About the new "Boris Godunov"
Before our guest performances at the Covent Garden Theatre — that took place last summer - we were engaged in restoring the original form of the old "Boris Godunov". The play dates back to 1948, and naturally, a lot of what should have been in it was gone. After all, everything wears off over time. Well, we’ve done a lot of work.
At the same time, we have long been going to turn to this opera again. The fact that the Bolshoi Theater has been dealing with the staging by Baratov-Feodorovsky dated 1948 for the last sixty years, the way I see it, is not really sane. It turns out that nobody was interested in this score and no one had the desire to express themselves in it in a new light. But there's more to come. With the exception of eleven performances held in 1888 (this was the first appearance of “Boris Godunov” at the Bolshoi Theater, the performances having been conducted by Altani), this theater has never performed the original score of Musorgsky. And that doesn't seem right either. So we felt compelled to present this opera in its original edition, as if it was our duty directly toward Modest Petrovich. Well, let’s just say one of the original editions.
There are two systems of thinking. On the one hand, there is a logical system based on the fact that one thing is implied by another. It is typical for Western civilization. Think, for instance, of Hegel's philosophy. On the other hand, there is a system of intuitive juxtapositions, more characteristic of Russian civilization. For example, in Florensky's philosophical works you will not find long strings of logic, but intuitive, associative series of juxtapositions, many of them existing in isolation from each other. The same applies to the text of the opera "Boris Godunov". There are several versions, and each one cannot be said to be definitive. It is possible that Mussorgsky himself did not have a sustainable view of this matter throughout his life.
And all the versions are good, because they were written by a brilliant composer. When I am told about responsibility to choose, there is something didactic about it. I’ve always thought that the more directors would turn to such key operas of our repertoire as "Boris Godunov", the more different approaches, polemical readings would emerge, the more alive the opera itself would become. And again we had the opportunity to feel that the opera does not lose its relevance, because the problems of Russian life that are discussed in it still exist in exactly the same form. Here, I suppose, it is necessary to quote the texts... And in short, these are texts that speak of the relations between the people and the authorities... I do not mind banners, that is, gonfanons in the example given. But the most important thing, I suppose, is not external attributes, but some opportunity for spectators to experience this tragic work.
As for the director’s reading, the piece is rather a story of Boris's personality and his relationship with the other people who act in this piece. That is, Alexander Sokurov does not emphasize global aspect, but the personal, individual one. And here we have some divergences. But it never happens that a conductor and a director were in complete agreement with each other. People generally should have different points of view.
Are cinema directors increasingly invited to opera theatres? I don't know, I would say that it depends on the country. Although I suppose there is no institution aggregating specifically opera directors. Here we have, for example, a very difficult situation regarding opera directors. The fact is that in Soviet era, some kind of monopoly has been established in this profession, as well as in many other areas of life and activity... The post of chief director of the Bolshoi Theater provided it. All or almost all the directors working today in Moscow represent one artistic movement, growing from a single root. The only exception is Dmitry Chernyakov.
Since the theater wants to have a variety of performance styles in its repertoire, we resort to directors of drama theater and cinema. Taking up the opera, these people can showcase new ideas and look with a fresh eye. That’s not to say that they offer some awfully avant-garde solutions. This is not the point at all. The fact is that a person who has already staged "Traviata" ten times, has inevitably the eyes blurred. So the way I feel about a cinema director in the opera is that if it’s actually good for the opera genre, which is now in danger, then it’s good.
And what endangers the opera is that practically no significant new works are created. While composers has been written landlers (old Austrian peasant dance - ed.) in large quantities, then the landler existed as a cultural constant. And as soon as they moved to waltzes, the landler genre died. But even if the opera is going to end so quietly, we have every right to disagree with it and resist it as much as possible.
Unfortunately, our country has a complicated situation regarding musical heritage. The complete works of Mussorgsky are not published at all, neither in "critical" nor in academic edition. This means that choosing one of the versions of the second author's edition (summer 1871), you cannot just go to a store and buy a score. Just because it don’t exist. So you should apply to people who deal with this problem, namely Professor Yevgeny Levashev and his wife Nadezhda Teterina. And so they prepare such a score for you, and you can finally start working with.
We planned to give the new production on the New Stage, and maybe occasionally to give the former production on the Main Stage. It seems to me that if a performance lasts for too long and it does not undergo any changes, this is more to his detriment than vice versa. It is much more pleasant to "set it aside", and then to resume it and feel its freshness again. I esteem the performance dated 1948 an outstanding work. Yet demonstrating such performances falls within the function of a museum rather than a theater. This kind of performances should also exist, but at certain doses.
