<The title of the article and the text are translated into English automatically, and will be edited in the future>
The chief conductor of the Bolshoi Theater talks about his impressions after the performance "The Fiery Angel", which he conducted.
"I have positive impressions of how the performance went. I think the musical partnership with our guest soloist, Larisa Gogolevskaya, has also taken place. Of course, she has a lot of experience in this party, and that's very good. But besides that, I can't help but mention her great artistry and wonderful ability to work in an ensemble.
In general, "The Fiery Angel" is a rather complex opera from the point of view of orchestral writing, the score is quite rich, so the words can not always be heard for objective reasons.
Unfortunately, there is no running line in the Novosibirsk Theater. All this led me to the idea that, probably, we needed to prepare some kind of separate booklet or program that would contain the libretto or even the full text of the opera in order for unprepared people to get a more complete impression of the performance. Although, as far as I know, nothing was particularly difficult for the professionally trained part of the public, even in such conditions.
Of course, a booklet was made related to the entire tour repertoire. But, considering that it included three ballet titles and two opera ones, it was not possible to include details about each performance in it.
As for acoustics, I cannot speak about it with full confidence, because, after all, I evaluate the result from the inside and must largely rely on the opinion from the outside, from the audience, relying on people I trust. Actually, at the dress rehearsal, we mostly did this.
The specificity of this hall lies in the fact that it should be tuned in principle, in all cases. And we needed to find some kind of correlation between how loud we play and how actively we are being played. Because under these conditions, it is very likely that when the orchestra plays quietly, everything will sound very good. But if the sound level is raised, the hall will not fill up.
Nevertheless, those people who listened to the performance from the sidelines told me that from the point of view of balance, it was a pretty good option.
An expensive and, most likely, very functional acoustic system is installed here. However, the problem is that targeted money is allocated for equipment during reconstruction, but after reconstruction, no one allocates a targeted salary to specialists who work with this equipment.
And, in the end, we should not forget that this is an operating theater, and in order to properly master all the functionality that became available after the reconstruction, it takes time, which is always not enough."
From the article "Alexander Vedernikov and Anton Getman on the Bolshoi Theatre tour in Novosibirsk".
Source
The chief conductor of the Bolshoi Theater talks about his impressions after the performance "The Fiery Angel", which he conducted.
"I have positive impressions of how the performance went. I think the musical partnership with our guest soloist, Larisa Gogolevskaya, has also taken place. Of course, she has a lot of experience in this party, and that's very good. But besides that, I can't help but mention her great artistry and wonderful ability to work in an ensemble.
In general, "The Fiery Angel" is a rather complex opera from the point of view of orchestral writing, the score is quite rich, so the words can not always be heard for objective reasons.
Unfortunately, there is no running line in the Novosibirsk Theater. All this led me to the idea that, probably, we needed to prepare some kind of separate booklet or program that would contain the libretto or even the full text of the opera in order for unprepared people to get a more complete impression of the performance. Although, as far as I know, nothing was particularly difficult for the professionally trained part of the public, even in such conditions.
Of course, a booklet was made related to the entire tour repertoire. But, considering that it included three ballet titles and two opera ones, it was not possible to include details about each performance in it.
As for acoustics, I cannot speak about it with full confidence, because, after all, I evaluate the result from the inside and must largely rely on the opinion from the outside, from the audience, relying on people I trust. Actually, at the dress rehearsal, we mostly did this.
The specificity of this hall lies in the fact that it should be tuned in principle, in all cases. And we needed to find some kind of correlation between how loud we play and how actively we are being played. Because under these conditions, it is very likely that when the orchestra plays quietly, everything will sound very good. But if the sound level is raised, the hall will not fill up.
Nevertheless, those people who listened to the performance from the sidelines told me that from the point of view of balance, it was a pretty good option.
An expensive and, most likely, very functional acoustic system is installed here. However, the problem is that targeted money is allocated for equipment during reconstruction, but after reconstruction, no one allocates a targeted salary to specialists who work with this equipment.
And, in the end, we should not forget that this is an operating theater, and in order to properly master all the functionality that became available after the reconstruction, it takes time, which is always not enough."
From the article "Alexander Vedernikov and Anton Getman on the Bolshoi Theatre tour in Novosibirsk".
Source
Boris LIFANOVSKY,
ClassicalMusicNews.Ru . November 30, 2006
ClassicalMusicNews.Ru . November 30, 2006
Alexander Vedernikov about the Bolshoi Theater tour in Novosibirsk
