Bolshoi Theater history of the building. History of the building of the State Academic Bolshoi Theater (Gabt)
The Bolshoi Theater in Moscow, located in the center of the capital, on Teatralnaya Square, is one of the symbols of Russia and the brilliant skill of its artists. Its talented performers: vocalists and ballet dancers, composers and conductors, choreographers are known all over the world. More than 800 works were staged on its stage. These are the first Russian operas and operas of such celebrities as Verdi and Wagner, Bellini and Donizetti, Berlioz and Ravel and other composers. World premieres of operas by Tchaikovsky and Rachmaninoff, Prokofiev and Arensky took place here. The great Rachmaninov conducted here.
Bolshoi Theater in Moscow - history
In March 1736, the provincial prosecutor, Prince Pyotr Vasilyevich Urusov, began construction of a theater building on the right bank of the Neglinka River, on the corner of Petrovka. Then he began to be called Petrovsky. But Peter Urusov failed to complete the construction. The building burned down. After the fire, his partner, the English entrepreneur Michael Medox, completed the construction of the theater building. This was the first professional theater. His repertoire included drama, opera and ballet performances. Both singers and dramatic actors took part in opera performances. The Petrovsky Theater was opened on December 30, 1780. On this day, the pantomime ballet “The Magic Shop” was staged by Y. Paradise. Ballets with a national flavor, such as Village Simplicity, Gypsy Ballet and The Taking of Ochakov, were especially popular among the audience. Basically, the ballet troupe was formed by students ballet school Moscow Orphanage and serf actors of E. Golovkina’s troupe. This building lasted 25 years. It was destroyed in a fire in 1805. The new building, built under the leadership of K. Rossi on Arbat Square, also burned down in 1812.
According to the project of A. Mikhailov in 1821-1825. A new theater building is being built on the same site. The construction was supervised by the architect O. Bove. It was significantly increased in size. Therefore, at that time it received the name Bolshoi Theater. On January 6, 1825, the performance “The Triumph of the Muses” was given here. After the fire in March 1853, the building took three years to restore. The work was supervised by the architect A. Kavos. As contemporaries wrote, the appearance of the building “captivated the eye with the proportionality of the parts, in which lightness was combined with grandeur.” This is how it has survived to this day. In 1937 and 1976 the theater was awarded the Order of Lenin. During the Great Patriotic War he was evacuated to the city of Kuibyshev. On November 29, 2002, the New Stage opened with the premiere of Rimsky-Korsakov's opera The Snow Maiden.
Bolshoi Theater - architecture
The building that we can now admire is one of the best examples of Russian classical architecture. It was built in 1856 under the direction of architect Albert Kavos. During restoration after the fire, the building was completely rebuilt and decorated with a white stone portico with eight columns. The architect replaced the hipped roof with a gable roof with pediments, repeating the shape of the portico pediment along the main façade and removing the arched niche. The Ionic order of the portico was replaced by a complex one. All exterior details have been changed. Some architects believe that Kavos's changes diminished the artistic merit of the original building. The building is crowned by the world-famous bronze quadriga of Apollo by Pyotr Klodt. We see a two-wheeled chariot with four harnessed horses galloping across the sky and the god Apollo driving them. A plaster double-headed eagle, the state emblem of Russia, was installed on the pediment of the building. On the ceiling of the auditorium there are nine muses with Apollo at their head. Thanks to the creativity of Albert Kavos, the building fits perfectly into the surrounding architectural structures.
The five tiers of the auditorium can accommodate more than 2,100 spectators. In terms of its acoustic properties, it is considered one of the best in the world. Length of the hall from orchestra to back wall- 25 meters, width - 26.3 meters, height - 21 meters. The stage portal is 20.5 by 17.8 meters, the depth of the stage is 23.5 meters. This is one of the beautiful architectural structures of the capital. It was called "the palace of sun rays, gold, purple and snow." The building also hosts important state and public celebrations.
Reconstruction of the Bolshoi Theater
In 2005, the reconstruction of the theater began and after 6 years of colossal work, on October 28, 2011, the opening of the country's main stage took place. The area of the Bolshoi Theater doubled and amounted to 80 thousand square meters, an underground part appeared and the unique acoustics of the hall were restored. The stage now has the volume of a six-story building, all processes in which are computerized. The paintings in the White Foyer have been restored. The jacquard fabrics and tapestries in the Round Hall and the Imperial Foyer were restored by hand over the course of 5 years, restoring every centimeter. 156 craftsmen from all over Russia were engaged in gilding interiors with a thickness of 5 microns, covering an area of 981 square meter, which took 4.5 kg of gold.
