<translated into English automatically, will be edited later>
42-year-old Alexander Vedernikov, one of the most sought-after symphony and opera conductors of his generation in the world, has been the chief conductor and musical director of the Bolshoi Theater of Russia since 2001. On the eve of the new season, he was again appointed to this post for the third consecutive term. The case in the recent history of the Bolshoi is unprecedented.
In what direction should the main theater of the country develop, what explains the crisis of the opera genre in the world and in Russia, when the main historical building of the Bolshoi Theater will open after restoration ... About this and much more — an interview with maestro Alexander Vedernikov.
— Alexander Alexandrovich, for how long has your cooperation contract with the Bolshoi Theater been extended, and with what program are you going for it?
— All the contracts that I concluded with the Bolshoi Theater of Russia were signed for a three-year period. Therefore, the new contract was concluded before June 28, 2010.
As for the program, it is difficult to talk about it in the transitional period that our theater is going through now. We are now doing much less than we would like, due to the fact that we have one scene. Due to the fact that we release two new opera performances a year, it is difficult to understand what kind of program this is. If we did at least four premieres a year, trends, directions, etc. would already be visible.
Let's talk about what we can afford in the current situation. It would be good, firstly, to open the historic building of the Bolshoi Theater on time after the restoration. And we, for our part, prepared for this opening at the proper level. We have created a repertoire that will correspond to the level of the updated main stage.
— And when will the Main Stage open?
— We hope that at the end of 2009.
Second. Carry out a number of important tours at a high level, such as tours at the Paris Opera, at the La Scala Theatre, tours in Japan... Continue to improve our performing mechanisms - the choir, orchestra and soloists, develop our concert activity in the form of subscriptions and individual concerts.
It is important to find a way of planning our lives that would allow us to overcome the unknown quantities that we now have. Well, for example, we don't know exactly what month, what date the Main Stage will open.
Nevertheless, we must plan our work for, say, 2010 already on two stages, i.e. to somehow make it so that, having opened the Main Stage, we entered there with some kind of plan calculated for a long period: for 2011, and for 2012. Moreover, regardless of whether I will then be at the head of the theater or someone else.
First of all, the planning system should work so that our artists, first of all, outstanding singer-soloists, know exactly what they will do then and then. So that those who remain free from work in the Great Time will be able to conclude contracts with the same La Scala, the Metropolitan Opera and others, as this is done all over the world.
— Long-term planning is not the only innovation that appeared at the Bolshoi with your arrival in the theater in 2001. You immediately began to change the seemingly unshakable traditions of the cult theater of the country, as I understand it, in order to integrate it into the world musical and theatrical process. This includes showing performances in series, and renting performances from other countries.
To what extent, in your opinion, have you managed to achieve all your plans over the past six years?
— I managed to solve, or, more precisely, start solving one of the main tasks that I faced as the musical director of the theater — so that as many new interesting singers, directors, conductors appear in our theater as possible.
The Bolshoi Theater has recently been criticized for its lack of major conductors. Here we managed to radically change the picture. Now such an outstanding master as Yuri Temirkanov has been appointed as the chief guest conductor of the theater, a new production of Tchaikovsky's The Queen of Spades has been staged by Mikhail Pletnev. I think those are pretty big names.
Gennady Rozhdestvensky, Vladimir Ashkenazy, Vladimir Yurovsky, and Czech conductor Jiri Beloglavek will be on the Bolshoi Theater this and next season.
As for the other changes you mentioned, I must say that the integration of the Bolshoi Theater into the world process, which you mentioned, is not even our goal in itself.
— What is the goal?
— The goal is, first of all, that the Bolshoi Theater could offer its audience a more diverse repertoire, both opera and ballet. After all, say, opera is a very expensive production. And various forms of international cooperation can reduce these costs.
Of course, you know that the practice of joint productions is widely accepted in the West. Or, for example, the practice of renting performances: renting a performance is at least six times cheaper than staging the opera yourself. Not to mention the fact that thanks to the Moscow rental, the Russian audience gets a ready-made performance, created, say, by such famous theaters as La Scala or the Paris Opera, which most of our viewers are unlikely to ever visit.
We are aware that not every willing Russian can visit the Bolshoi. But it shouldn't be like that. Despite the fact that recently we have managed to revive the practice of the Bolshoi touring the country, and, say, recently we were in Novosibirsk, but now we are in Rostov-on-Don, we understand that there are many places in Russia where the Bolshoi Theater is not will never come. Therefore, we are now also preparing to conduct Internet broadcasts of our performances.
