendidly and at the same time as lightly as possible, in the taste of the Renaissance, mixed with the Byzantine style. The white color studded with gold, the bright crimson draperies of the inner boxes, the various stucco arabesques on each floor, and the main effect of the auditorium - a large chandelier of three rows of lamps and candelabra decorated with crystal - all this deserved universal approval.
Albert Cavos

The chandelier of the auditorium was originally lit by 300 oil lamps. To light the oil lamps, it was raised through a hole in the ceiling into a special room. A circular ceiling composition was built around this hole, on which Academician A. Titov painted "Apollo and the Muses". This painting is “with a secret” that opens only to a very attentive eye, which, in addition to everything, should belong to a connoisseur of ancient Greek mythology: instead of one of the canonical muses - the muse of the sacred hymns of Polyhymnia, Titov depicted the muse of painting invented by him - with a palette and a brush in his hands.

The parade curtain was created Italian artist, professor at the Petersburg Imperial Academy fine arts Kazroe Duzi. Of the three sketches, the one that depicted "The entry of Minin and Pozharsky into Moscow" was chosen. In 1896 it was replaced by a new one - "View of Moscow from the Sparrow Hills" (performed by P. Lambin based on a drawing by M. Bocharov), which was used at the beginning and at the end of the performance. And for the intermissions, another curtain was made - "The Triumph of the Muses" according to the sketch of P. Lambin (the only curtain of the 19th century that has survived today in the theater).

After the revolution of 1917, the curtains of the imperial theater were sent into exile. In 1920, theatrical artist F. Fedorovsky, working on the production of the opera Lohengrin, made a sliding curtain made of bronze-painted canvas, which then began to be used as the main one. In 1935, according to the sketch of F. Fedorovsky, a new curtain was made, on which revolutionary dates were woven - “1871, 1905, 1917”. In 1955, the famous golden "Soviet" curtain of F. Fedorovsky reigned in the theater for half a century - with woven state symbols of the USSR.

Like most buildings on Theater Square The Bolshoi Theater was built on stilts. Gradually the building decayed. Drainage works have lowered the groundwater level. The top of the piles rotted and this caused the building to settle heavily. In 1895 and 1898 the foundations were repaired, which temporarily helped to stop the ongoing destruction.

The last performance of the Imperial Bolshoi Theater took place on February 28, 1917. And already on March 13, the State Bolshoi Theater opened.

After October revolution not only the foundations, but the very existence of the theater was threatened. It took several years for the power of the victorious proletariat to abandon forever the idea of ​​closing the Bolshoi Theater and ruining its building. In 1919, she awarded him the title of academician, which at that time did not even guarantee safety, since a few days later the issue of its closure was again hotly debated.

However, in 1922, the Bolshevik government still finds the closure of the theater economically inexpedient. By that time, it was already "adapting" the building to its needs with might and main. The Bolshoi Theater hosted the All-Russian Congresses of Soviets, meetings of the All-Russian Central Executive Committee, and congresses of the Comintern. And the formation of a new country - the USSR - was also proclaimed from the stage of the Bolshoi Theater.

Back in 1921, a special government commission, having examined the theater building, found its condition catastrophic. It was decided to launch anti-emergency work, the head of which was appointed architect I. Rerberg. Then the bases under the annular walls of the auditorium were strengthened, the wardrobe rooms were restored, the stairs were replanned, new rehearsal rooms and artistic latrines were created. In 1938, a major reconstruction of the stage was also carried out.

General plan for the reconstruction of Moscow in 1940-41. provided for the demolition of all houses behind the Bolshoi Theater up to the Kuznetsk Bridge. On the vacated territory it was supposed to build the premises necessary for the work of the theater. And in the theater itself, it was supposed to be established Fire safety and ventilation. In April 1941, the Bolshoi Theater was closed for the necessary repair work. And two months later, the Great Patriotic War began.

Part of the staff of the Bolshoi Theater was evacuated to Kuibyshev, part remained in Moscow and continued to play performances on the stage of the branch. Many artists performed as part of front-line brigades, others went to the front themselves.

On October 22, 1941, at four in the afternoon, a bomb hit the building of the Bolshoi Theater. blast wave passed obliquely between the columns of the portico, broke through the facade wall and caused significant damage in the vestibule. Despite the hardships of wartime and the terrible cold, in the winter of 1942, restoration work began in the theater.

And already in the autumn of 1943, the Bolshoi Theater resumed its activities with a production of M. Glinka's opera A Life for the Tsar, which was removed from the stigma of the monarchist and recognized as patriotic and popular, however, for this it was necessary to revise its libretto and give a new trustworthy name - "Ivan Susanin ".

Cosmetic repairs in the theater were carried out annually. More large-scale works were regularly undertaken. But there was still a catastrophic lack of rehearsal space.

In 1960, a large rehearsal hall was built and opened in the theater building - under the very roof, in the premises of the former scenery hall.

In 1975, for the celebration of the 200th anniversary of the theater, some restoration work was carried out in the auditorium and Beethoven halls. However, the main problems - the instability of the foundations and the lack of space inside the theater - were not resolved.

Finally, in 1987, by a decree of the Government of the country, a decision was made on the need for an urgent reconstruction of the Bolshoi Theater. But it was clear to everyone that in order to preserve the troupe, the theater should not stop its creative activity. We needed a branch. However, eight years passed before the first stone was laid in the foundation of its foundation. And seven more before the building new scene Was built.

On November 29, 2002, the new stage opened with the premiere of the opera The Snow Maiden by N. Rimsky-Korsakov, a production that fully corresponds to the spirit and purpose of the new building, that is, innovative, experimental.

In 2005, the Bolshoi Theater was closed for restoration and reconstruction. But this is a separate chapter of the annals of the Bolshoi Theater.

To be continued...

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Along with the State Tretyakov Gallery, the State Historical Museum, the Cathedral of Christ the Savior, the Moscow Kremlin The Bolshoi Theater is an object cultural heritage and one of the outstanding sights of the city of Moscow. The history of the creation of the Bolshoi Theater saw both light and dark periods, periods of prosperity and decline. Since its foundation in 1776, the theater has undergone numerous restorations: the fires were merciless to the house of art.

Beginning of formation. Maddox Theater

The starting point in the history of the theater is considered to be 1776, when Empress Catherine II allowed Prince P. V. Urusov to engage in the maintenance and development theatrical performances. A small theater was built on Petrovka Street, named after Petrovsky Street. However, it was destroyed by fire even before its official opening.

P. V. Urusov transfers the ownership of the theater to his friend, an entrepreneur from England - Michael Maddox. Six months of construction under the leadership of the architect of the Bolshoi Theater Christian Rozberg and 130 thousand silver rubles made it possible to create a theater with a capacity of a thousand people by 1780. Between 1780 and 1794 more than 400 performances were staged. In 1805, the Maddox Theater burned down, and the acting troupe until 1808 was forced to give performances in private theaters. From 1808 to 1812, the wooden theater, designed by C. I. Rossi, was located on It burned down during the Patriotic War, in a Moscow fire.

Period from 1812 to 1853

After the fire of 1812, the Moscow authorities returned to the issue of restoring the theater only in 1816. The most prominent architects of that time took part in the organized competition, among which A. A. Mikhailov became the winner. However, his project turned out to be quite expensive, so the case was entrusted to O. I. Bove, a specialist who was a member of the Commission on the structure of Moscow. The architect of the Bolshoi Theater Beauvais took Mikhailov's plan as a basis, slightly modifying it. The estimated height of the theater was reduced by 4 meters to 37 meters, and the interior decoration was also revised.

The project was approved by the authorities in 1821, and 4 years later, the work “The Creativity of the Muses” was solemnly presented on the stage of the theater, which tells about the revival of the Bolshoi Theater from the ashes. In the period from 1825 to 1853, the posters of the Bolshoi Theater invited connoisseurs high art for comedy plays - vaudeville ("The Village Philosopher", "The Fun of the Caliph"). Opera was especially popular at that time: the works of A. N. Verstovsky ("Pan Tvardovsky", "Askold's Grave"), M. I. Glinka (the famous operas "Life for the Tsar", "Ruslan and Lyudmila"), as well as works by Mozart, Beethoven, Rossini. In 1853, the theater was again engulfed in flames and almost completely burned out.

Reconstructions of the second half of the 20th century

The building of the Bolshoi Theater was badly damaged after a fire in 1853. The competition for its reconstruction was won by Albert Katerinovich Kavos, an outstanding architect, under whose care the Imperial Theaters were. He increased the height and width of the building, redesigned the interior and exterior decoration, diluting the classical architectural style with elements of early eclecticism. The sculpture of Apollo over the entrance to the theater was replaced with a bronze quadriga (chariot) created by Peter Klodt. On this moment architectural style The Bolshoi Theater in Moscow is considered to be neoclassicism.

