Vladimir urin: When choosing the repertoire of the Bolshoi theatre does not divide the audience his and others’. EXCLUSIVE

PHOTO: “MIR”

RUSSIA

Director General of Bolshoi theatre Vladimir urin became the guest of the program “Cult of personality” with Grigory Zaslavsky on the TV channel “MIR 24”.

Urin: Let’s start with the fact that the season is not over, it is in full swing. The ballet troupe is now on tour in Australia, the Opera troupe is working at the hospital. Moreover, we work until the end of July. In July, the 29th, we begin a large ballet company in London. That is, the season actually until mid-August.

Urin: And start in September, in mid-September.

Urin: Will, of course. As for wins and losses, let others say about it. Of course, inside us there is a “Hamburg score”, which we have after each performance discuss. And discuss after three, four, five the first Prime Minister. And then we realize what a place, we think it is. Because anyway life can improve. There are performances that are very well received by professionals, I mean in this case, the theater critic, press, media, audience. There are performances that caused controversy, and there are performances that are not accepted. It is absolutely normal, we are a living thing.

Urin: No, still we understand, we are almost already at the dress rehearsal understand what works and what does not. Another conversation, how it evolves, Yes, and the show gets on the rails, or suddenly the play begins to fail. It happens.

Urin: No. In General, I must tell you that the most important thing I think is very important – I have said many times in interviews that the audience of the Bolshoi theatre is not a particular social slice. Well, for example, in the “Gogol-Center” of his audience, in Mark Zakharov – your. And at the Bolshoi theatre in this sense, the audience is extremely diverse. It is much more diverse than the audience, probably every theatre of Moscow. It’s so historically. Therefore, we always do only for the viewer, another question for a viewer. And just for the audience, not for anybody else. No other variants are not present. We used to have in my head: “come on, we’re going to do this show for a foreign audience, and this one is for our” – no, this did not occur. We, first of all, when we choose a name and think about the team that will do it, we must think as a team that does it, maybe it’s fun to do, maybe it’s new look, contemporary look. This, I think, is the main criterion in the choice of repertoire and selection of the production team. Any other thoughts, differentiation of the audience we have. There are very serious trompe l’oeil, when we are doing the play, we understand that this is quite a serious Director, and, in General, is not very simple musical material. Did you know that we are now in the repertoire of quite a number of performances I can’t say that the first echelon of popularity. And suddenly the play becomes incredibly successful, the audience. The history of the music of Joseph Weinberg in “the idiot”. We honestly thought that it would be for a fairly narrow range of audience. But this show is a big success with the audience.

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