I want to emphasize that the openness of the Bolshoi Theater to the world and the public is a very good thing from all sides. And everything valuable that was in the past of this theater, all its unique traditions, they must be preserved. But here it must be remembered that performances seem to be “washed out” from long use, and if you want the new generation of spectators to perceive them as a real masterpiece, and not an exhibit of a poor museum covered with dust, a special and very competent work must be carried out to purify the music. from later stratifications, additions, and simply mistakes in the selection of performers. As we did, for example, with Mussorgsky's Boris Godunov staged in the 1940s.
We must do this, firstly, so that the public sees this work in its proper form, and, secondly, in order to successfully compete in the world market. Because if we do not occupy some niche in the world musical process, then others will occupy it. And it seems to me that the prestige of a city like Moscow and a country like Russia requires that this theater be widely known in the world and really be considered one of the most important theaters in the world.
— One of your obvious achievements over the six years of work at the Bolshoi, in my opinion, is that the purely musical component of the theater has become an order of magnitude, or even two orders of magnitude higher. Tell me, is this a feature of the Bolshoi Theater, largely related to your creative biography, or is it a global trend - that there are three equal creative units in the musical theater of the Bolshoi scale: opera, ballet, orchestra?
— Rather, the first. But you are right that opera, ballet, orchestra are completely equal creative units. But the fact is that when the musical life in the city is properly structured, then, of course, in the Main Opera House in the city, opera, ballet, and the orchestra naturally have weight. I've just returned from Bologna, where the orchestra has its own symphony season.
In Moscow, we could not do concerts at all, because there are more than 20 symphony orchestras in this city. But we believe that from a creative point of view, symphony concerts are absolutely necessary for the orchestra itself. And, as for the public, it can receive from the Bolshoi Theater Orchestra such a repertoire that is unlikely to be performed by another symphony orchestra.
Why? Because the orchestra of the Bolshoi Theater in terms of composition - and you know - it has more than 200 people - can perform works of any bulkiness and complexity. Well, for example, Mahler's 8th symphony. Any orchestra in the world has to spend a lot of money to play it to invite the missing musicians.
Our orchestra has three almost complete members. Therefore, our philharmonic subscription - the Bolshoi Theater Symphony Orchestra and Chorus in the Great Hall of the Moscow Conservatory - I'm proud to say this - has become the leader in the sale of subscriptions. On November 7, we open this subscription with Beethoven's Symphony No. 7 and Sviridov's Pathetique Oratorio.
Further in our subscription there will be Janacek and Dvorak, Tchaikovsky, Berlioz, Prokofiev. And, on the occasion of the 135th anniversary of Rachmaninov's birth (it will be in May 2008) - all four of his Piano Concertos and Rhapsody on a Theme of Paganini.
— Allow me a question, perhaps not a very pleasant one. I see a clear contradiction in the fact that, by carrying out new productions of opera classics, cleaning classical scores from various layers, mistakes, proclaiming that you are for “historical theater”, “for authentic performance of music”, bringing the orchestral sound to perfection, you allow with verbal text, plot, images, directors can do whatever they want... Take the same "Onegin" - there is a direct Pushkin's text, there are Pushkin's images ... And what did the director do with them with your permission ?!
— Your question, of course, betrays a subjective approach, because everyone has different tastes. And I consider one of our achievements that in the Bolshoi Theater people of different tastes and different generations can find “their” performances for themselves.It is fundamentally important for us to give an opportunity to young talented people, such as Dmitry Chernyakov, of course, to realize their artistic ideas. At the same time, we plan to show another calmer version of “Eugene Onegin” after the opening of the main building, if that’s what you had in mind…
— There is an opinion that the opera is going through a crisis in our time. This is due to the dominance of mass culture in the public mind. On the other hand, in the West, show business is also promoted - and stronger than in our country, but this does not affect the interest in opera. At the Grand Opera, La Scala, the Metropolitan Opera for premieres, for touring performances, queues line up, and this is with very expensive tickets. So, the crisis exists only here in Russia?
— The crisis of opera, of course, exists not only in Russia, but it manifests itself in different ways. Why is it that in Russia all this is so aggravated? First of all, because our society is still very new. He now has more predominate needs for food and clothing than spiritual ones. After all, they say: "Bread and circuses."
