opera director,
set designer
set designer
Dmitri Tcherniakov
<Translated into English automatically, it will be edited later>
My appearance and the first works at the Bolshoi were connected with SanSanich, as we called it. He was not much older than me, but in those early 2000s, I immediately began to perceive him as my age. I really liked that the Bolshoi was now led by a young and modern conductor. It was always easy with him, funny, outside the hierarchies. He was reckless to the point of sparkling jokes or sarcastic comments. And he himself could laugh contagiously and for a long time during rehearsals. I didn't really know his life, the life that is on the other side of theater and creativity. It seemed to me that in it he was almost a recluse, unsociable, autistic, running away from everyone into some kind of his own space, where there are no theaters, orchestras, singers, agents and journalists. Sometimes it was really difficult to reach him for quite a long time. We did only one performance together, and that was the Onegin at the Bolshoi. He existed for more than 10 years in this theater, and after Sasha left the Bolshoi in 2009, who did not get up at the remote control in our Onegin. But no one, although there were many young conductors, could give that freshness of reading, sincerity and theatricality as Vedernikov. It gradually began to feel that the musical side of the everyday Onegin repertoire of the Bolshoi Theater of the 80s was now sewn to our performance. I do not even know to the end whether Sasha shared all my theatrical ideas in our Onegin, but in those premiere performances, music and theater combined into a single whole in a rare way for our opera business, helping and supporting each other.
Source.
My appearance and the first works at the Bolshoi were connected with SanSanich, as we called it. He was not much older than me, but in those early 2000s, I immediately began to perceive him as my age. I really liked that the Bolshoi was now led by a young and modern conductor. It was always easy with him, funny, outside the hierarchies. He was reckless to the point of sparkling jokes or sarcastic comments. And he himself could laugh contagiously and for a long time during rehearsals. I didn't really know his life, the life that is on the other side of theater and creativity. It seemed to me that in it he was almost a recluse, unsociable, autistic, running away from everyone into some kind of his own space, where there are no theaters, orchestras, singers, agents and journalists. Sometimes it was really difficult to reach him for quite a long time. We did only one performance together, and that was the Onegin at the Bolshoi. He existed for more than 10 years in this theater, and after Sasha left the Bolshoi in 2009, who did not get up at the remote control in our Onegin. But no one, although there were many young conductors, could give that freshness of reading, sincerity and theatricality as Vedernikov. It gradually began to feel that the musical side of the everyday Onegin repertoire of the Bolshoi Theater of the 80s was now sewn to our performance. I do not even know to the end whether Sasha shared all my theatrical ideas in our Onegin, but in those premiere performances, music and theater combined into a single whole in a rare way for our opera business, helping and supporting each other.
Source.