In the 1890s the theater building again needed repair: it turned out that its foundation was on barely holding wooden piles. The theater was also in dire need of electrification. According to the project of the architects of the Bolshoi Theater - I. I. Rerberg and K. V. Tersky, half-rotted wooden piles were replaced by new ones by 1898. This temporarily slowed down the settlement of the building.

From 1919 to 1922 there were disputes in Moscow about the possibility of closing the Bolshoi Theatre. This, however, did not happen. In 1921, a large-scale inspection of the structures and the entire theater building was carried out. She identified major problems at one of the walls of the auditorium. In the same year, restoration work began under the guidance of the architect of the Bolshoi Theater of that time - I. I. Rerberg. The foundation of the building was strengthened, which made it possible to stop its settlement.

During the Great Patriotic War, from 1941 to 1943, the building of the Bolshoi Theater was empty and was covered with a protective camouflage. The entire acting troupe was transferred to Kuibyshev (modern Samara), where a residential building located on Nekrasovskaya Street was allocated for the theater premises. After the end of the war, the theater building in Moscow was reconstructed: the interior decoration was replenished with a luxurious and extremely expensive curtain made of brocade. It has long served as the main highlight of the historical scene.

Reconstructions in the 2000s

The beginning of the 2000s was noted for the Bolshoi Theater historical event: the building has a new stage, created with the latest technology, with comfortable seats and well-thought-out acoustics. The entire repertoire of the Bolshoi Theater was staged on it. The new stage began operating in 2002, its opening was accompanied by the opera The Snow Maiden by N. A. Rimsky-Korsakov.

In 2005, a grandiose reconstruction of the Historical Stage began, which lasted until 2011, despite the initial plans to complete the work in 2008. The last performance on the Historical stage before its closing was MP Mussorgsky's opera Boris Godunov. During the restoration, the technicians managed to computerize all the processes in the theater building, and the restoration of the interior decoration required about 5 kg of gold and the painstaking work of hundreds of the best restorers in Russia. However, the main features and characteristic features of the external and internal decoration by the architects of the Bolshoi Theater were preserved. The building area was doubled, which eventually amounted to 80 thousand m 2.

New stage of the Bolshoi Theater

In 2002, on November 29, after 7 years of construction, the New Stage was solemnly opened. It is less luxurious and pompous than the Historical Stage, but it still hosts most of the repertoire. On the posters of the Bolshoi Theater, inviting the audience to the New Stage, you can see excerpts from various ballets and operas. The ballet performances of D. Shostakovich are especially popular: "The Bright Stream" and "The Bolt". Opera performances are presented by the work of P. Tchaikovsky ("Eugene Onegin", " Queen of Spades”) and N. Rimsky-Korsakov (“Golden Cockerel”, “Snow Maiden”). The price of tickets for the New Stage, unlike the Historical Stage, is usually lower - from 750 to 4000 rubles.

Historical stage of the Bolshoi Theater

The historical stage is rightfully considered the pride of the Bolshoi Theatre. The auditorium, which includes 5 tiers, can accommodate about 2100 people. The area of ​​the stage is about 360 m 2 . The most famous performances of opera and ballet are held on the Historical Stage: Boris Godunov, Swan Lake, Don Quixote, Candide and others. However, not everyone can afford to buy a ticket. Typically, the minimum ticket price is 4,000 rubles, while the maximum can reach up to 35,000 rubles and more.

General conclusion

The Bolshoi Theater in Moscow is the property and one of the main attractions not only of the city, but of the whole of Russia. The history of its formation since 1776 is dotted with both bright and sad moments. Severe fires destroyed several predecessors of the Bolshoi Theatre. Some historians count the history of the theater from 1853, from the theater, revived by the architect A.K. Kavos. Its history also knew wars: Patriotic, Great Patriotic, but the theater was able to survive. Therefore, connoisseurs of high art can still see the best opera and ballet performances on the New and Historical Stages.

BIG THEATER Russian State Academic Theater (SABT), one of the oldest theaters in the country (Moscow). Academic since 1919. The history of the Bolshoi Theater dates back to 1776, when Prince P. V. Urusov received the government privilege “to be the owner of all theatrical performances in Moscow” with the obligation to build a stone theater “so that it could serve as an ornament to the city, and moreover, a house for public masquerades, comedies and comic operas. In the same year, Urusov attracted M. Medox, a native of England, to participate in the expenses. The performances were staged at the Opera House on Znamenka, which was owned by Count R. I. Vorontsov (in the summertime - in the “voxal” owned by Count A. S. Stroganov “under the Andronikov Monastery”). Opera, ballet and drama performances were performed by actors and musicians who left the theater troupe of Moscow University, the serf troupes of N. S. Titov and P. V. Urusov.

After the Opera House burned down in 1780, in the same year on Petrovka Street, a theater building in the style of Catherine's classicism was erected in 5 months - the Petrovsky Theater (architect H. Rozberg; see Medox Theater). From 1789 it was administered by the Board of Trustees. In 1805 the building of the Petrovsky Theater burned down. In 1806, the troupe came under the jurisdiction of the Directorate of the Moscow Imperial Theaters, continued to perform in different rooms. In 1816, a project for the reconstruction of Theater Square by the architect O. I. Bove was adopted; In 1821, Emperor Alexander I approved the design of a new theater building by architect A. A. Mikhailov. T. n. The Bolshoi Petrovsky Theater in the Empire style was built by Beauvais according to this project (with some changes and using the foundation of the Petrovsky Theatre); opened in 1825. A horseshoe-shaped auditorium was inscribed in the rectangular volume of the building, the stage room was equal in area to the hall and had large corridors. The main façade was punctuated by a monumental 8-column Ionic portico with a triangular pediment crowned with an alabaster sculptural group "Apollo's Quadriga" (placed against the background of a semicircular niche). The building became the main compositional dominant Ensemble of the Theater Square.

After the fire of 1853, the Bolshoi Theater was restored according to the project of the architect A.K. Kavos (with the replacement of the sculptural group with work in bronze by P.K. Klodt), construction was completed in 1856. The reconstruction significantly changed it appearance, but retained the layout; the architecture of the Bolshoi Theater acquired features of eclecticism. In this form, it was preserved until 2005, with the exception of small internal and external reconstructions (the auditorium can accommodate over 2000 people). In 1924–59, a branch of the Bolshoi Theater worked (in the premises of the former Operas by S. I. Zimin on Bolshaya Dmitrovka). In 1920, a concert hall was opened in the former imperial foyer of the theater - the so-called. Beethovensky (in 2012 the historical name "Imperial Foyer" was returned to it). During the Great Patriotic War, part of the Bolshoi Theater staff was evacuated to Kuibyshev (1941-43), part gave performances in the premises of the branch. In 1961–89, some performances of the Bolshoi Theater took place on the stage Kremlin Palace congresses. During the reconstruction of the main building of the theater (2005–11), performances were performed only on the New Stage in a specially built building (designed by architect A.V. Maslov; functioning since 2002). The main (so-called Historical) stage of the Bolshoi Theater was opened in 2011, since that time performances have been staged on two stages. In 2012, concerts began in the new Beethoven Hall.

A significant role in the history of the Bolshoi Theater was played by the activities of the directors of the imperial theaters - I. A. Vsevolozhsky (1881-99), Prince S. M. Volkonsky (1899-1901), V. A. Telyakovsky (1901-17). In 1882, the reorganization of the imperial theaters was carried out, and the positions of chief conductor (choirmaster; this became I. K. Altani, 1882–1906), chief director (A. I. Bartsal, 1882–1903) and chief choirmaster (U. Avranek, 1882-1929). The design of the performances became more complicated and gradually went beyond the simple decoration of the stage; C. F. Waltz (1861–1910) became famous as the chief machinist and decorator.

In the future, the musical directors were: chief conductors - V. I. Suk (1906–33), A. F. Arends ( chief conductor ballet, 1900–24), S. A. Lynching(1936–43), A. M. Pazovsky (1943–48), N. S. Golovanov (1948–53), A. Sh. Melik-Pashaev (1953–63), E. F. Svetlanov (1963–65) ), G. N. Rozhdestvensky (1965–70), Yu. I. Simonov (1970–85), A. N. Lazarev (1987–95), artistic director of the orchestra P. Feranets (1995–98), musical director of the theater, artistic director of the orchestra M. F. Ermler (1998–2000), artistic director G. N. Rozhdestvensky (2000–01), music director and chief conductor A. A. Vedernikov (2001–09), music director L. A. Desyatnikov (2009–10), musical directors and principal conductors – V.S. Sinai(2010–13), T.T. Sokhiev (since 2014).