First bread. Therefore, now in the spiritual sense, people are a little wild. Especially the younger generation. Moreover, I sometimes have a suspicion that it is beneficial for someone that our young people grow up not very smart and educated: it is easier to manipulate such people.
— I don’t know if it’s possible to say this globally, but the fact is that many people leave school, and even universities, if they have knowledge in some individual subjects in their specialty, then in general cultural terms they are somehow very dark.
— Quite right: their horizons are very narrow. And opera is the most complex genre, it is a synthesis of all the arts. And therefore, in order to preserve opera as an art form, it is necessary first of all to carry out some kind of reform of general education in our country. It's not just about improving some music or art schools. The fact is that in general education Russian schools, children today do not come into contact with art at all, and they come into contact with literature somehow on a tangent.
Second. It is necessary to contribute in every possible way to the creation of new operatic works. Because in this case quantity leads to quality. If two operas were written for the theater, then most likely they will be bad. And if they wrote 22 operas, then there is a hope that one or two of them will come across good ones.
We at the Bolshoi Theater, as you know, made an experiment on commissioned opera — we commissioned the composer Leonid Desyatnikov for the opera The Children of Rosenthal based on the plot of Sorokin's novel. The experience turned out to be successful, the opera was accepted both here and abroad. And now the Bolshoi Theater, together with the Union of Theater Workers of Russia, has announced a competition to create a new opera for children and youth.
And the third — necessary for the revival of the opera. It is a matter of reproduction of those artists and singers who play and sing in the opera. Because if things are still somehow tolerable with orchestral musicians, then choral singers, for example, are not graduating from any higher musical educational institution. And there is nothing to say about soloists: what is being done in our country by the vocal department of the Moscow Conservatory, and indeed of any other university, is absolutely not serious, there is even nothing to say about it.
— Wow! Moscow Conservatory — and not serious?
— Yes, just imagine. A graduate of the Moscow Conservatory who has graduated from the vocal faculty cannot be hired immediately at the opera: he is not fit to work on the professional music stage.
— Is it that we are now so degraded?
— No, no, it has happened before.
— But what about, where did great singers come from then, and even now they appear? Only through private lessons?
— To get a ready-made opera singer, with whom you can work right now, for this, a whole range of educational, upbringing actions related to the most diverse fields of knowledge and sciences must be carried out. And not only in the field of culture - well, music, theater, literature, fine arts, but also philosophy, history, languages. And, moreover, medicine, physiology, psychology are complex, you understand?
What do we see in practice? In our conservatory, for example, a vocal student may be given a voice. But neither acting training, nor musical training in the broad sense, neither stylistic, nor linguistic, not to mention everything else, he will not receive. That is, only people who themselves are able to figure out what they need, having traveled here and there, hiring a private teacher, that is, people who have got out themselves and gained some kind of professional complex (luggage), become opera singers. But this is not a system at all, but rather a case. By the way, this applies not only to us, Russia. It's like that all over the world.
Now there is practically no good opera school anywhere. In the USA, however, perhaps (for financial reasons) the largest number of talented vocal teachers is the Juilliard School.
Even if you noticed, the heyday of the Italian opera school dates back to the middle of the last century. Then they had great teachers, then they had - and there were many — great singers. Now they are running out, the last ones are leaving. Perhaps the situation is better today with opera singers in Spain.
Good opera singers today, and yesterday, and the day before yesterday are always “piece” work, there are always only a few of them, so the world's leading opera houses stand in line for them. Their contracts are signed not for a year, but for 10 years in advance. Therefore, not a single major singer or singer associates himself with any one theater, they belong to everyone and therefore there is a system of contracts or invitations. If such a system did not exist, opera as a genre would not be able to develop.
Such a system did not exist only in the USSR. We sat behind the Iron Curtain, did not invite anyone and did not go anywhere ourselves. Today this has changed. There are no problems with leaving, but there are other problems.
— About the invitation of singers?
— Singers, directors, conductors.
— Do you mean that invitees should be paid more?
— Yes, if only that. There is no market for singers in the country. To do this, you need to analyze the state of the country's opera houses. And solve their problems in as soon as possible.
In general, today the legislative framework absolutely does not take into account either today's realities, or the peculiarities of the functioning of art institutions. And this is perhaps the main problem of the Main, as it is called, the theater of the country.
Source.