About the concert activities of the orchestra
This year I finish my sixth season at the Bolshoi Theater. Having come there to work, I immediately said that the Bolshoi Theater orchestra should play symphonic programs, since this was a condition for creative development. We did not immediately manage to approach the moment when we could fearlessly perform in the Great Hall of the Conservatory. During this time, we have made a certain way, and now we are practically not afraid of anything. Of course, the titles we perform are not the bestselling ones. But what is the point of performing the Fifth Symphony by Tchaikovsky with already more than twenty orchestras performing it in Moscow? Sure, the audience attends it anyway. But what about the educational aspect!?
In the Bolshoi Theater, I am happy to have mutual understanding with the general director, Anatoly Gennadievich Iksanov. The matter of making money is not the most important thing, there are more significant ones.
It is impossible to form the theater image in the West separately from the performing quality: when the second is at heights, the image is too. Of course, you need to make some additional efforts. In the modern world sometimes wrapping is more important than candy. But if there were no candy, I would not work the wrapping design.
About the repertory policy
If we were guided only by the audience demand, there should have been three titles: "Swan Lake", "Traviata"... This cannot be done. As in philharmonic practice, everything cannot be reduced to the First Concert or the Fifth Symphony by Tchaikovsky. Encouraging such requests, the number of titles would narrow even more – and finally, everyone will listen to the one symphony and the one opera they know. And this is a great mystery to me personally. I am always interested in listening to new pieces.
We have a document entitled the "Mission of the Bolshoi Theater." It clearly defines our repertoire priorities. Firstly, this is the national classic. Secondly, these are masterpieces of other composer schools - precisely masterpieces, that is, first rank works. We cannot afford to offer some little-known operas, because we would have no place for the other ones. And thirdly, the new opera works, we contribute to create. We are trying to work all the three areas above. In addition, it certainly matters how often an opera has been performed in the theatre in the past and what is the cast the Bolshoi Theatre is able to provide by itself. For example, not every theater has a wonderful artist to perform Othello. We have such a performer - this is Badri Maisuradze. And we are going to stage this opera.
Phone calls:
Listener (incognito): I am a big fan of the Bolshoi Theater. I would like to note that with the arrival of Alexander Alexandrovich, given the time in between the conductors, the orchestra began to sound wonderful. Thanks so much for this.
You have great concerts. It is a pity that the New Stage is not used to hold them. Why not perform the wonderful music of Rimsky-Korsakov in the theater? The orchestra, quite obviously, is ready for this. By the way, it should be noted, I am one of the few fans of "Children of Rosenthal".
Elena Chishkovskaya: I should say that regarding the "Children of Rosenthal", our radio listener is in error. There are a lot of fans of this production. It has proved its viability quite well.
Alexander Vedernikov: Unfortunately, the New Stage acoustics are not very good for symphony concerts. In addition, we are now working only on this stage. The hall does not accommodate so many people, and we are simply obliged to constantly give performances giving work to our singers, ballet. But we have a subscription in the Great Hall of the Conservatory, and it seems that this is at least an adequate replacement.
We have an intention to turn to Rimsky-Korsakov's music, but we want to do it when the Main Stage opens. We intend to stage such a large-scale work as "The Legend of the City of Kitezh"
Listener Ivan: I just want to say a few words in defense of “Children of Rosenthal”: the performance, the production are simply magnificent. Nekrošius is the best director, I think for today not only in Russia, the ex-USSR, but also in the world. Will there be any more productions of Nekrošius in the Bolshoi Theater?
Alexander Vedernikov: Yes, there will, and not just one. Thank you, I also really like the direction of Nekrošius.
Listener Oksana: I would like to say a few warm words to the Bolshoi Theater choir. I saw once many Italian spectators in the parterre while performing “Nabucco”. They gave a chorus of ovations. They called them for an encore. And my question is: among the subscriptions of the Moscow Philharmonic for this year, I suddenly did not see the Bolshoi Theater choir, so will the choir perform?