There were 17 elevators with buttons for floors from the 10th to the 4th, and an additional 2 floors located below were occupied by mechanics. Auditorium accommodates 1,768 people, before reconstruction - 2,100. The theater buffet moved to the 4th floor and this is the only room where windows are located on both sides. Interestingly, the tiles in the central foyer were made in the same factory as in the 19th century. The chandelier with a diameter of more than 6 meters with gilded pendants is especially beautiful. The new curtain is embroidered double headed eagle and the word Russia.
The modern Bolshoi Theater includes opera and ballet troupes, a stage and brass band and the Bolshoi Theater Orchestra. The names of the opera and ballet school are the property of all of Russia and all theatrical world. More than 80 artists were awarded the title of People's Artists of the USSR in Soviet period. Title of Hero Socialist Labor received eight stage masters - I. Arkhipova and Y. Grigorovich, I. Kozlovsky and E. Nesterenko, E. Svetlanov, as well as world-famous ballerinas - G. Ulanova, M. Plisetskaya and M. Semyonova. Many artists are People's Artists of the Russian Federation.
The Bolshoi Theater in Moscow presents one of the world's main theater scenes. He played an outstanding role in the formation of the Russian musical and stage school and in the formation of the Russian national art, including the famous Russian ballet.
Where the Bolshoi Theater is located is of interest to many art lovers. After all, this is one of the largest theaters in Russia, one of the most significant opera and ballet theaters in the world. It is immediately worth noting that the complex of buildings that belong to the Bolshoi Theater is located in the very center of Moscow on Teatralnaya Square.
The importance of the Bolshoi Theater
Everyone who wants to attend a production strives to find out where the Bolshoi Theater is located. Indeed, during its existence since 1776, when it was founded, more than 800 performances were staged here. IN different periods the repertoire was as varied as possible - both domestic and Russian operas were staged Italian composers, and dance pictures folk life, and classical performances on mythological subjects.
Today the repertoire still includes a large number of classical productions are ballet and opera premieres, which are staged annually at the Bolshoi Theater. But the team is not averse to experimenting. For example, fundamentally new ballet works are staged. So, in 2003, “Bright Stream” was released, and in 2005, “Bolt” based on the works of Shostakovich.
Theater repertoire
Recruited worldwide famous directors, and not only theatrical ones, but also those making films. These are Alexander Sokurov, Temur Chkheidze, Eimuntas Nyakrosius.
Careful and scrupulous work is being carried out to return to the original scores and author's editions of the works. Modern directors free them from the marks and layers that appeared in more later years. For example, this is how the production of “Boris Godunov” by Modest Mussorgsky, as well as “Ruslan and Lyudmila” by Mikhail Glinka, was prepared.
At the same time, some productions cause obvious disapproval from the public and critics; not all experiments go off with a bang. Thus, a scandal accompanied the appearance on stage of Leonid Desyatnikov’s opera entitled “Children of Rosenthal.” This was largely due to the ambiguous attitude towards the figure of the author of the libretto - the famous Russian writer Vladimir Sorokin.
Sharply criticized the Bolshoi Theater legendary singer Galina Vishnevskaya after the release of the updated play "Eugene Onegin" work of the same name Alexandra Pushkina. She even refused to celebrate her anniversary on the stage of the theater where such productions are staged.
But still, most of the works cause constant delight, so it is important for many to find out where the Bolshoi Theater is located.
How to get to the theater by metro
There are several options for arriving at the premiere. This article describes in detail where the Bolshoi Theater is located in Moscow. It is located at: Teatralnaya Square, building 1.
To get there, you can use the capital's metro. To do this, you need to get to the Teatralnaya station and follow the signs “Exit to the Bolshoi Theater”.
Knowing where the Bolshoi Theater is located, you can easily get there by metro. Moreover, there is another route option. You can get off at the station" Okhotny Ryad". In this case, you will need to head towards the exit to Theater Square.
Now that you know where the Bolshoi Theater is located in Moscow, the address of this cultural institution, you can easily find it as soon as you emerge from the metro.
How to get there by car
If you prefer personal transport to public transport, then it is important for you to carefully study where the Bolshoi Theater is located.
You can drive your own car in three different ways. For example, on Mokhovaya Street. When you reach this street, drive straight without turning anywhere. So you will eventually find yourself on Teatralnaya Square, where the goal of your trip is located - the Moscow Bolshoi Theater.
The second option is to choose the direction along Tverskaya Street. You have to drive towards the city center. In this case, from Tverskaya you will end up on Teatralny Proezd, which will lead you directly to the Bolshoi Theater.