42-year-old Alexander Vedernikov, one of the most sought-after symphony and opera conductors of his generation in the world, has been the chief conductor and musical director of the Bolshoi Theater of Russia since 2001. On the eve of the new season, he was again appointed to this post for the third consecutive term. The case in the recent history of the Bolshoi is unprecedented.
In what direction should the main theater of the country develop, what explains the crisis of the opera genre in the world and in Russia, when the main historical building of the Bolshoi Theater will open after restoration ... About this and much more — an interview with maestro Alexander Vedernikov.
— Alexander Alexandrovich, for how long has your cooperation contract with the Bolshoi Theater been extended, and with what program are you going for it?
— All the contracts that I concluded with the Bolshoi Theater of Russia were signed for a three-year period. Therefore, the new contract was concluded before June 28, 2010.
As for the program, it is difficult to talk about it in the transitional period that our theater is going through now. We are now doing much less than we would like, due to the fact that we have one scene. Due to the fact that we release two new opera performances a year, it is difficult to understand what kind of program this is. If we did at least four premieres a year, trends, directions, etc. would already be visible.
Let's talk about what we can afford in the current situation. It would be good, firstly, to open the historic building of the Bolshoi Theater on time after the restoration. And we, for our part, prepared for this opening at the proper level. We have created a repertoire that will correspond to the level of the updated main stage.
— And when will the Main Stage open?
— We hope that at the end of 2009.
Second. Carry out a number of important tours at a high level, such as tours at the Paris Opera, at the La Scala Theatre, tours in Japan... Continue to improve our performing mechanisms - the choir, orchestra and soloists, develop our concert activity in the form of subscriptions and individual concerts.
It is important to find a way of planning our lives that would allow us to overcome the unknown quantities that we now have. Well, for example, we don't know exactly what month, what date the Main Stage will open.
Nevertheless, we must plan our work for, say, 2010 already on two stages, i.e. to somehow make it so that, having opened the Main Stage, we entered there with some kind of plan calculated for a long period: for 2011, and for 2012. Moreover, regardless of whether I will then be at the head of the theater or someone else.
First of all, the planning system should work so that our artists, first of all, outstanding singer-soloists, know exactly what they will do then and then. So that those who remain free from work in the Great Time will be able to conclude contracts with the same La Scala, the Metropolitan Opera and others, as this is done all over the world.
— Long-term planning is not the only innovation that appeared at the Bolshoi with your arrival in the theater in 2001. You immediately began to change the seemingly unshakable traditions of the cult theater of the country, as I understand it, in order to integrate it into the world musical and theatrical process. This includes showing performances in series, and renting performances from other countries.
To what extent, in your opinion, have you managed to achieve all your plans over the past six years?
— I managed to solve, or, more precisely, start solving one of the main tasks that I faced as the musical director of the theater — so that as many new interesting singers, directors, conductors appear in our theater as possible.
The Bolshoi Theater has recently been criticized for its lack of major conductors. Here we managed to radically change the picture. Now such an outstanding master as Yuri Temirkanov has been appointed as the chief guest conductor of the theater, a new production of Tchaikovsky's The Queen of Spades has been staged by Mikhail Pletnev. I think those are pretty big names.
Gennady Rozhdestvensky, Vladimir Ashkenazy, Vladimir Yurovsky, and Czech conductor Jiri Beloglavek will be on the Bolshoi Theater this and next season.
As for the other changes you mentioned, I must say that the integration of the Bolshoi Theater into the world process, which you mentioned, is not even our goal in itself.
— What is the goal?
— The goal is, first of all, that the Bolshoi Theater could offer its audience a more diverse repertoire, both opera and ballet. After all, say, opera is a very expensive production. And various forms of international cooperation can reduce these costs.
Of course, you know that the practice of joint productions is widely accepted in the West. Or, for example, the practice of renting performances: renting a performance is at least six times cheaper than staging the opera yourself. Not to mention the fact that thanks to the Moscow rental, the Russian audience gets a ready-made performance, created, say, by such famous theaters as La Scala or the Paris Opera, which most of our viewers are unlikely to ever visit.
We are aware that not every willing Russian can visit the Bolshoi. But it shouldn't be like that. Despite the fact that recently we have managed to revive the practice of the Bolshoi touring the country, and, say, recently we were in Novosibirsk, but now we are in Rostov-on-Don, we understand that there are many places in Russia where the Bolshoi Theater is not will never come. Therefore, we are now also preparing to conduct Internet broadcasts of our performances.