Alexander Vedernikov: Dear Oksana, the fact is that, unfortunately, the choir never had its own subscription. We include the choir in the orchestra subscription too. And this season is exactly the same: sure, you will hear the choir. First, we will perform the "Pathetic Oratorio" by Georgy Vasilyevich Sviridov. Secondly, Maestro Belohlavek will conduct the "Glagolic Mass" by Janáček. The choir can also be heard with the Grand Symphony Orchestra conducted by Vladimir Ivanovich Fedoseev performing “Stabat mater” by Dvořák.
Listener Larisa: Dear Alexander Alexandrovich, it is very pleasant to listen to your interview, you have shown to be an unusually interesting interlocutor. And here's my question. Thanks to your interview, the concept of the theater lined up in my head. It turned out that there is a lot of interesting things that happen besides what the listeners and spectators hear and see. Why do you so rarely appear in the media?
Alexander Vedernikov: If you really think so, of course, I will try. I am not a very public speaker at all, but I will work on myself and try to cope with this defect.
Elena Chishkovskaya: I think that for the radio "Culture" you will make an exception. You should come to us as often as possible to talk about the theater.
Listener Alla Nikolaevna: After the Bolshoi and the Mariinsky had their tours in London at the same time, there was information about some kind of plan for interaction or cooperation between the two theaters. Does this plan exist and to what extent?
Alexander Vedernikov: Yes, it does. It was rather not even a plan of cooperation, but a kind of "non-aggression pact": on the two sides, the intention was announced to treat each other with possible tenderness and love, not to allow any unkind statements, not to lure artists from each other, and also jointly lobby the interests of the two theaters in front of government institutions.
Elena Chishkovskaya: Has this plan worked out?
Alexander Vedernikov: It's not been that long, but so far there have been no "failures".
Listener Alexey: In your opinion, should the artistic director of an opera theater be appointed or elected by the team? Can democracy exist in the Russian opera theater?
Alexander Vedernikov: You will not see democracy in its pure form anywhere now. I did not see an artistic director elected by the team. So to say, the team can veto some candidates. It all depends on the level of development of self-awareness. In order to be able to formulate their preferences and argue, a slightly different level of development of civil society is needed. I would be happy if such a level arose in Russia. But while the founder appoints a general director or artistic director, he is responsible for this and at some point must decide whether to continue this relationship or not.
The article was prepared by Boris Lifanovsky and Natalya Shadrina
Source.
Before our guest performances at the Covent Garden Theatre — that took place last summer - we were engaged in restoring the original form of the old "Boris Godunov". The play dates back to 1948, and naturally, a lot of what should have been in it was gone. After all, everything wears off over time. Well, we’ve done a lot of work.
At the same time, we have long been going to turn to this opera again. The fact that the Bolshoi Theater has been dealing with the staging by Baratov-Feodorovsky dated 1948 for the last sixty years, the way I see it, is not really sane. It turns out that nobody was interested in this score and no one had the desire to express themselves in it in a new light. But there's more to come. With the exception of eleven performances held in 1888 (this was the first appearance of “Boris Godunov” at the Bolshoi Theater, the performances having been conducted by Altani), this theater has never performed the original score of Musorgsky. And that doesn't seem right either. So we felt compelled to present this opera in its original edition, as if it was our duty directly toward Modest Petrovich. Well, let’s just say one of the original editions.
There are two systems of thinking. On the one hand, there is a logical system based on the fact that one thing is implied by another. It is typical for Western civilization. Think, for instance, of Hegel's philosophy. On the other hand, there is a system of intuitive juxtapositions, more characteristic of Russian civilization. For example, in Florensky's philosophical works you will not find long strings of logic, but intuitive, associative series of juxtapositions, many of them existing in isolation from each other. The same applies to the text of the opera "Boris Godunov". There are several versions, and each one cannot be said to be definitive. It is possible that Mussorgsky himself did not have a sustainable view of this matter throughout his life.
And all the versions are good, because they were written by a brilliant composer. When I am told about responsibility to choose, there is something didactic about it. I’ve always thought that the more directors would turn to such key operas of our repertoire as "Boris Godunov", the more different approaches, polemical readings would emerge, the more alive the opera itself would become. And again we had the opportunity to feel that the opera does not lose its relevance, because the problems of Russian life that are discussed in it still exist in exactly the same form. Here, I suppose, it is necessary to quote the texts... And in short, these are texts that speak of the relations between the people and the authorities... I do not mind banners, that is, gonfanons in the example given. But the most important thing, I suppose, is not external attributes, but some opportunity for spectators to experience this tragic work.