Main directors: V.A. Lossky (1920–28), N. V. Smolich (1930–36), B. A. Mordvinov (1936–40), L. V. Baratov (1944–49), I. M. Tumanov (1964–70), B. A. Pokrovsky (1952, 1955 – 63, 1970–82); head of the director's group G.P. Ansimov (1995–2000).

Principal choirmasters: V. P. Stepanov (1926–36), M. A. Cooper (1936–44), M. G. Shorin (1944–58), A. V. Rybnov (1958–88), S. M Lykov (1988–95; artistic director of the choir in 1995–2003), V. V. Borisov (since 2003).

Main artists: M. I. Kurilko (1925–27), F. F. Fedorovsky (1927–29, 1947–53), V. V. Dmitriev (1930–41), P. V. Williams (1941–47) , V. F. Ryndin (1953–70), N. N. Zolotarev (1971–88), V. Ya. Leventhal (1988–95), S. M. Barkhin (1995–2000; also artistic director, stage designer) ; head of the service of artists - A. Yu. Pikalova (since 2000).

Artistic director of the theater in 1995-2000 - V. V. Vasiliev . General directors - A. G. Iksanov (2000–13), V. G. Urin (since 2013).

Artistic directors of the opera troupe: B.A. Rudenko ( 1995–99), V. P. Andropov (2000–02), M. F. Kasrashvili(in 2002–14 led creative teams opera troupe), L. V. Talikova (since 2014, head of the opera company).

Opera at the Bolshoi Theater

In 1779, one of the first Russian operas, Melnik, a Sorcerer, a Deceiver and a Matchmaker, appeared on the stage of the Opera House on Znamenka (text by A. O. Ablesimov, music by M. M. Sokolovsky). The Petrovsky Theater staged the allegorical prologue "Wanderers" (text by Ablesimov, music by E. I. Fomin), performed on the opening day 12/30/1780 (10/1/1781), opera performances "Misfortune from the Carriage" (1780), "The Miser" (1782 ), "St. Petersburg gostiny dvor"(1783) V. A. Pashkevich. The tour of the Italian (1780–82) and French (1784–1785) troupes had an influence on the development of the opera house. The troupe of the Petrovsky Theater included actors and singers E. S. Sandunova, M. S. Sinyavskaya, A. G. Ozhogin, P. A. Plavilshchikov, Ya. E. Shusherin and others. the prologue "The Triumph of the Muses" by A. A. Alyabyev and A. N. Verstovsky. Since that time, works by Russian authors, mainly vaudeville operas, have occupied an increasing place in the operatic repertoire. For over 30 years, the work of the opera troupe was associated with the activities of A. N. Verstovsky, inspector of the Directorate of Imperial Theaters and composer, author of the operas Pan Tvardovsky (1828), Vadim, or the Awakening of 12 Sleeping Virgins (1832), Askold's Grave "(1835)," Homesickness "(1839). In the 1840s the Russian classical operas A Life for the Tsar (1842) and Ruslan and Lyudmila (1846) by M. I. Glinka were staged. In 1856, the newly rebuilt Bolshoi Theater opened with V. Bellini's opera I Puritani performed by an Italian troupe. 1860s marked by an increase in Western European influence (the new Directorate of Imperial Theaters favored Italian opera and foreign musicians). Of the domestic operas, Judith (1865) and Rogneda (1868) by A. N. Serov, Mermaid by A. S. Dargomyzhsky (1859, 1865) were staged, and operas by P. I. Tchaikovsky were staged from 1869. The rise of Russian musical culture at the Bolshoi Theater is associated with the first production at the Bolshoi opera stage"Eugene Onegin" (1881), as well as other works by Tchaikovsky, operas by St. Petersburg composers - N. A. Rimsky-Korsakov, M. P. Mussorgsky. The best works were staged at the same time foreign composers- W. A. ​​Mozart, G. Verdi, C. Gounod, J. Bizet, R. Wagner. Among the singers 19 - beg. 20th centuries: M. G. Gukova, E. P. Kadmina, N. V. Salina, A. I. Bartsal, I. V. Gryzunov, V. R. Petrov, P. A. Khokhlov. The milestone for the theater has become conductor activity S. V. Rachmaninov (1904–06). The heyday of the Bolshoi Theater in 1901–17 is largely associated with the names of F. I. Chaliapin, L. V. Sobinov and A. V. Nezhdanova, K. S. Stanislavsky and Vl. AND. Nemirovich-Danchenko, K. A. Korovin and A. Ya. Golovin.

In 1906-33, the actual head of the Bolshoi Theater was V. I. Suk, who continued to work on Russian and foreign opera classics together with directors V. A. Lossky (Aida by G. Verdi, 1922; Lohengrin by R. Wagner, 1923); "Boris Godunov" by M. P. Mussorgsky, 1927) and L. V. Baratov, artist F. F. Fedorovsky. In the 1920s–30s. The performances were conducted by N. S. Golovanov, A. Sh. Melik-Pashaev, A. M. Pazovsky, S. A. Samosud, B. E. Khaykin, V. V. Barsova, K. G. Derzhinskaya, E D. Kruglikova, M. P. Maksakova, N. A. Obukhova, E. A. Stepanova, A. I. Baturin, I. S. Kozlovsky, S. Ya. Lemeshev, M. D. Mikhailov, and P. M. Nortsov, A. S. Pirogov. There were premieres of Soviet operas: The Decembrists by V. A. Zolotarev (1925), The Son of the Sun by S. N. Vasilenko and The Dumb Artist by I. P. Shishov (both 1929), Almast by A. A. Spendiarov ( 1930); in 1935, the opera Lady Macbeth of the Mtsensk District by D. D. Shostakovich was staged. In con. 1940 The Valkyrie by Wagner was staged (director S. M. Eisenstein). The last pre-war production was Mussorgsky's Khovanshchina (13.2.1941). In 1918–22, the Opera Studio functioned at the Bolshoi Theater under the direction of K. S. Stanislavsky.

In September 1943, the Bolshoi Theater opened the season in Moscow with the opera Ivan Susanin by M. I. Glinka. In the 1940s-50s. Russian and European classical repertoire was staged, as well as operas by composers from countries of Eastern Europe- B. Smetana, S. Moniuszko, L. Janacek, F. Erkel. Since 1943, the theater has been associated with the name of director B. A. Pokrovsky, who for more than 50 years determined the artistic level of opera performances; His productions of the operas War and Peace (1959), Semyon Kotko (1970) and The Gambler (1974) by S. S. Prokofiev, Ruslan and Lyudmila by Glinka (1972), Otello by G. Verdi are considered standard (1978). In general, for the operatic repertoire of the 1970s - early. 1980s style diversity is characteristic: from operas of the 18th century. (“Julius Caesar” by G. F. Handel, 1979; “Iphigenia in Aulis” by K. V. Gluck, 1983), opera classics of the 19th century. (“Gold of the Rhine” by R. Wagner, 1979) to Soviet opera (“Dead Souls” by R. K. Shchedrin, 1977; “Betrothal in a Monastery” by Prokofiev, 1982). In the best performances of the 1950s-70s. sang I. K. Arkhipova, G. P. Vishnevskaya, M. F. Kasrashvili, T. A. Milashkina, E. V. Obraztsova, B. A. Rudenko, T. I. Sinyavskaya, V. A. Atlantov, A A. Vedernikov, A. F. Krivchenya, S. Ya. Lemeshev, P. G. Lisitsian, Yu. A. Mazurok, E. E. Nesterenko, A. P. Ognivtsev, I. I. Petrov, and M. O Reizen, Z. L. Sotkilava, A. A. Eizen, conducted by E. F. Svetlanov, G. N. Rozhdestvensky, K. A. Simeonov and others. With the exclusion of the position of chief director (1982) and the departure of Yu. I. Simonov began a period of instability; until 1988, only a few opera productions were staged: “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” (directed by R. I. Tikhomirov) and “The Tale of Tsar Saltan” (directed by G. P. Ansimov) by N. A. Rimsky-Korsakov, “ Werther" by J. Massenet (director E. V. Obraztsova), "Mazepa" by P. I. Tchaikovsky (director S. F. Bondarchuk).