And finally, the last option. Drive along Petrovka street. Just don’t forget that it is one-way traffic. At the end of the street you will come straight to the Bolshoi Theater.
Bolshoi Theater opening hours
The Bolshoi Theater's operating hours strictly correspond to the time in which the productions are released. Therefore, for viewers, first of all, the opening hours of the box office matter. It is important to know what time it makes sense to go for tickets.
There are several ticket offices where you can always purchase tickets for premieres and current productions. Firstly, these are the cash desks in the administrative building. It is located to the left of the metro exit from the Okhotny Ryad or Teatralnaya stations. The opening hours of this ticket office are from 11 a.m. to 8 p.m. There are no days off, but there is a break at the box office every day from 3 to 4 p.m.
There is also a permanent box office located in the New Stage building; we will tell you more about it later. It is also open seven days a week from 11 a.m. to 8 p.m. But the break here is at a different time - from 14 to 15 hours.
The box office in the building of the Historical Stage of the Bolshoi Theater opens daily at 11 a.m. and closes only at 8 p.m. The cash desk is open seven days a week, with a break from 4 to 6 p.m.
There is also a constantly working cash desk in the GUM building. It is located on the first floor of the first line. Open daily, seven days a week, from 11 a.m. to 8 p.m.
Features of cash registers
It is important to never forget that on the first day when pre-sale of tickets is announced, as a rule, this happens on Saturdays, the box office located in the directorate building opens at 10 am.
Attention! On days when matinee performances are organized at the Bolshoi Theater, the box office in the New and Historical Stage buildings opens to visitors at 10 a.m. There is one more rule that is important to remember. One hour before the start of the performance, the box office begins selling tickets only for the upcoming performance. You will have to buy a ticket for another performance at another time.
New Stage Building
The new stage of the Bolshoi Theater was inaugurated in 2002. It also hosts opera and ballet performances. Where is the New Stage of the Bolshoi Theater located? You will find the address of this cultural institution in this article.
To get to the performance at this venue, you have to go to Bolshaya Dmitrovka Street, building 4, building 2. Fundamental difference There is no way to get to the New Stage. You can use the same car routes and tips for traveling by metro. The thing is that the New Stage is located in close proximity to the main building. It is located across Shchepkinsky Proezd, also overlooking Teatralnaya Square. Directly in front of it is the building of the Russian Academic Youth Theater, which, like the BT itself, directly overlooks Teatralnaya Square.
Now you know where the New Stage of the Bolshoi Theater is located.
History of the New Stage
Finding out where the New Stage of the Bolshoi Theater is located has become important relatively recently. After all, it opened only in 2002.
Construction of the building began in 1995. The building appeared on the site of historical apartment buildings. The designers approached the design of the auditorium with great care. It was built according to sketches created by the famous set designer and designer Leon Bakst, as revised by the Soviet and Russian monumental artist Zurab Tsereteli.
The first production on New scene The Bolshoi Theater staged the opera "The Snow Maiden" by Rimsky-Korsakov. It is noteworthy that during the reconstruction of the main stage of the Bolshoi Theater, which lasted from 2005 to 2011, the entire repertoire of the theater was performed on the New Stage.
The Bolshoi Theater is one of the main symbols of the greatness of the culture of our state.
It was on the stage of the Bolshoi Theater that the first Russian operas and ballets were staged. Thanks to the Bolshoi Theater's productions, Russian vocal and ballet schools have earned recognition throughout the world.
The year of foundation of the theater is considered to be 1776, when Pyotr Urusov received permission from Catherine II “to support him with all kinds of theatrical performances, as well as concerts, vocals and masquerades, and not to allow anyone other than him any such entertainment at all times appointed by privilege, so that he would not be undermined.” was". Construction of the Bolshoi Theater began three years later on Pokrovka Street. But this project was not destined to come true; even before construction was completed, the building burned down. The construction of the theater was continued by Urusov's partner. But this building also burned down during the capture of Moscow by Napoleon in 1812.
The new building of the Bolshoi Theater, erected in 1825 according to the design of architects O. Bove and A. Mikhailov, became one of the most beautiful theater buildings in the world. However, the fire did not spare this building either. In the 1850s, the architect Kavos made significant changes to the building.
Now it is a magnificent eight-column building, above the portico of which there is a sculpture of the chariot of the god Apollo. The inside of the room is decorated in red and gold tones, this gives the theater a special splendor and solemnity. The auditorium has a capacity of 2155 seats.