As for the director’s reading, the piece is rather a story of Boris's personality and his relationship with the other people who act in this piece. That is, Alexander Sokurov does not emphasize global aspect, but the personal, individual one. And here we have some divergences. But it never happens that a conductor and a director were in complete agreement with each other. People generally should have different points of view.
Are cinema directors increasingly invited to opera theatres? I don't know, I would say that it depends on the country. Although I suppose there is no institution aggregating specifically opera directors. Here we have, for example, a very difficult situation regarding opera directors. The fact is that in Soviet era, some kind of monopoly has been established in this profession, as well as in many other areas of life and activity... The post of chief director of the Bolshoi Theater provided it. All or almost all the directors working today in Moscow represent one artistic movement, growing from a single root. The only exception is Dmitry Chernyakov.
Since the theater wants to have a variety of performance styles in its repertoire, we resort to directors of drama theater and cinema. Taking up the opera, these people can showcase new ideas and look with a fresh eye. That’s not to say that they offer some awfully avant-garde solutions. This is not the point at all. The fact is that a person who has already staged "Traviata" ten times, has inevitably the eyes blurred. So the way I feel about a cinema director in the opera is that if it’s actually good for the opera genre, which is now in danger, then it’s good.
And what endangers the opera is that practically no significant new works are created. While composers has been written landlers (old Austrian peasant dance - ed.) in large quantities, then the landler existed as a cultural constant. And as soon as they moved to waltzes, the landler genre died. But even if the opera is going to end so quietly, we have every right to disagree with it and resist it as much as possible.
Unfortunately, our country has a complicated situation regarding musical heritage. The complete works of Mussorgsky are not published at all, neither in "critical" nor in academic edition. This means that choosing one of the versions of the second author's edition (summer 1871), you cannot just go to a store and buy a score. Just because it don’t exist. So you should apply to people who deal with this problem, namely Professor Yevgeny Levashev and his wife Nadezhda Teterina. And so they prepare such a score for you, and you can finally start working with.
We planned to give the new production on the New Stage, and maybe occasionally to give the former production on the Main Stage. It seems to me that if a performance lasts for too long and it does not undergo any changes, this is more to his detriment than vice versa. It is much more pleasant to "set it aside", and then to resume it and feel its freshness again. I esteem the performance dated 1948 an outstanding work. Yet demonstrating such performances falls within the function of a museum rather than a theater. This kind of performances should also exist, but at certain doses.
About the concert activities of the orchestra
This year I finish my sixth season at the Bolshoi Theater. Having come there to work, I immediately said that the Bolshoi Theater orchestra should play symphonic programs, since this was a condition for creative development. We did not immediately manage to approach the moment when we could fearlessly perform in the Great Hall of the Conservatory. During this time, we have made a certain way, and now we are practically not afraid of anything. Of course, the titles we perform are not the bestselling ones. But what is the point of performing the Fifth Symphony by Tchaikovsky with already more than twenty orchestras performing it in Moscow? Sure, the audience attends it anyway. But what about the educational aspect!?
In the Bolshoi Theater, I am happy to have mutual understanding with the general director, Anatoly Gennadievich Iksanov. The matter of making money is not the most important thing, there are more significant ones.
It is impossible to form the theater image in the West separately from the performing quality: when the second is at heights, the image is too. Of course, you need to make some additional efforts. In the modern world sometimes wrapping is more important than candy. But if there were no candy, I would not work the wrapping design.
About the repertory policy
If we were guided only by the audience demand, there should have been three titles: "Swan Lake", "Traviata"... This cannot be done. As in philharmonic practice, everything cannot be reduced to the First Concert or the Fifth Symphony by Tchaikovsky. Encouraging such requests, the number of titles would narrow even more – and finally, everyone will listen to the one symphony and the one opera they know. And this is a great mystery to me personally. I am always interested in listening to new pieces.
We have a document entitled the "Mission of the Bolshoi Theater." It clearly defines our repertoire priorities. Firstly, this is the national classic. Secondly, these are masterpieces of other composer schools - precisely masterpieces, that is, first rank works. We cannot afford to offer some little-known operas, because we would have no place for the other ones. And thirdly, the new opera works, we contribute to create. We are trying to work all the three areas above. In addition, it certainly matters how often an opera has been performed in the theatre in the past and what is the cast the Bolshoi Theatre is able to provide by itself. For example, not every theater has a wonderful artist to perform Othello. We have such a performer - this is Badri Maisuradze. And we are going to stage this opera.