From con. 1980s operatic repertoire policy was determined by an orientation towards rare performed works: “The Beautiful Miller’s Woman” by G. Paisiello (1986, conductor V. E. Weiss, director G. M. Gelovani), N. A. Rimsky-Korsakov’s opera “The Golden Cockerel” (1988, conductor E. F. Svetlanov, director G P. Ansimov), "Mlada" (1988, for the first time on this stage; conductor A. N. Lazarev, director B. A. Pokrovsky), "The Night Before Christmas" (1990, conductor Lazarev, director A. B. Titel) , The Maid of Orleans by Tchaikovsky (1990, for the first time on this stage; conductor Lazarev, director Pokrovsky), Aleko and The Miserly Knight by S. V. Rachmaninov (both 1994, conductor Lazarev, director N. I. Kuznetsov). Among the productions is the opera "Prince Igor" by A. P. Borodin (edited by E. M. Levashov; 1992, joint production with the theater "Carlo Felice" in Genoa; conductor Lazarev, director Pokrovsky). During these years, a mass departure of singers abroad began, which (in the absence of the position of chief director) led to a decrease in the quality of performances.

In 1995–2000, the basis of the repertoire was Russian operas of the 19th century, among the productions: “Ivan Susanin” by M. I. Glinka (resumption of the production by L. V. Baratov in 1945, director V. G. Milkov), “Iolanta” by P. I. Tchaikovsky (director G. P. Ansimov; both 1997), Francesca da Rimini by S. V. Rachmaninov (1998, conductor A. N. Chistyakov, director B. A. Pokrovsky). Since 1995, foreign operas have been performed at the Bolshoi Theater in their original language. On the initiative of B. A. Rudenko, a concert performance of the operas “Lucia di Lammermoor” by G. Donizetti (conductor P. Feranets) and “Norma” by V. Bellini (conductor Chistyakov; both 1998) took place. Among other operas: "Khovanshchina" by M. P. Mussorgsky (1995, conductor M. L. Rostropovich, director B. A. Pokrovsky), "Players" by D. D. Shostakovich (1996, concert performance, for the first time on this stage, conductor Chistyakov), the most successful production of these years is “The Love for Three Oranges” by S. S. Prokofiev (1997, director P. Ustinov).

In 2001, the opera Nabucco by G. Verdi was staged for the first time at the Bolshoi Theater (conductor M. F. Ermler, director M. S. Kislyarov), under the direction of G. N. Rozhdestvensky, the premiere of the 1st edition of the opera The Gambler by S. S. Prokofiev (directed by A. B. Titel). Fundamentals of repertoire and personnel policy (since 2001): the entrepreneurial principle of working on a performance, inviting performers on a contract basis (with a gradual reduction in the main troupe), rental of foreign performances (Force of Destiny by G. Verdi, 2001, rental of a production of the San Carlo Theater ", Naples); "Adrienne Lecouvreur" F. Cilea (2002, for the first time on this stage, in the stage version of the theater "La Scala"), "Falstaff" by Verdi (2005, rental of the performance of the theater "La Scala", director J. Strehler). Of the domestic operas, Ruslan and Lyudmila by M. I. Glinka (with the participation of "historical" instruments in the orchestra, conductor A. A. Vedernikov, director V. M. Kramer; 2003), "Fiery Angel" by S. S. Prokofiev (2004, for the first time at the Bolshoi Theatre; conductor Vedernikov, director F. Zambello).

In 2002, the New Stage was opened, the first performance was The Snow Maiden by N. A. Rimsky-Korsakov (conductor N. G. Alekseev, director D. V. Belov). Among the productions: The Adventures of the Rake by I. F. Stravinsky (2003, for the first time at the Bolshoi Theater; conductor A. V. Titov, director D. F. Chernyakov), The Flying Dutchman by R. Wagner in the 1st edition (2004, together withBavarian State Opera;conductor A. A. Vedernikov, director P. Konvichny). A subtle minimalist stage design distinguished the production of the opera Madama Butterfly by G. Puccini (2005, director and artist R. Wilson ). The vast experience of conducting work on the music of P.I. Tchaikovsky brought M.V. Pletnev in the production of The Queen of Spades (2007, director V. V. Fokin). For the production of "Boris Godunov"M. P. Mussorgsky in the version of D. D. Shostakovich (2007) was invited director A. N. Sokurov , for whom it was the first experience in the opera house. Among the productions of these years are the opera Macbeth by G. Verdi (2003, conductor M. Panni, director E. Necroshus ), “Children of Rosenthal” by L. A. Desyatnikov (2005, world premiere; conductor Vedernikov, director Nekroshyus), “Eugene Onegin” by Tchaikovsky (2006, conductor Vedernikov, director Chernyakov), “The Legend of the Invisible City of Kitezh and the Maiden Fevronia” N A. Rimsky-Korsakov (2008, together with the Lirico Theater in Cagliari, Italy; conductor Vedernikov, director Nekroshus), Wozzeck by A. Berg (2009, for the first time in Moscow; conductor T. Currentzis, director and artist Chernyakov).

Since 2009, the Youth Opera Program has been operating at the Bolshoi Theater, the participants of which are trained for 2 years and take part in theater performances. Since 2010, foreign directors and performers have been present in all productions. In 2010, the operetta " Bat» J. Strauss (for the first time on this stage), the opera "Don Giovanni" by W. A. ​​Mozart (together with the International Festival in Aix-en-Provence, the Real Theater in Madrid and the Canadian Opera House in Toronto; conductor Currentzis, director and artist Chernyakov), in 2011 - the opera The Golden Cockerel by N. A. Rimsky-Korsakov (conductor V. S. Sinaisky, director K. S. Serebrennikov).

The first production on the Main (Historical) stage, opened after reconstruction in 2011, is Ruslan and Lyudmila by M. I. Glinka (conductor V. M. Yurovsky, director and artist D. F. Chernyakov) - due to the shocking stage decision opera was accompanied by scandal. In "counterbalance" to it, in the same year, the production of "Boris Godunov" by M. P. Mussorgsky, edited by N. A. Rimsky-Korsakov (1948, director L.V. Baratov). In 2012, the first production of the opera The Rosenkavalier by R. Strauss was staged in Moscow (conductor V. S. Sinaisky, director S. Lawless), the first stage performance of the opera The Child and the Magic by M. Ravel at the Bolshoi Theater (conductor A. A. Solovyov, director and artist E. MacDonald), again staged “Prince Igor” by A. P. Borodin (in a new edition by P. V. Karmanova, consultant V. I. Martynov , conductor Sinaiski, director Y. P. Lyubimov), as well as "The Enchantress" by P. I. Tchaikovsky, "La Sonnambula" by V. Bellini and others. The Tsar's Bride" by Rimsky-Korsakov (conductor G. N. Rozhdestvensky, based on the set design by F. F. Fedorovsky, 1955), "The Maid of Orleans" by P. I. Tchaikovsky (concert performance, conductor T. T. Sokhiev), for the first time in Bolshoi Theater - "The Story of Kai and Gerda" by S. P. Banevich. Among the productions recent years– “Rodelinda” by G. F. Handel (2015, for the first time in Moscow, together withEnglish National Opera;conductor C. Moulds, director R. Jones), Manon Lescaut by G. Puccini (for the first time at the Bolshoi Theater; conductor J. Biniamini, director A. Ya. Shapiro), Billy Budd by B. Britten (for the first time at the Bolshoi with English National Opera andGerman Opera in Berlin;conductor W. Lacey, director D. Alden; both 2016).

Bolshoi Ballet

In 1784, students of the ballet class, opened in 1773 in the Orphanage, joined the troupe of the Petrovsky Theater. The first choreographers were Italians and French (L. Paradise, F. and C. Morelli, P. Pinyucci, J. solomoni). The repertoire included their own productions and rescheduled performances by J.J. Noverra, genre comedy ballets.

In the development of the ballet art of the Bolshoi Theater in the first third of the 19th century. the activity of A.P. Glushkovsky, who led the ballet troupe in 1812–39. He staged performances of various genres, including on the plots of A. S. Pushkin (“Ruslan and Lyudmila, or the Overthrow of Chernomor, the Evil Wizard” by F. E. Scholz, 1821; “Black Shawl, or Punished Infidelity” to the combined music , 1831), and also transferred to the Moscow stage many of the St. Petersburg works of Sh. L. Didlo. Romanticism established itself on the stage of the Bolshoi Theater thanks to the choreographer F. Güllen Sor, who worked here in 1823–39 and transferred a number of ballets from Paris (La Sylphide by J. Schneitzhoffer, choreography by F. Taglioni, 1837, etc.). Among her students and the most famous performers: E.A. Sankovskaya, T. I. Glushkovskaya, D. S. Lopukhina, A. I. Voronina-Ivanova, I. N. Nikitin. Of particular importance were the performances in 1850 by the Austrian dancer F. Elsler, thanks to which the ballets of J. J. Perrot("Esmeralda" C. Pugni, and others).