The Bolshoi Theater hosted world premieres of famous operas: P.I. Tchaikovsky “The Voevoda”, “Mazeppa”; S.V. Rachmaninov "Aleko", " Stingy Knight"; S.P. Prokofiev's "The Gambler" and many other composers. In the modern repertoire of the Bolshoi Theater classic masterpieces world art. The Bolshoi Theater, intended for the production of serious operas and ballets, does not forget about small fans.
This is how the Bolshoi Theater posters tell the story of the ballet “Cipollino”: “More than a quarter of a century has passed since the day when the cheerful onion-colored family from Gianni Rodari’s beloved fairy tale settled on the Moscow stage. The simple-minded fairy tale about the struggle of the garden people against fruit oppressors is in every way similar to a real adult ballet. The performance consists of two acts. Classical dance cleared of convention and “arranged” to modern style. There is no tedious explanation in sign language - the action flies rapidly forward, and each character is endowed with his own unique choreographic language. This is probably why the most famous masters of the Bolshoi Theater did not refuse the “matinee.”
There is a children's choir at the Bolshoi Theater. It accepts gifted children over five years of age who have passed the audition.
In continuation of the series of stories about opera houses around the world, I want to talk about the Bolshoi Opera Theater in Moscow. State academic theater Opera and Ballet of Russia, or simply the Bolshoi Theater, is one of the largest opera and ballet theaters in Russia and one of the largest opera and ballet theaters in the world. Located in the center of Moscow, on Teatralnaya Square. The Bolshoi Theater is one of the main assets of the city of Moscow
The origin of the theater dates back to March 1776. This year, Groti ceded his rights and obligations to Prince Urusov, who undertook to build a stone public theater in Moscow. With the assistance of the famous M.E. Medox, a place was chosen on Petrovskaya Street, in the parish of the Church of the Savior, in Kopje. By tireless labor Medoxa was built in five months Grand Theatre, according to the plan of the architect Rosberg, cost 130,000 rubles. Petrovsky Theater of Medox stood for 25 years - on October 8, 1805, during the next Moscow fire, the theater building burned down. The new building was built by K.I. Rossi on Arbat Square. But it, being wooden, burned down in 1812, during Napoleon’s invasion. In 1821, construction of the theater began on the original site according to the design of O. Bove and A. Mikhailov.
The theater opened on January 6, 1825 with the performance “The Triumph of the Muses.” But on March 11, 1853, the theater burned down for the fourth time; The fire preserved only the stone outer walls and the colonnade of the main entrance. In three years, the Bolshoi Theater was restored under the leadership of architect A.K. Kavos. To replace the alabaster sculpture of Apollo that was lost in the fire, a bronze quadriga by Pyotr Klodt was installed above the entrance portico. The theater was reopened on August 20, 1856.
In 1895, a major renovation of the theater building was carried out, after which many wonderful operas were staged in the theater, such as “Boris Godunov” by M. Mussorgsky, “The Woman of Pskov” by Rimsky-Korsakov with Chaliapin in the role of Ivan the Terrible and many others. In 1921-1923, another reconstruction of the theater building took place, and the building was also reconstructed in the 40s and 60s
Above the pediment of the Bolshoi Theater is a sculpture of Apollo, patron of the arts, in a chariot drawn by four horses. All figures of the composition are hollow, made of sheet copper. The composition was made by Russian craftsmen in XVIII century based on the model of sculptor Stepan Pimenov
The theater includes a ballet and opera troupe, the Bolshoi Theater Orchestra and the Stage Brass Band. At the time of the theater's creation, the troupe included only thirteen musicians and about thirty artists. At the same time, the troupe initially had no specialization: dramatic actors took part in operas, and singers and dancers - in dramatic performances. So, the troupe in different time included Mikhail Shchepkin and Pavel Mochalov, who sang in operas by Cherubini, Verstovsky and other composers 
Throughout the history of the Bolshoi Theater in Moscow, its artists, in addition to admiration and gratitude from the public, have repeatedly received various signs of recognition from the state. During the Soviet period, more than 80 of them received the title of People's Artists of the USSR, Stalin and Lenin Prizes, eight were awarded the title of Heroes of Socialist Labor. Among the theater soloists are such outstanding Russian singers as Sandunova, Zhemchugova, E. Semyonova, Khokhlov, Korsov, Deisha-Sionitskaya, Salina, Nezhdanova, Chaliapin, Sobinov, Zbrueva, Alchevsky, E. Stepanova, V. Petrov, the Pirogov brothers, Katulskaya, Obukhova, Derzhinskaya, Barsova, L. Savransky, Ozerov, Lemeshev, Kozlovsky, Reizen, Maksakova, Khanaev, M. D. Mikhailov, Shpiller, A. P. Ivanov, Krivchenya, P. Lisitsian, I. Petrov, Ognivtsev, Arkhipova, Andzhaparidze, Oleinichenko, Mazurok, Vedernikov, Eizen, E. Kibkalo, Vishnevskaya, Milashkina, Sinyavskaya, Kasrashvili, Atlantov, Nesterenko, Obraztsova and others.