I want to emphasize that the openness of the Bolshoi Theater to the world and the public is a very good thing from all sides. And everything valuable that was in the past of this theater, all its unique traditions, they must be preserved. But here it must be remembered that performances seem to be “washed out” from long use, and if you want the new generation of spectators to perceive them as a real masterpiece, and not an exhibit of a poor museum covered with dust, a special and very competent work must be carried out to purify the music. from later stratifications, additions, and simply mistakes in the selection of performers. As we did, for example, with Mussorgsky's Boris Godunov staged in the 1940s.
We must do this, firstly, so that the public sees this work in its proper form, and, secondly, in order to successfully compete in the world market. Because if we do not occupy some niche in the world musical process, then others will occupy it. And it seems to me that the prestige of a city like Moscow and a country like Russia requires that this theater be widely known in the world and really be considered one of the most important theaters in the world.
— One of your obvious achievements over the six years of work at the Bolshoi, in my opinion, is that the purely musical component of the theater has become an order of magnitude, or even two orders of magnitude higher. Tell me, is this a feature of the Bolshoi Theater, largely related to your creative biography, or is it a global trend - that there are three equal creative units in the musical theater of the Bolshoi scale: opera, ballet, orchestra?
— Rather, the first. But you are right that opera, ballet, orchestra are completely equal creative units. But the fact is that when the musical life in the city is properly structured, then, of course, in the Main Opera House in the city, opera, ballet, and the orchestra naturally have weight. I've just returned from Bologna, where the orchestra has its own symphony season.
In Moscow, we could not do concerts at all, because there are more than 20 symphony orchestras in this city. But we believe that from a creative point of view, symphony concerts are absolutely necessary for the orchestra itself. And, as for the public, it can receive from the Bolshoi Theater Orchestra such a repertoire that is unlikely to be performed by another symphony orchestra.
Why? Because the orchestra of the Bolshoi Theater in terms of composition - and you know - it has more than 200 people - can perform works of any bulkiness and complexity. Well, for example, Mahler's 8th symphony. Any orchestra in the world has to spend a lot of money to play it to invite the missing musicians.
Our orchestra has three almost complete members. Therefore, our philharmonic subscription - the Bolshoi Theater Symphony Orchestra and Chorus in the Great Hall of the Moscow Conservatory - I'm proud to say this - has become the leader in the sale of subscriptions. On November 7, we open this subscription with Beethoven's Symphony No. 7 and Sviridov's Pathetique Oratorio.
Further in our subscription there will be Janacek and Dvorak, Tchaikovsky, Berlioz, Prokofiev. And, on the occasion of the 135th anniversary of Rachmaninov's birth (it will be in May 2008) - all four of his Piano Concertos and Rhapsody on a Theme of Paganini.
— Allow me a question, perhaps not a very pleasant one. I see a clear contradiction in the fact that, by carrying out new productions of opera classics, cleaning classical scores from various layers, mistakes, proclaiming that you are for “historical theater”, “for authentic performance of music”, bringing the orchestral sound to perfection, you allow with verbal text, plot, images, directors can do whatever they want... Take the same "Onegin" - there is a direct Pushkin's text, there are Pushkin's images ... And what did the director do with them with your permission ?!
— Your question, of course, betrays a subjective approach, because everyone has different tastes. And I consider one of our achievements that in the Bolshoi Theater people of different tastes and different generations can find “their” performances for themselves.It is fundamentally important for us to give an opportunity to young talented people, such as Dmitry Chernyakov, of course, to realize their artistic ideas. At the same time, we plan to show another calmer version of “Eugene Onegin” after the opening of the main building, if that’s what you had in mind…
— There is an opinion that the opera is going through a crisis in our time. This is due to the dominance of mass culture in the public mind. On the other hand, in the West, show business is also promoted - and stronger than in our country, but this does not affect the interest in opera. At the Grand Opera, La Scala, the Metropolitan Opera for premieres, for touring performances, queues line up, and this is with very expensive tickets. So, the crisis exists only here in Russia?
— The crisis of opera, of course, exists not only in Russia, but it manifests itself in different ways. Why is it that in Russia all this is so aggravated? First of all, because our society is still very new. He now has more predominate needs for food and clothing than spiritual ones. After all, they say: "Bread and circuses."