From Ser. 19th century romantic ballets began to lose their significance, despite the fact that the troupe retained artists who gravitated towards them: P. P. Lebedeva, O. N. Nikolaeva, in the 1870s. - A. I. Sobeshchanskaya. During the 1860s-90s. at the Bolshoi Theater, several choreographers who led the troupe or staged individual performances were replaced. In 1861–63, K. blasis who gained fame only as a teacher. The most repertoire in the 1860s. were ballets by A. Saint Leon, who moved from St. Petersburg the play "The Little Humpbacked Horse" by C. Pugni (1866). A significant achievement of the theater is the ballet "Don Quixote" by L.F. Minkus, staged by M.I. Petipa in 1869. In 1867–69, S. P. Sokolov staged several productions (“Fern, or Night at Ivan Kupala” by Yu. G. Gerber, and others). In 1877, the well-known choreographer V. Reisinger, who arrived from Germany, became the director of the first (unsuccessful) edition of P. I. Tchaikovsky's Swan Lake. In the 1880s-90s. choreographers at the Bolshoi Theater were J. Hansen, H. Mendes, A. N. Bogdanov, I. N. Khlyustin. To con. In the 19th century, despite the presence of strong dancers in the troupe (L. N. Geiten, L. A. Roslavleva, N. F. Manokhin, N. P. Domashev), the Bolshoi Ballet was in crisis: Moscow did not see P. I. Tchaikovsky (only in 1899 the ballet The Sleeping Beauty was transferred to the Bolshoi Theater by A. A. Gorsky), the best productions Petipa and L.I. Ivanova. The question was even raised about the liquidation of the troupe, which in 1882 was halved. The reason for this was partly the little attention of the Directorate of the Imperial Theaters to the troupe (which was then considered provincial), untalented leaders who ignored the traditions of the Moscow ballet, the renewal of which became possible in the era of reforms in Russian art at the beginning. 20th century

In 1902, the ballet troupe was headed by A. A. Gorsky. His activities contributed to the revival and flourishing of the Bolshoi Ballet. The choreographer strove to fill the ballet with dramatic content, achieved the logic and harmony of the action, the accuracy of the national color, and historical authenticity. Gorsky began his work as a choreographer in Moscow with revisions of other people's ballets [Don Quixote by L. F. Minkus (based on the St. Petersburg production of M. I. Petipa), 1900; Swan Lake (based on the St. Petersburg production by Petipa and L. I. Ivanov, 1901]. In these productions, the structural forms of academic ballet (variations, small ensembles, corps de ballet numbers) were largely preserved, and in Swan Lake, St. Petersburg choreography was also preserved. Gorsky's ideas were most fully embodied in the mimo-drama The Daughter of Gudula by A. Yu. Simon (1902).Gorsky's best original productions were Salambo by A. F. Arends (1910), Love is Fast! to music by E. Grieg (1913). ). Great importance also had alterations classical ballets. However, findings in the field of directing and character dance, innovative drawings of mass numbers that violated traditional symmetry were sometimes accompanied in them by an unjustified derogation of the rights of classical dance, unmotivated changes in the choreography of predecessors, an eclectic combination of techniques coming from various artistic movements of the first decades of the 20th century. Gorsky's like-minded people were the leading dancers of the theater M. M. Mordkin, V. A. Karalli, A. M. Balashova, S. V. Fedorova, masters of pantomime V. A. Ryabtsev, I. E. Sidorov. E.V. also worked with him. Geltzer and V.D. Tikhomirov, dancers A. E. Volinin, L. L. Novikov, but in general, Gorsky did not seek close cooperation with artists of the academic direction. By the end of it creative activity the troupe of the Bolshoi Theater, which was successively reorganized under his influence, largely lost the skills to perform large performances of the old repertoire.

In the 1920s and 30s. there has been a return to the classics. The direction of the ballet at that time was actually (and from 1925 in office) carried out by V. D. Tikhomirov. He returned the choreography of M. I. Petipa to the 3rd act of La Bayadère by L. F. Minkus (1923), resumed in his own editions, close to the classical Petersburg ones, the ballets The Sleeping Beauty (1924), Esmeralda (1926, new musical edition R. M. Glier).

1920s in Russia it is a time of searching for new forms in all types of art, including dance. However, innovative choreographers were rarely admitted to the Bolshoi Theatre. In 1925 K. Ya. Goleizovsky staged the ballet "Joseph the Beautiful" by S. N. Vasilenko on the stage of the theater branch, which contained many innovations in the selection and combination dance moves and the construction of groups, with the constructivist design of B.R. Erdman. The production of V. D. Tikhomirov and L. A. Lashchilin “The Red Poppy” to the music of R. M. Gliere (1927) was considered an officially recognized achievement, where the topical content was clothed in a traditional form (ballet “dream”, canonical pas de de, elements of extravaganza). The traditions of A. A. Gorsky’s creativity were continued at that time by I. A. Moiseev, who staged the ballets V. A. Oransky "Football Player" (1930, together with Lashchilin) ​​and "Three Fat Men" (1935), as well as new version"Salambo" by A. F. Arends (1932).

From con. 1920s the role of the Bolshoi Theater - now the capital, the "main" theater of the country - is growing. In the 1930s choreographers, teachers and artists were transferred here from Leningrad, moved best performances. M. T. Semyonov and A.N. Ermolaev became leading performers along with Muscovites O.V. Lepeshinskaya, A. M. Messerer, MM. Gabovich. Leningrad teachers E.P. came to the theater and school. Gerdt, A. M. Monakhov, V. A. Semyonov, choreographer A. I. Chekrygin. This contributed to the improvement of the technical skills of the Moscow ballet, the stage culture of its performances, but at the same time, to some extent, led to the loss of its own Moscow performing style and staging traditions.

In the 1930s - 40s. The repertoire includes the ballets "The Flames of Paris" by B.V. Asafiev in the choreography of V.I. Vainonen and masterpieces of drama ballet - "The Fountain of Bakhchisarai" by Asafiev in the choreography of R.V. Zakharova and "Romeo and Juliet" by S. S. Prokofiev in the choreography of L. M. Lavrovsky(moved to Moscow in 1946, after G.S. Ulanova), as well as the work of choreographers who continued the traditions of Russian academicism in their work: Vainonen (The Nutcracker by P.I. Tchaikovsky) F.V. Lopukhov(“Bright Stream” by D. D. Shostakovich), V. M. Chabukiani(“Laurencia” by A. A. Crane). In 1944, Lavrovsky, who took the post of chief choreographer, staged Giselle by A. Adam at the Bolshoi Theater.

Since the 1930s and to ser. 1950s the main trend in the development of ballet was its convergence with realistic drama theater. K ser. 1950s the genre of drama ballet has become obsolete. A group of young choreographers appeared, striving for transformations, returning to the choreographic performance of its specificity, revealing images and conflicts by means of dance. In 1959, one of the first-born of a new direction, the ballet " Stone Flower» S. S. Prokofiev in the choreography of Yu. N. Grigorovich and design by S. B. Virsaladze(the premiere took place in 1957 in the Leningrad GATOB). In the beginning. 1960s N.D. Kasatkina and V. Yu. Vasilev staged at the Bolshoi Theater one-act ballets by N. N. Karetnikov (Vanina Vanini, 1962; Geologists, 1964), I. F. Stravinsky (The Rite of Spring, 1965).

From con. 1950s The ballet troupe of the Bolshoi Theater began to perform regularly abroad, where it gained wide popularity. The next two decades - the heyday of the theater, rich in bright personalities, demonstrating its staging and performing style all over the world, which focused on a wide and, moreover, international audience. The performances shown on the tour influenced the foreign editions of the classics, as well as the original work of the European choreographers K. Macmillan, J. Cranko and etc.