Of the singers more younger generation who came forward in the 80-90s, it is necessary to note I. Morozov, P. Gluboky, Kalinina, Matorin, Shemchuk, Rautio, Tarashchenko, N. Terentyeva. Major conductors Altani, Suk, Cooper, Samosud, Pazovsky, Golovanov, Melik-Pashaev, Nebolsin, Khaikin, Kondrashin, Svetlanov, Rozhdestvensky, Rostropovich worked at the Bolshoi Theater. Rachmaninov (1904-06) performed here as a conductor. Among the best directors of the theater are Bartsal, Smolich, Baratov, B. Mordvinov, Pokrovsky. The stage of the Bolshoi Theater hosted tours of the world's leading opera houses: La Scala (1964, 1974, 1989), Vienna State Opera(1971), Berlin Komische Oper (1965)
Bolshoi Theater repertoire
During the theater's existence, more than 800 works were staged here. The Bolshoi Theater's repertoire includes such operas as "Robert the Devil" by Meyerbeer (1834), "The Pirate" by Bellini (1837), "Hans Geiling" by Marschner, "The Postman from Longjumeau" by Adam (1839), "The Favorite" by Donizetti (1841), "The Mute of Portici" by Auber (1849), "La Traviata" by Verdi (1858), "Il Trovatore", "Rigoletto" by Verdi (1859), "Faust" by Gounod (1866), "Mignon" by Thomas (1879), "Un ballo in maschera" "Verdi (1880), Wagner's Siegfried (1894), Berlioz's The Trojans in Carthage (1899), " Flying Dutchman"Wagner (1902), "Don Carlos" by Verdi (1917), "The Dream of summer night"Britten (1964), "The Castle of Duke Bluebeard" by Bartok, "The Spanish Hour" by Ravel (1978), "Iphigenia in Aulis" by Gluck (1983) and others. 
The Bolshoi Theater hosted world premieres of Tchaikovsky's operas "The Voevoda" (1869), "Mazeppa" (1884), and "Cherevichki" (1887); Rachmaninov's operas "Aleko" (1893), "Francesca da Rimini" and "The Miserly Knight" (1906), Prokofiev's "The Gambler" (1974), a number of operas by Cui, Arensky and many others. 
On turn of the 19th century and the 20th century the theater reaches its peak. Many St. Petersburg artists are seeking the opportunity to participate in Bolshoi Theater performances. The names of F. Chaliapin, L. Sobinov, A. Nezhdanova are becoming widely known throughout the world. In 1912 Fyodor Chaliapin staged M. Mussorgsky’s opera “Khovanshchina” at the Bolshoi Theater.
In the photo Fyodor Chaliapin 
During this period, Sergei Rachmaninov collaborated with the theater, who proved himself not only as a composer, but also as an outstanding opera conductor, attentive to style features performed work and sought in the performance of operas a combination of fiery temperament with subtle orchestral finishing. Rachmaninov improves the organization of the conductor's work - so, thanks to Rachmaninov, it is transferred to his own modern place conductor's console, previously located behind the orchestra (facing the stage).
In the photo Sergei Vasilievich Rachmaninov
The first years after the 1917 revolution are characterized by the struggle to preserve the Bolshoi Theater as such and, secondly, to preserve part of its repertoire. Operas such as The Snow Maiden, Aida, La Traviata and Verdi in general were attacked for ideological reasons. There were also proposals to destroy ballet, as “a relic of the bourgeois past.” However, despite this, both opera and ballet continued to develop in Moscow. The opera is dominated by works by Glinka, Tchaikovsky, Borodin, Rimsky-Korsakov, and Mussorgsky. In 1927, director V. Lossky was born new edition"Boris Godunov". Operas are staged Soviet composers- “Trilby” by A. Yurasovsky (1924), “Love for Three Oranges” by S. Prokofiev (1927).