First bread. Therefore, now in the spiritual sense, people are a little wild. Especially the younger generation. Moreover, I sometimes have a suspicion that it is beneficial for someone that our young people grow up not very smart and educated: it is easier to manipulate such people.
— I don’t know if it’s possible to say this globally, but the fact is that many people leave school, and even universities, if they have knowledge in some individual subjects in their specialty, then in general cultural terms they are somehow very dark.
— Quite right: their horizons are very narrow. And opera is the most complex genre, it is a synthesis of all the arts. And therefore, in order to preserve opera as an art form, it is necessary first of all to carry out some kind of reform of general education in our country. It's not just about improving some music or art schools. The fact is that in general education Russian schools, children today do not come into contact with art at all, and they come into contact with literature somehow on a tangent.
Second. It is necessary to contribute in every possible way to the creation of new operatic works. Because in this case quantity leads to quality. If two operas were written for the theater, then most likely they will be bad. And if they wrote 22 operas, then there is a hope that one or two of them will come across good ones.
We at the Bolshoi Theater, as you know, made an experiment on commissioned opera — we commissioned the composer Leonid Desyatnikov for the opera The Children of Rosenthal based on the plot of Sorokin's novel. The experience turned out to be successful, the opera was accepted both here and abroad. And now the Bolshoi Theater, together with the Union of Theater Workers of Russia, has announced a competition to create a new opera for children and youth.
And the third — necessary for the revival of the opera. It is a matter of reproduction of those artists and singers who play and sing in the opera. Because if things are still somehow tolerable with orchestral musicians, then choral singers, for example, are not graduating from any higher musical educational institution. And there is nothing to say about soloists: what is being done in our country by the vocal department of the Moscow Conservatory, and indeed of any other university, is absolutely not serious, there is even nothing to say about it.
— Wow! Moscow Conservatory — and not serious?
— Yes, just imagine. A graduate of the Moscow Conservatory who has graduated from the vocal faculty cannot be hired immediately at the opera: he is not fit to work on the professional music stage.
— Is it that we are now so degraded?
— No, no, it has happened before.
— But what about, where did great singers come from then, and even now they appear? Only through private lessons?
— To get a ready-made opera singer, with whom you can work right now, for this, a whole range of educational, upbringing actions related to the most diverse fields of knowledge and sciences must be carried out. And not only in the field of culture - well, music, theater, literature, fine arts, but also philosophy, history, languages. And, moreover, medicine, physiology, psychology are complex, you understand?
What do we see in practice? In our conservatory, for example, a vocal student may be given a voice. But neither acting training, nor musical training in the broad sense, neither stylistic, nor linguistic, not to mention everything else, he will not receive. That is, only people who themselves are able to figure out what they need, having traveled here and there, hiring a private teacher, that is, people who have got out themselves and gained some kind of professional complex (luggage), become opera singers. But this is not a system at all, but rather a case. By the way, this applies not only to us, Russia. It's like that all over the world.
Now there is practically no good opera school anywhere. In the USA, however, perhaps (for financial reasons) the largest number of talented vocal teachers is the Juilliard School.
Even if you noticed, the heyday of the Italian opera school dates back to the middle of the last century. Then they had great teachers, then they had - and there were many — great singers. Now they are running out, the last ones are leaving. Perhaps the situation is better today with opera singers in Spain.
Good opera singers today, and yesterday, and the day before yesterday are always “piece” work, there are always only a few of them, so the world's leading opera houses stand in line for them. Their contracts are signed not for a year, but for 10 years in advance. Therefore, not a single major singer or singer associates himself with any one theater, they belong to everyone and therefore there is a system of contracts or invitations. If such a system did not exist, opera as a genre would not be able to develop.
Such a system did not exist only in the USSR. We sat behind the Iron Curtain, did not invite anyone and did not go anywhere ourselves. Today this has changed. There are no problems with leaving, but there are other problems.
— About the invitation of singers?
— Singers, directors, conductors.
— Do you mean that invitees should be paid more?
— Yes, if only that. There is no market for singers in the country. To do this, you need to analyze the state of the country's opera houses. And solve their problems in as soon as possible.
In general, today the legislative framework absolutely does not take into account either today's realities, or the peculiarities of the functioning of art institutions. And this is perhaps the main problem of the Main, as it is called, the theater of the country.
Source.
INTERFAX, November 7, 2007
Alexander Vedernikov: “We are doing much less than we would like”