Yu. N. Grigorovich, who directed the ballet troupe in 1964–95, began his career with the transfer of A. D. Melikov’s Legend of Love (1965), which he had previously staged in Leningrad and Novosibirsk (both 1961). In the next 20 years, a number of original productions appeared, created in collaboration with S. B. Virsaladze: The Nutcracker by P. I. Tchaikovsky (1966), Spartacus by A. I. Khachaturian (1968), Ivan the Terrible to music by S. S. Prokofiev (1975), "Angara" by A. Ya. Eshpay (1976), "Romeo and Juliet" by Prokofiev (1979). In 1982, Grigorovich staged his last original ballet, The Golden Age by D. D. Shostakovich, at the Bolshoi Theatre. These large-scale performances with large crowd scenes demanded a special style of performance - expressive, heroic, sometimes grandiloquent. Along with composing his own performances, Grigorovich was actively engaged in editing the classical heritage. Two of his productions of The Sleeping Beauty (1963 and 1973) were based on the original by M. I. Petipa. Grigorovich significantly rethought "Swan Lake" by Tchaikovsky (1969), "Raymond" by A. K. Glazunov (1984). The production of "La Bayadère" by L. F. Minkus (1991, as edited by GATOB) returned the performance to the repertoire, long years not walking on the Moscow stage. Less fundamental changes were made to Giselle (1987) and Le Corsaire (1994, according to the version by K. M. , Yu.K. Vladimirov, A. B. Godunov and others. However, the predominance of Grigorovich's productions also had reverse side– led to the monotony of the repertoire. Focusing exclusively on classical dance and, within its framework, on the vocabulary of a heroic plan (big jumps and adagio poses, acrobatic lifts), with the almost complete exclusion from performances of characteristic, historical, everyday, grotesque numbers and pantomime scenes, narrowed down creative possibilities troupes. In the new productions and editions of heritage ballets, character dancers and mime artists were practically not involved, which naturally led to the decline of the art of character dance and pantomime. Old ballets and performances by other choreographers were performed less and less frequently, and comedy ballets, traditional for Moscow in the past, disappeared from the stage of the Bolshoi Theatre. During the years of Grigorovich's leadership, those who did not lose their artistic value productions by N. D. Kasatkina and V. Yu. Vasilyev (“The Rite of Spring” by I. F. Stravinsky), V. I. Vainonen (“The Flames of Paris” by B. V. Asafiev), A. Alonso (“Carmen Suite” J. Bizet - R.K. Shchedrin), A.I. Radunsky (“The Little Humpbacked Horse” by Shchedrin), L. M. Lavrovsky (“Romeo and Juliet” by S. S. Prokofiev), the old Moscow editions of Tchaikovsky’s “Swan Lake” and “Don Quixote” by Minkus, which were the pride of the troupe, also disappeared. Until ser. 1990s there were no major contemporary choreographers working at the Bolshoi Theatre. Individual performances were staged by V.V. Vasiliev, M.M. Plisetskaya, A.B. Ashton [« A futile precaution» F. (L. F.) Herold, 2002], J. Neumeier(“A Midsummer Night's Dream” to music by F. Mendelssohn and D. Ligeti, 2004). Especially for the Bolshoi Theater, ballets were composed by the largest French choreographers P. Lacotte(“The Pharaoh’s Daughter” by C. Pugna, based on the performance by M. I. Petipa, 2000) and R. Petit (“The Queen of Spades” to music by P. I. Tchaikovsky, 2001). From the classics of the 19th–20th centuries. during these years, L. M. Lavrovsky's Romeo and Juliet, the old Moscow edition of Don Quixote, were restored. Own editions classical performances(“Swan Lake”, 1996; “Giselle”, 1997) was prepared by V. V. Vasiliev (artistic director - director of the theater in 1995–2000). All R. 2000s new productions of ballets by S. S. Prokofiev (“Romeo and Juliet” by R. Poklitaru and D. Donnellan, 2003; “Cinderella” by Yu. M. Posokhov and Yu. O. Borisov, 2006) and D. D. Shostakovich appeared in the repertoire ("Svetly Stream", 2003; "Bolt", 2005; both - staged by A. O. Ratmansky ) carried out using modern means of expression choreography.

A significant place in the repertoire of the first years of the 21st century. occupied the works of Ratmansky (in 2004–09 artistic director of the Bolshoi Ballet). In addition to those listed above, he staged and transferred his performances to the Moscow stage: “Lea” to the music of L. Bernstein (2004), “Playing Cards” by I. F. Stravinsky (2005), “The Flames of Paris” by B. V. Asafiev ( 2008, using fragments of the choreography by V. I. Vainonen), "Russian Seasons" to the music of L. A. Desyatnikov (2008).

Since 2007, the Bolshoi Theater has begun work on the restoration of classical ballets based on historical materials. It was especially active in 2009–11, when the artistic director of the troupe was a connoisseur of the ancient choreography of Yu. pas from the ballet "Paquita" by L. F. Minkus (2008, staged by Burlak after Petipa), "Coppelia" by L. Delibes (2009, staged by S. G. Vikharev after Petipa), "Esmeralda" by C. Pugni (2009, staged by Burlak and V. M. Medvedev after Petipa), “Petrushka” by I. F. Stravinsky (2010, director Vikharev based on the version of MALEGOT).

In 2009, Yu. N. Grigorovich returned to the Bolshoi Theater as choreographer, he resumed several of his performances (Romeo and Juliet, 2010; Ivan the Terrible, 2012; Legend of Love, 2014; "Golden Age", 2016), prepared a new edition of Sleeping Beauty (2011).

Since the late 2000s in the field of modern repertoire, there has been a turn towards large plot performances(“Lost Illusions” by L. A. Desyatnikov, choreography by A. O. Ratmansky, 2011; “Onegin” to music by P. I. Tchaikovsky, choreography by G. Cranko, 2013; “Marco Spada, or the Daughter of a Bandit” by D. Aubert in choreography by P. Lacotte, 2013, The Lady with the Camellias to music by F. Chopin, choreography by J. Neumeier, 2014, The Taming of the Shrew to music by D. D. Shostakovich, choreography by J. C. Maillot, 2014, A Hero of Our Time » I. A. Demutsky, choreography by Y. M. Posokhov, 2015; Romeo and Juliet by S. S. Prokofiev, choreography by Ratmansky, 2017; 2nd (2007) and 1st (2013) degrees, Order of the Holy Apostle Andrew the First-Called (2017).

BIG THEATER, The State Academic Bolshoi Theater of Russia, a leading Russian theater that has played an outstanding role in the formation and development of the national tradition of opera and ballet art. Its origin is associated with the flourishing of Russian culture in the second half of the 18th century, with the appearance and development professional theater. Created in 1776 by the Moscow philanthropist Prince P.V. Urusov and the entrepreneur M. Medox, who received a government privilege for the development of theatrical business. The troupe was formed on the basis of the Moscow theater troupe of N. Titov, theater artists of the Moscow University and serf actors P. Urusov. In 1778-1780 performances were given in the house of R.I. Vorontsov on Znamenka. In 1780, Medox built in Moscow on the corner of Petrovka, a building that became known as the Petrovsky Theater. It was the first permanent professional theatre. His repertoire consisted of drama, opera and ballet performances. Not only singers, but also dramatic actors took part in opera performances.

On the opening day of the Petrovsky Theater on December 30, 1780, a pantomime ballet was shown magic shop(post. J. Paradise). At that time, choreographers F. and C. Morelli, P. Penyucci, D. Solomoni worked in the theater, staging performances A celebration of female pleasures, The feigned death of Harlequin, or the Deceived Pantalone, Medea and Jason, Toilet of Venus. Ballets with national color were popular: rustic simplicity, Gypsy ballet, Capture of Ochakov. G. Raikov, A. Sobakina stood out from the dancers of the troupe. The ballet troupe was replenished with pupils ballet school Moscow Orphanage (existing from 1773), and serf actors of the troupe E.A. Golovkina.

The first Russian operas were also staged here: Melnik - a sorcerer, a deceiver and a matchmaker Sokolovsky (later edited by Fomin) libretto by Ablesimov, Trouble from the carriage Pashkevich, lib. princess, Saint Petersburg Gostiny Dvor Matinsky and others. Of the 25 Russian operas written in 1772-1782, more than a third were staged on the Moscow stage of the Petrovsky Theater.

In 1805, the building of the Petrovsky Theater burned down, and from 1806 the troupe passed into the administration of the Directorate of the Imperial Theaters, playing in various rooms. The Russian repertoire was limited, giving way to Italian and French performances.

In 1825 prologue Celebration of the Muses staged by F. Gyllen-Sor, performances began in the new building of the Bolshoi Theater (architect O. Bove). In the 1830s and 1840s, the Bolshoi Ballet was dominated by the principles of Romanticism. The dancers of this direction are E. Sankovskaya, I. Nikitin. The performances of operas were of great importance for the formation of national principles of performing arts. Life for the king(1842) and Ruslan and Ludmila(1843) M.I. Glinka.

In 1853, a fire destroyed the entire interior of the Bolshoi Theatre. The building was restored in 1856 by the architect A.K. Kavos. In the 1860s, the Directorate leases the Bolshoi Theater to the Italian entrepreneur Merelli for 4–5 performances a week: foreign repertoire is on.

Simultaneously with the expansion of the domestic repertoire, the theater staged productions the best works Western European composers: Rigoletto, Aida, La Traviata G. Verdi, Faust, Romeo and Juliet C. Gounod, Carmen J. Bizet, Tannhäuser, Lohengrin, Valkyrie R. Wagner. ().