In the 1930s, Joseph Stalin’s demand for the creation of “Soviet opera classics” appeared in the press. Works by I. Dzerzhinsky, B. Asafiev, R. Gliere are staged. At the same time, a strict ban on works is introduced foreign composers. In 1935 with great success The public is premiering D. Shostakovich’s opera “Lady Macbeth” Mtsensk district" However, this work, highly appreciated throughout the world, causes sharp discontent at the top. The well-known article “Confusion Instead of Music,” authored by Stalin, became the reason for the disappearance of Shostakovich’s opera from the repertoire of the Bolshoi Theater
During the Great Patriotic War, the Bolshoi Theater was evacuated to Kuibyshev. The theater celebrates the end of the war with bright premieres of S. Prokofiev’s ballets “Cinderella” and “Romeo and Juliet,” in which Galina Ulanova shone. In subsequent years, the Bolshoi Theater turned to the work of composers “ fraternal countries- Czechoslovakia, Poland and Hungary, and also revises productions of classical Russian operas (new productions of “Eugene Onegin”, “Sadko”, “Boris Godunov”, “Khovanshchina” and many others are being created). Most of These productions were carried out by opera director Boris Pokrovsky, who came to the Bolshoi Theater in 1943. His performances in these years and the next few decades served as the “face” of the Bolshoi Theater opera
The Bolshoi Theater troupe often tours, having success in Italy, Great Britain, the USA and many other countries 
Currently, the Bolshoi Theater's repertoire retains many classical productions of opera and ballet performances, but at the same time the theater strives for new experiments. Directors who have already gained fame as film directors are involved in working on operas. Among them are A. Sokurov, T. Chkheidze, E. Nyakrosius and others. Some new productions of the Bolshoi Theater aroused the disapproval of part of the public and the honored masters of the Bolshoi. Thus, a scandal accompanied the production of L. Desyatnikov’s opera “Children of Rosenthal” (2005), due to the reputation of the author of the libretto, writer V. Sorokin. Indignation and rejection of the new play “Eugene Onegin” (2006, director D. Chernyakov) was expressed by famous singer Galina Vishnevskaya, refusing to celebrate her anniversary on the Bolshoi stage, where similar productions are staged. At the same time, the mentioned performances, no matter what, have their fans
The history of the Bolshoi Theater, which is celebrating its 225th anniversary, is as majestic as it is complicated. From it you can equally well create an apocrypha and an adventure novel. The theater burned down several times, was restored, rebuilt, its troupe merged and separated.
Twice Born (1776-1856)
The history of the Bolshoi Theater, which is celebrating its 225th anniversary, is as majestic as it is complicated. From it you can equally well create an apocrypha and an adventure novel. The theater burned down several times, was restored, rebuilt, its troupe merged and separated. And even the Bolshoi Theater has two dates of birth. Therefore, his centenary and bicentennial anniversaries will be separated not by a century, but by only 51 years. Why? Initially, the Bolshoi Theater counted its years from the day when a splendid eight-column theater with the chariot of the god Apollo above the portico appeared on Teatralnaya Square - the Bolshoi Petrovsky Theater, the construction of which became a real event for Moscow early XIX century. A beautiful building in a classical style, decorated inside in red and gold tones, according to contemporaries, it was the best theater in Europe and in scale was second only to Milan's La Scala. Its opening took place on January 6 (18), 1825. In honor of this event, the prologue “The Triumph of the Muses” by M. Dmitriev with music by A. Alyabiev and A. Verstovsky was given. It allegorically depicted how the Genius of Russia, with the help of the muses, on the ruins of the Medox Theater creates a new beautiful art - the Bolshoi Petrovsky Theater.
However, the troupe whose forces performed the Triumph of the Muses, which caused universal admiration, had already existed for half a century by that time.
It was started by the provincial prosecutor, Prince Pyotr Vasilyevich Urusov, in 1772. On March 17 (28), 1776, the highest permission followed “to support him with all kinds of theatrical performances, as well as concerts, vauxhalls and masquerades, and besides him, no one should be allowed any such entertainment at all times appointed by privilege, so that he would not be undermined.”
Three years later, he petitioned Empress Catherine II for a ten-year privilege to maintain a Russian theater in Moscow, undertaking to build a permanent theater building for the troupe. Alas, the first Russian theater in Moscow on Bolshaya Petrovskaya Street burned down even before it opened. This led to the decline of the prince's affairs. He handed over the affairs to his companion, the Englishman Mikhail Medox - an active and enterprising man. It was thanks to him that in the wasteland regularly flooded by Neglinka, despite all the fires and wars, the theater grew, which over time lost its geographical prefix Petrovsky and remained in history simply as the Bolshoi.
And yet, the Bolshoi Theater begins its chronology on March 17 (28), 1776. Therefore, in 1951 the 175th anniversary was celebrated, in 1976 - the 200th anniversary, and ahead is the 225th anniversary of the Bolshoi Theater of Russia.
