<Translated automatically, will be edited later.>
Leila Giniatulina: The Bolshoi Theatre is in Milan. They have just successfully played "Eugene Onegin" directed by Dmitry Chernyakov. Alexander Vedernikov was at the console. On July 18, he is going to announce that he is leaving the post of chief conductor of the Bolshoi Theater.
Marina Timasheva: Alexander Vedernikov considers the Milan tour as "a kind of result of 8 years of work at the Bolshoi Theater," and says he is leaving "due to disagreements with the theater administration." Director Anatoly Iksanov confirms the information about the resignation of the chief conductor and informs that the theater will work with guest conductors for the next five to seven years: Vladimir Yurovsky, Vasily Sinaisky, Alexander Lazarev, Theodor Currentzis and Kirill Petrenko. This is how musicologists, music critics, and columnists of central publications comment on the news. Ekaterina Kretova...
Ekaterina Kretova: In my opinion, the figure of Alexander Vedernikov has never been adequate to the scale and level of the Bolshoi Theater that we generally knew. As for the very idea of guest conductors, it's kind of a compromise, and it seems like it's in between.
Marina Timasheva: Professor Alexey Parin...
Alexey Parin: Vedernikov's departure from the post of chief conductor of the Bolshoi Theater should be viewed rather positively, because after all, the Bolshoi Theater is the leading theater in the country, and of course, the post of chief conductor should have an outstanding musical personality, which, after all, Alexander Vedernikov is not a good conductor. As for the conducting board, there are well-known conductors, each of them even represents a certain direction in modern conducting, but still, if not the chief conductor, then the chief kapellmeister, as it used to be called, who will monitor the high technological qualities of this orchestra.
Marina Timasheva: Let me clarify that we are not talking about the conducting board yet, it's just that five conductors have been invited to cooperate. Yuri Vasiliev called this design a "decanter."
Yuri Vasiliev: This, in my opinion, is not the first time that big changes occur at the Bolshoi Theater when part of the troupe or the entire troupe is on tour. As for the conducting board, we really need some kind of first among equals, who will eventually be responsible for the musical policy of the entire Bolshoi Theater. We all know the huge selection of conductors who conduct at the Mariinsky, but we know that Gergiev is there. As for Alexander Vedernikov's path, he is a very good and working opera conductor. The Bolshoi Theatre was undergoing reconstruction, a new stage was built, which had to be tested, to which old things had to be moved and, of course, new supplies had to be made - Vedernikov coped with all this.
Marina Timasheva: I'm giving the floor to Natalia Zimyanina.
Natalia Zimyanina: For me, Alexander Vedernikov's departure is an undoubted loss, although I was not satisfied with all of his work. But the fact that he is a high professional is absolutely certain. I absolutely do not understand how such an administratively dilapidated establishment as the Bolshoi Theatre can exist without a chief conductor. Someone has to keep an eye on the orchestra all the time, it has to be one person who knows the orchestral details well, knows the scores well, understands perfectly well what it means to conduct an opera and what it means to conduct a ballet. For me, there is complete uncertainty about how the Bolshoi Theater will continue to exist.
Marina Timasheva: Peter Pospelov, a musicologist and composer, recognizes Vedernikov's achievements, highly appreciates the creative abilities of the five guest conductors, but does not believe that Alexander Vedernikov's resignation can solve all the problems of the Bolshoi Theater.
Peter Pospelov: The waves of reforms in the theater are very short-lived, very soon everything subsides, and we need to start over. Neither Vedernikov's departure nor the arrival of new conductors will solve the problems of the Bolshoi Theater, because there is an overblown permanent troupe that no one needs, the contract system has not been introduced, and it does not work. There are a lot of very creative problems, mainly related to the fact that the theater simply does not have an artistic director. He is not led by a musician, not an artist, although he is a very professional director Anatoly Iksanov. And, in my opinion, those conductors who will work at the Bolshoi Theater, they will not develop any kind of joint line. And the director will manage the theater, who will, of course, listen carefully to each of them. This situation, in my opinion, is still not ideal, because there must be some kind of artistic will at the head.
Source
Leila Giniatulina: The Bolshoi Theatre is in Milan. They have just successfully played "Eugene Onegin" directed by Dmitry Chernyakov. Alexander Vedernikov was at the console. On July 18, he is going to announce that he is leaving the post of chief conductor of the Bolshoi Theater.