The history of the Bolshoi Theater includes the names of many prominent opera singers, from generation to generation passing on the traditions of Russian vocal school. A.O. Bantyshev, N.V. Lavrov, P.P. Bulakhov, A.D. Alexandrova-Kochetova, E.A. Lavrovskaya and others performed at the Bolshoi Theater. L.V. Sobinova, A.V. Nezhdanova opened a new page in the history of performing arts.

In the 2nd half of the 19th century. ballet art is associated with the names of choreographers: J. Perrot, A. Saint-Leon, M. Petipa; dancers - S. Sokolova, V. Geltser, P. Lebedev, O. Nikolaev, later - L. Roslavlev, A. Dzhuri, V. Polivanov, I. Khlyustin. The ballet repertoire of the Bolshoi Theater included the following performances: The Little Humpbacked Horse Puni (1864) Don Quixote Minkus (1869), Fern, or the night under Ivan Kupala Gerber (1867) and others.

In the 1900s, the operatic repertoire of the Bolshoi Theater was replenished with artistically outstanding productions: the first performances of Rimsky-Korsakov's operas - Pskovityanka(1901), Sadko (1906), Mozart and Salieri(1901) with the participation of F.I. Chaliapin, Pan Governor(conducted by Rachmaninov, 1904) Koschei the Immortal(with the participation of A.V. Nezhdanova, 1917); new productions were carried out: operas by Glinka - Life for the king(with the participation of Chaliapin and Nezhdanova, conducted by Rachmaninoff, 1904), Ruslan and Ludmila(1907), Mussorgsky - Khovanshchina(1912). Operas by young composers were staged - Raphael A.S. Arensky (1903), ice house A.N. Koreshchenko (1900), Francesca da Rimini Rachmaninoff (1906). In addition to Chaliapin, Sobinov, Nezhdanova, such singers as G.A. Baklanov, V.R. Petrov, G.S. Pirogov, A.P. Bonachich, I.A. 1990s, choreographer A.A. Gorsky came to the Bolshoi Ballet Company, who developed the traditions of Russian ballet and brought it closer to dramatic art. Together with Gorsky, the dancer and choreographer V.D.Tikhomirov worked, who brought up a whole generation of dancers. At that time, the ballet troupe worked: E.V. Geltser, A.M. Balashova, S.F. Fedorova, M.M. Mordkin, M.R. Reizen, later L.P. Zhukov, V.V. Kriger , A.I. Abramova, L.M. Bank. The performances were conducted by S.V. Rakhmaninov, V.I. Suk, A.F. Anders, E.A. Kuper, the theater decorator K.F. Golovin.

After the October Revolution of 1917, the Bolshoi Theater occupied a prominent place in the cultural life of the country. In 1920 the theater was awarded the title of academic. In 1924, a branch of the Bolshoi Theater was opened in the premises of the former Zimin Private Opera (it worked until 1959). Along with the preservation of the classical repertoire, operas and ballets were staged Soviet composers: Decembrists V.A.Zolotareva (1925), Breakthrough S.I. Pototsky (1930), Troupe artist I.P. Shishova (1929), son of the sun S.N. Vasilenko (1929), Mother V.V. Zhelobinsky (1933), Bela An. Alexandrova (1946), Quiet Don (1936) and Upturned virgin soil(1937) I.I. Dzerzhinsky, Decembrists Yu.A. Shaporina (1953), Mother T.N. Khrennikova (1957), The Taming of the Shrew V.Ya.Shebalina, War and Peace S.S. Prokofiev (1959). On the stage of the Bolshoi Theater and its branch there were operas by composers of the peoples of the USSR: Almast A.A. Spendiarova (1930), Abesalom and Eteri Z.P. Paliashvili (1939).

The performing culture of the Bolshoi Opera Company in the years Soviet power represented by the names of K.G. Derzhinskaya, N.A. Obukhova, V.V. Barsova, E.A. Stepanova, I.S. Kozlovsky, A.S. Pirogov, M.O. S.Ya. P. Ognevtseva.

Significant stages in the history of Soviet choreography were the productions of ballets by Soviet composers: Red poppy(1927, 1949) R. M. Gliere, Flames of Paris(1933) and Bakhchisarai fountain(1936) B.V. Asafyeva, Romeo and Juliet Prokofiev (1946). The glory of the Bolshoi Ballet is associated with the names of G.S. Ulanova, R.S. Struchkova, O.V. Lepeshinsky, M.M. Plisetskaya, A.N. .M.Messerer, Yu.G.Zhdanova, N.B.Fadeecheva and others ()

Conducting art of the Bolshoi Theater is represented by the names of N.S. Golovanov, S.A. Samosud, L.P. Steinberg, A.Sh. Melik-Pashaev, Yu.F. E.F. Svetlanova, A.M. Zhyuraitis and others. In the opera direction of the Bolshoi Theater - V.A. Lossky, L.V. Baratov, B.A. Pokrovsky. Ballet performances were staged by A.A. Gorsky, L.M. Lavrovsky, V.I. Vainonen, R.V. Zakharov, Yu.N. Grigorovich.

The staging culture of the Bolshoi Theater of those years was determined by the artistic and decorative design of F.F. Fedorovsky, P.V. Williams, V.M. Dmitriev, V.F. Ryndin, B.A. Messerer, V.Ya. ).

In 1961, the Bolshoi Theater received a new stage - the Kremlin Palace of Congresses, which contributed to a wider activity. ballet troupe. At the turn of the 1950s and 1960s, E.S. Maksimova, N.I. Bessmertnova, E.L. Ryabinkina, N.I. Sorokina, V.V. Vasiliev, M.E. Liepa, M. L. Lavrovsky, Yu. V. Vladimirov, V. P. Tikhonov.

In 1964, Yu.N. Grigorovich became chief choreographer, whose name is associated with a new milestone in the history of the Bolshoi Ballet. Almost every new performance was marked by new creative searches. They appeared in sacred spring I.F. Stravinsky (choreographer N. Kasatkina and Vasiliev, 1965) Carmen suite Bizet-Shchedrin (A. Alonso, 1967), Spartacus A.I. Khachaturian (Grigorovich, 1968), Icarus S.M. Slonimsky (Vasiliev, 1971), Anna Karenina R.K. Shchedrina (M.M. Plisetskaya, N.I. Ryzhenko, V.V. Smirnov-Golovanov, 1972), Those enchanting sounds... to music by G. Torelli, A. Corelli, J.-F. Rameau, W.-A. Mozart (Vasiliev, 1978), Gull Shchedrin (Plisetskaya, 1980), Macbeth K. Molchanova (Vasiliev, 1980) and others.

In the opera troupe of those years, the names of G.P. Vishnevskaya, I.K. Arkhipova, E.V. Obraztsova, M. Kasrashvili, Z. Sotkilava, V. N. Redkin, V. A. Matorin, T. S. Erastova , M.A. Shutova, E.E. Nesterenko and others.

The general trend of the Bolshoi Theater in the 1990s–2000s was to invite foreign directors and performers to stage productions at the Bolshoi Theatre: ballets Cathedral of Notre Dame, Three cards(R. Petit, 2002–2003), Light stream D. D. Shostakovich (A. Ratmansky, 2003), operas by G. Verdi Force of Destiny(P.-F.Maestrini, 2002) and Nabucco(M.S. Kislyarov), Turandot G. Puccini (2002), The Rake's Adventures I.F. Stravinsky (D. Chernyakov), Love for three oranges S.S. Prokofiev (P. Ustinov). During this period, ballets were resumed Swan Lake Tchaikovsky, Raymond A.K. Glazunova, The legend of love A.D. Melikov (staged by Grigorovich), operas Eugene Onegin Tchaikovsky (B. Pokrovsky), Khovanshchina Mussorgsky, Ruslan and Ludmila(A. Vedernikova), Player Prokofiev (Rozhdestvensky).

The Bolshoi Ballet Company is represented by the names of: N. Tsiskaridze, M. Peretokin, A. Uvarov, S. Filin, N. Gracheva, A. Goryacheva, S. Lunkina, M. Alexandrova and others. Opera - I. Dolzhenko, E. Okolisheva , E. Zelenskaya, B. Maisuradze, V. Redkin, S. Murzaev, V. Matorin, M. Shutova, T. Erastova and others. The opera troupe of the theater has a trainee group.

The post of artistic director of the theater in the 1990s was occupied by V. Vasiliev and G. Rozhdestvensky, since 2001 the chief conductor and music director Bolshoi Theater is A.A. Vedernikov, conductors of opera and ballet performances are P.Sh.Sorokin, A.A.Vedernikov, A.A.Kopylov, F.Sh.Mansurov, A.M.Stepanov, P.E. .