Bolshoi Theater in mid-19th century
The symbolic name of the performance that opened the Bolshoi Petrovsky Theater in 1825, “The Triumph of the Muses,” predetermined its history over the next quarter of a century. The participation in the first performance of outstanding stage masters - Pavel Mochalov, Nikolai Lavrov and Angelica Catalani - set the highest performing level. Second quarter XIX century is the awareness of Russian art, and the Moscow theater in particular, of its national identity. The work of composers Alexei Verstovsky and Alexander Varlamov, who were at the head of the Bolshoi Theater for several decades, contributed to its extraordinary rise. Thanks to their artistic will, Russian culture took shape on the Moscow Imperial stage. opera repertoire. It was based on Verstovsky’s operas “Pan Tvardovsky”, “Vadim, or the Twelve Sleeping Maidens”, “Askold’s Grave”, and the ballets “The Magic Drum” by Alyabyev, “The Fun of the Sultan, or the Slave Seller”, “Tom Thumb” by Varlamov.
The ballet repertoire was not inferior to the operatic repertoire in richness and variety. The head of the troupe, Adam Glushkovsky, a graduate of the St. Petersburg ballet school, a student of C. Didelot, who headed the Moscow ballet even before the Patriotic War of 1812, created original performances: “Ruslan and Lyudmila, or the Overthrow of Chernomor, evil wizard", "Three Belts, or Russian Cendrillon", "Black Shawl, or Punished Infidelity", transferred to the Moscow stage best performances Didlo. They showed the excellent training of the corps de ballet, the foundations of which were laid by the choreographer himself, who was also at the head of the ballet school. The main roles in the performances were performed by Glushkovsky himself and his wife Tatyana Ivanovna Glushkovskaya, as well as the Frenchwoman Felicata Gyullen-Sor.
The main event in the activities of the Moscow Bolshoi Theater in the first half of the last century were the premieres of two operas by Mikhail Glinka. Both of them were first staged in St. Petersburg. Despite the fact that it was already possible to get from one Russian capital to another by train, Muscovites had to wait several years for new products. “A Life for the Tsar” was first performed at the Bolshoi Theater on September 7 (19), 1842. “...How can I express the surprise of true music lovers when, from the first act, they were convinced that this opera resolved an issue that was important for art in general and for Russian art in particular, namely: the existence of Russian opera, Russian music... With Glinka’s opera is something that has long been sought and not found in Europe, new element in art, and a new period begins in its history - the period of Russian music. Such a feat, let’s say, hand on heart, is a matter not only of talent, but of genius!” - exclaimed outstanding writer, one of the founders of Russian musicology V. Odoevsky.
Four years later, the first performance of “Ruslan and Lyudmila” took place. But both of Glinka’s operas, despite favorable reviews from critics, did not last long in the repertoire. Even the participation in the performances of guest performers - Osip Petrov and Ekaterina Semenova, who were temporarily forced out of St. Petersburg by Italian singers, did not save them. But decades later, it was “A Life for the Tsar” and “Ruslan and Lyudmila” that became the favorite performances of the Russian public; they were destined to defeat the Italian opera mania that arose in the middle of the century. And according to tradition, the Bolshoi Theater opened each theater season with one of Glinka’s operas.
On the ballet stage, by the middle of the century, performances on Russian themes, created by Isaac Abletz and Adam Glushkovsky, were also supplanted. Western romanticism ruled the roost. “La Sylphide,” “Giselle,” and “Esmeralda” appeared in Moscow almost immediately after their European premieres. Taglioni and Elsler drove Muscovites crazy. But the Russian spirit continued to live in the Moscow ballet. Not a single guest performer could outshine Ekaterina Bankskaya, who performed in the same performances as visiting celebrities.
In order to accumulate strength before the next upsurge, the Bolshoi Theater had to endure many shocks. And the first of these was the fire that destroyed the Osip Bove Theater in 1853. All that was left of the building was a charred shell. The scenery, costumes, rare instruments, and music library were destroyed.
In the competition for best project The restoration of the theater was won by the architect Albert Kavos. In May 1855 they began construction works, which were completed after 16 (!) months. In August 1856, V. Bellini’s opera “The Puritans” opened new theater. And there was something symbolic in the fact that it opened with Italian opera. The actual tenant of the Bolshoi Theater soon after its opening was the Italian Merelli, who brought a very strong Italian troupe to Moscow. The public, with the delight of converts, preferred Italian opera to Russian. All of Moscow flocked to listen to Desiree Artaud, Pauline Viardot, Adeline Patti and other Italian opera idols. The auditorium at these performances was always crowded.
The Russian troupe had only three days a week left - two for ballet and one for opera. Russian opera, which did not have material support, abandoned by the public, was a sad sight.