Marina Timasheva: Alexander Vedernikov considers the Milan tour as "a kind of result of 8 years of work at the Bolshoi Theater," and says he is leaving "due to disagreements with the theater administration." Director Anatoly Iksanov confirms the information about the resignation of the chief conductor and informs that the theater will work with guest conductors for the next five to seven years: Vladimir Yurovsky, Vasily Sinaisky, Alexander Lazarev, Theodor Currentzis and Kirill Petrenko. This is how musicologists, music critics, and columnists of central publications comment on the news. Ekaterina Kretova...
Ekaterina Kretova: In my opinion, the figure of Alexander Vedernikov has never been adequate to the scale and level of the Bolshoi Theater that we generally knew. As for the very idea of guest conductors, it's kind of a compromise, and it seems like it's in between.
Marina Timasheva: Professor Alexey Parin...
Alexey Parin: Vedernikov's departure from the post of chief conductor of the Bolshoi Theater should be viewed rather positively, because after all, the Bolshoi Theater is the leading theater in the country, and of course, the post of chief conductor should have an outstanding musical personality, which, after all, Alexander Vedernikov is not a good conductor. As for the conducting board, there are well-known conductors, each of them even represents a certain direction in modern conducting, but still, if not the chief conductor, then the chief kapellmeister, as it used to be called, who will monitor the high technological qualities of this orchestra.
Marina Timasheva: Let me clarify that we are not talking about the conducting board yet, it's just that five conductors have been invited to cooperate. Yuri Vasiliev called this design a "decanter."
Yuri Vasiliev: This, in my opinion, is not the first time that big changes occur at the Bolshoi Theater when part of the troupe or the entire troupe is on tour. As for the conducting board, we really need some kind of first among equals, who will eventually be responsible for the musical policy of the entire Bolshoi Theater. We all know the huge selection of conductors who conduct at the Mariinsky, but we know that Gergiev is there. As for Alexander Vedernikov's path, he is a very good and working opera conductor. The Bolshoi Theatre was undergoing reconstruction, a new stage was built, which had to be tested, to which old things had to be moved and, of course, new supplies had to be made - Vedernikov coped with all this.
Marina Timasheva: I'm giving the floor to Natalia Zimyanina.
Natalia Zimyanina: For me, Alexander Vedernikov's departure is an undoubted loss, although I was not satisfied with all of his work. But the fact that he is a high professional is absolutely certain. I absolutely do not understand how such an administratively dilapidated establishment as the Bolshoi Theatre can exist without a chief conductor. Someone has to keep an eye on the orchestra all the time, it has to be one person who knows the orchestral details well, knows the scores well, understands perfectly well what it means to conduct an opera and what it means to conduct a ballet. For me, there is complete uncertainty about how the Bolshoi Theater will continue to exist.
Marina Timasheva: Peter Pospelov, a musicologist and composer, recognizes Vedernikov's achievements, highly appreciates the creative abilities of the five guest conductors, but does not believe that Alexander Vedernikov's resignation can solve all the problems of the Bolshoi Theater.
Peter Pospelov: The waves of reforms in the theater are very short-lived, very soon everything subsides, and we need to start over. Neither Vedernikov's departure nor the arrival of new conductors will solve the problems of the Bolshoi Theater, because there is an overblown permanent troupe that no one needs, the contract system has not been introduced, and it does not work. There are a lot of very creative problems, mainly related to the fact that the theater simply does not have an artistic director. He is not led by a musician, not an artist, although he is a very professional director Anatoly Iksanov. And, in my opinion, those conductors who will work at the Bolshoi Theater, they will not develop any kind of joint line. And the director will manage the theater, who will, of course, listen carefully to each of them. This situation, in my opinion, is still not ideal, because there must be some kind of artistic will at the head.
Source
The program is hosted by Leila Giniatulina.
The correspondent of Radio Liberty Marina Timasheva is taking part.,
Radio Svoboda, July, 16, 2009
The correspondent of Radio Liberty Marina Timasheva is taking part.,
Radio Svoboda, July, 16, 2009
Alexander Vedernikov, Chief Conductor of the Bolshoi Theatre, is leaving his post