The modern building of the Bolshoi Theater is the main building of the architectural ensemble of Theater Square (architect A.K. Kavos). According to the internal arrangement, the theater consists of a five-tiered auditorium that can accommodate more than 2,100 spectators and is distinguished by high acoustic qualities (the length of the hall from the orchestra to the back wall is 25 m, the width is 26.3 m, and the height is 21 m). The stage portal is 20.5 x 17.8 m, the depth of the stage is 23.5 m. Above the stage there is a scoreboard for titles.

In 2003 performance Snow Maiden Rimsky-Korsakov (staged by D. Belov) a new stage of the Bolshoi Theater was opened. The premieres of 2003 were ballet Light stream Shostakovich, opera The Rake's Adventures Stravinsky and opera Macbeth Verdi.

Nina Revenko

The Bolshoi Theater was solemnly opened 185 years ago.

The founding date of the Bolshoi Theater is considered to be March 28 (March 17), 1776, when well-known philanthropist the Moscow prosecutor, Prince Peter Urusov, received the highest permission "to maintain ... theatrical performances of all kinds." Urusov and his companion Mikhail Medox created the first permanent troupe in Moscow. It was organized from the actors of the previously existing Moscow theatrical troupe, pupils of the Moscow University and from the newly accepted serf actors.
The theater initially did not have an independent building, so performances were staged in Vorontsov's private house on Znamenka Street. But in 1780, the theater moved to a stone theater building specially built according to the project of Christian Rozbergan on the site of the modern Bolshoi Theater. For the construction of the theater building, Medox bought a land plot at the beginning of Petrovsky Street, which was in the possession of Prince Lobanov-Rostotsky. The stone three-story building with a plank roof, the building of the so-called Madox Theater, was erected in just five months.

According to the name of the street on which the theater was located, it became known as "Petrovsky".

The repertoire of this first professional theater in Moscow consisted of drama, opera and ballet performances. But special attention operas were used, so the "Petrovsky Theater" was more often called " opera house". The theater troupe was not divided into opera and drama: the same artists performed in both drama and opera performances.

In 1805, the building burned down, and until 1825 performances were staged at various theater venues.

In the early 20s of the 19th century, Petrovskaya Square (now Teatralnaya) was completely rebuilt in the classicist style according to the plan of the architect Osip Bove. According to this project, her current composition arose, the dominant of which was the building of the Bolshoi Theater. The building was built according to the project of Osip Bove in 1824 on the site of the former Petrovsky. The new theater partially included the walls of the burned down Petrovsky Theatre.

The construction of the Bolshoi Petrovsky Theater was a real event for Moscow at the beginning of the 19th century. A beautiful eight-column building in classical style with the chariot of the god Apollo above the portico, inside decorated in red and gold tones, according to contemporaries, it was the best theater in Europe and was second in scale only to La Scala in Milan. Its opening took place on January 6 (18), 1825. In honor of this event, the prologue "The Triumph of the Muses" by Mikhail Dmitriev was given with music by Alexander Alyabyev and Alexei Verstovsky. It allegorically depicted how the Genius of Russia, with the help of the muses, creates a new beautiful temple of art - the Bolshoi Petrovsky Theater on the ruins of the Medox Theater.

The townspeople called the new building "Coliseum". The performances that took place here were invariably a success, bringing together high-society Moscow society.

On March 11, 1853, for some unknown reason, a fire started in the theater. Theatrical costumes, scenery of performances, the troupe archive, part of the musical library, rare musical instruments perished in the fire, and the theater building was also damaged.

A competition was announced for the restoration project of the theater building, in which the plan submitted by Albert Cavos won. After the fire, the walls and columns of the porticos were preserved. When developing a new project, the architect Alberto Cavos took the three-dimensional structure of the Beauvais Theater as a basis. Kavos carefully approached the issue of acoustics. He considered the optimal arrangement of the auditorium according to the principle musical instrument: wooden were the deck of the plafond, the deck of the parterre floor, wall panels, and balcony structures. The acoustics of Kavos were perfect. He had to endure many battles with both architects and firefighters, proving that the installation of a metal ceiling (as, for example, in Alexandrinsky theater architect Rossi) can be detrimental to the acoustics of the theater.

Keeping the layout and volume of the building, Kavos increased the height, changed the proportions and redesigned the architectural decoration; slender cast-iron galleries with lamps were erected on the sides of the building. During the reconstruction of the auditorium, Kavos changed the shape of the hall, narrowing it to the stage, changed the size of the auditorium, which began to accommodate up to 3 thousand spectators. The alabaster group of Apollo, which adorned the theater of Osip Bove, died in a fire. To create a new Alberto Cavos invited the famous Russian sculptor Pyotr Klodt, the author of the famous four equestrian groups on the Anichkov Bridge over the Fontanka River in St. Petersburg. Klodt created the now world-famous sculptural group with Apollo.

The new Bolshoi Theater was rebuilt in 16 months and opened on August 20, 1856 for the coronation of Alexander II.

The Kavos Theater did not have enough space to store scenery and props, and in 1859 the architect Nikitin made a project for a two-story extension to the northern facade, according to which all the capitals of the northern portico were blocked. The project was realized in the 1870s. And in the 1890s, another floor was added to the extension, thereby increasing the usable area. In this form, the Bolshoi Theater has survived to this day, with the exception of small internal and external reconstructions.

After the Neglinka River was taken into the pipe, the groundwater receded, the wooden piles of the foundation were exposed to atmospheric air and began to rot. In 1920, the entire semi-circular wall of the auditorium collapsed right during the performance, the doors jammed, the audience had to be evacuated through the barriers of the boxes. This forced the architect and engineer Ivan Rerberg in the late 1920s to bring under the auditorium a concrete slab on a central support, shaped like a mushroom. However, the concrete ruined the acoustics.

By the 1990s, the building was extremely dilapidated, its deterioration was estimated at 60%. The theater fell into decay both in terms of design and finishing. During the life of the theater, something was endlessly attached to it, it was improved, they tried to make it more modern. Elements of all three theaters coexisted in the theater building. Their foundations were at different levels, and accordingly, cracks began to appear on the foundations, and on the walls, and then on the interior decoration. The brickwork of the facades and the walls of the auditorium were in disrepair. The same with the main portico. The columns deviated from the vertical up to 30 cm. late XIX century, and has been increasing ever since. These columns of blocks of white stone tried to "cure" the entire twentieth century - the humidity caused visible black spots at the bottom of the columns at a height of up to 6 meters.

Hopelessly lagged behind the modern level of technology: for example, until the end of the twentieth century, a winch for the scenery of the Siemens company, manufactured in 1902, worked here (now it has been handed over to the Polytechnic Museum).

In 1993, the Russian government adopted a resolution on the reconstruction of the complex of buildings of the Bolshoi Theater.
In 2002, with the participation of the Moscow government, the New Stage of the Bolshoi Theater was opened on Theater Square. This hall is more than two times smaller than the historical one and is able to accommodate only a third of the theater's repertoire. The launch of the New Stage made it possible to begin the reconstruction of the main building.

According to the plan, the appearance of the theater building will hardly change. Only the northern façade, which for many years has been closed by warehouses where scenery is stored, will lose its outbuildings. The building of the Bolshoi Theater will go deep into the ground by 26 meters, in the old-new building there will even be a place for huge scenery structures - they will be lowered to the third underground level. The Chamber Hall for 300 seats will also be hidden underground. After the reconstruction, the New and Main stages, which are located at a distance of 150 meters from each other, will be connected to each other and to the administrative and rehearsal buildings by underground passages. In total, the theater will have 6 underground tiers. The storage will be moved underground, which will bring the rear facade into proper shape.

Unique work is underway to strengthen the underground part of the theater structures, with a guarantee from the builders for the next 100 years, with parallel placement and modern technical equipment of parking lots under the main building of the complex, which will make it possible to unload from cars the most difficult junction of the city - Theater Square.

In the historical interior of the building, everything that was lost in Soviet times. One of the main objectives of the reconstruction is to restore the original, largely lost, legendary acoustics of the Bolshoi Theater and make the stage floor covering as convenient as possible. For the first time in a Russian theater, the floor will change depending on the genre affiliation the show being shown. Opera will have its gender, ballet will have its own. In terms of technological equipment, the theater will become one of the best in Europe and the world.

The building of the Bolshoi Theater is a monument of history and architecture, so a significant part of the work is scientific restoration. The author of the restoration project, Honored Architect of Russia, Director of the Research and Restoration Center "Restaurator-M" Elena Stepanova.

According to the Minister of Culture of the Russian Federation Alexander Avdeev, the reconstruction of the Bolshoi Theater will be completed by the end of 2010 - beginning of 2011.

The material was prepared on the basis of information from RIA Novosti and open sources.