Phone calls:
Listener (incognito): I am a big fan of the Bolshoi Theater. I would like to note that with the arrival of Alexander Alexandrovich, given the time in between the conductors, the orchestra began to sound wonderful. Thanks so much for this.
You have great concerts. It is a pity that the New Stage is not used to hold them. Why not perform the wonderful music of Rimsky-Korsakov in the theater? The orchestra, quite obviously, is ready for this. By the way, it should be noted, I am one of the few fans of "Children of Rosenthal".
Elena Chishkovskaya: I should say that regarding the "Children of Rosenthal", our radio listener is in error. There are a lot of fans of this production. It has proved its viability quite well.
Alexander Vedernikov: Unfortunately, the New Stage acoustics are not very good for symphony concerts. In addition, we are now working only on this stage. The hall does not accommodate so many people, and we are simply obliged to constantly give performances giving work to our singers, ballet. But we have a subscription in the Great Hall of the Conservatory, and it seems that this is at least an adequate replacement.
We have an intention to turn to Rimsky-Korsakov's music, but we want to do it when the Main Stage opens. We intend to stage such a large-scale work as "The Legend of the City of Kitezh"
Listener Ivan: I just want to say a few words in defense of “Children of Rosenthal”: the performance, the production are simply magnificent. Nekrošius is the best director, I think for today not only in Russia, the ex-USSR, but also in the world. Will there be any more productions of Nekrošius in the Bolshoi Theater?
Alexander Vedernikov: Yes, there will, and not just one. Thank you, I also really like the direction of Nekrošius.
Listener Oksana: I would like to say a few warm words to the Bolshoi Theater choir. I saw once many Italian spectators in the parterre while performing “Nabucco”. They gave a chorus of ovations. They called them for an encore. And my question is: among the subscriptions of the Moscow Philharmonic for this year, I suddenly did not see the Bolshoi Theater choir, so will the choir perform?
Alexander Vedernikov: Dear Oksana, the fact is that, unfortunately, the choir never had its own subscription. We include the choir in the orchestra subscription too. And this season is exactly the same: sure, you will hear the choir. First, we will perform the "Pathetic Oratorio" by Georgy Vasilyevich Sviridov. Secondly, Maestro Belohlavek will conduct the "Glagolic Mass" by Janáček. The choir can also be heard with the Grand Symphony Orchestra conducted by Vladimir Ivanovich Fedoseev performing “Stabat mater” by Dvořák.
Listener Larisa: Dear Alexander Alexandrovich, it is very pleasant to listen to your interview, you have shown to be an unusually interesting interlocutor. And here's my question. Thanks to your interview, the concept of the theater lined up in my head. It turned out that there is a lot of interesting things that happen besides what the listeners and spectators hear and see. Why do you so rarely appear in the media?
Alexander Vedernikov: If you really think so, of course, I will try. I am not a very public speaker at all, but I will work on myself and try to cope with this defect.
Elena Chishkovskaya: I think that for the radio "Culture" you will make an exception. You should come to us as often as possible to talk about the theater.
Listener Alla Nikolaevna: After the Bolshoi and the Mariinsky had their tours in London at the same time, there was information about some kind of plan for interaction or cooperation between the two theaters. Does this plan exist and to what extent?
Alexander Vedernikov: Yes, it does. It was rather not even a plan of cooperation, but a kind of "non-aggression pact": on the two sides, the intention was announced to treat each other with possible tenderness and love, not to allow any unkind statements, not to lure artists from each other, and also jointly lobby the interests of the two theaters in front of government institutions.
Elena Chishkovskaya: Has this plan worked out?
Alexander Vedernikov: It's not been that long, but so far there have been no "failures".
Listener Alexey: In your opinion, should the artistic director of an opera theater be appointed or elected by the team? Can democracy exist in the Russian opera theater?
Alexander Vedernikov: You will not see democracy in its pure form anywhere now. I did not see an artistic director elected by the team. So to say, the team can veto some candidates. It all depends on the level of development of self-awareness. In order to be able to formulate their preferences and argue, a slightly different level of development of civil society is needed. I would be happy if such a level arose in Russia. But while the founder appoints a general director or artistic director, he is responsible for this and at some point must decide whether to continue this relationship or not.
The article was prepared by Boris Lifanovsky and Natalya Shadrina
Source.
Boris LIFANOVSKY, Natalia SHADRINA,
April 16, 2007
April 16, 2007
Chief conductor speaking