And yet, despite any difficulties, the Russian operatic repertoire is steadily expanding: in 1858 “Rusalka” by A. Dargomyzhsky was presented, two operas by A. Serov - “Judith” (1865) and “Rogneda” (1868) - were staged for the first time. , “Ruslan and Lyudmila” by M. Glinka is resumed. A year later, P. Tchaikovsky made his debut on the stage of the Bolshoi Theater with the opera “The Voevoda”.
A turning point in public tastes occurred in the 1870s. Russian operas appear one after another in the Bolshoi Theater: “The Demon” by A. Rubinstein (1879), “Eugene Onegin” by P. Tchaikovsky (1881), “Boris Godunov” by M. Mussorgsky (1888), “ Queen of Spades"(1891) and "Iolanta" (1893) by P. Tchaikovsky, "The Snow Maiden" by N. Rimsky-Korsakov (1893), "Prince Igor" by A. Borodin (1898). Following the only Russian prima donna Ekaterina Semenova, a whole galaxy of outstanding singers appear on the Moscow stage. These are Alexandra Alexandrova-Kochetova, and Emilia Pavlovskaya, and Pavel Khokhlov. And they are already, not Italian singers, become favorites of the Moscow public. In the 70s, the owner of the most beautiful contralto, Eulalia Kadmina, enjoyed special affection from the audience. “Perhaps the Russian public has never known, either earlier or later, such a unique, full of real tragic force performer,” they wrote about her. M. Eikhenwald was called the unsurpassed Snow Maiden, the idol of the public was the baritone P. Khokhlov, whom Tchaikovsky highly valued.
In the middle of the century, the Bolshoi Theater ballet featured Marfa Muravyova, Praskovya Lebedeva, Nadezhda Bogdanova, Anna Sobeshchanskaya, and in their articles about Bogdanova, journalists emphasized “the superiority of the Russian ballerina over European celebrities.”
However, after their departure from the stage, the Bolshoi Theater ballet found itself in a difficult situation. Unlike St. Petersburg, where the single artistic will of the choreographer dominated, ballet Moscow in the second half of the century was left without a talented leader. The visits of A. Saint-Leon and M. Petipa (who staged Don Quixote at the Bolshoi Theater in 1869, and debuted in Moscow before the fire, in 1848) were short-lived. The repertoire was filled with random one-day performances (the exception was Sergei Sokolov’s Fernnik, or Midsummer Night, which lasted a long time in the repertoire). Even the production ended in failure " Swan Lake"(choreographer - Wenzel Reisinger) P. Tchaikovsky, who created his first ballet specifically for the Bolshoi Theater. Each new premiere only irritated the public and the press. The auditorium at ballet performances, which in the middle of the century provided a substantial income, began to be empty. In the 1880s, the question of liquidating the troupe was seriously raised.
And yet, thanks to such outstanding masters as Lydia Gaten and Vasily Geltser, the Bolshoi Theater ballet was preserved.
On the eve of the new century XX
Approaching the turn of the century, the Bolshoi Theater lived hectic life. At that time Russian art was approaching one of the peaks of its heyday. Moscow was at the center of the seething artistic life. A stone's throw from Theater Square, the Moscow Public Art Theater opened, the whole city was eager to see performances of the Mamontov Russian Private Opera and symphony meetings of the Russian musical society. Not wanting to lag behind and lose viewers, the Bolshoi Theater quickly made up for lost time in previous decades, ambitiously wanting to fit into the Russian cultural process.
This was facilitated by two experienced musicians who came to the theater at that time. Hippolyte Altani led the orchestra, Ulrich Avranek led the choir. The professionalism of these groups, which had grown significantly not only quantitatively (each had about 120 musicians), but also qualitatively, invariably aroused admiration. Outstanding masters shone in the Bolshoi Theater opera troupe: Pavel Khokhlov, Elizaveta Lavrovskaya, Bogomir Korsov continued their careers, Maria Deisha-Sionitskaya came from St. Petersburg, Lavrenty Donskoy, a native of Kostroma peasants, became the leading tenor, Margarita Eikhenwald was just beginning her career.
This made it possible to include virtually all world classics- operas by G. Verdi, V. Bellini, G. Donizetti, S. Gounod, J. Meyerbeer, L. Delibes, R. Wagner. New works by P. Tchaikovsky regularly appeared on the stage of the Bolshoi Theater. With difficulty, but still, the composers of the New Russian School made their way: in 1888 the premiere of “Boris Godunov” by M. Mussorgsky took place, in 1892 - “The Snow Maiden”, in 1898 - “The Night Before Christmas” by N. Rimsky - Korsakov.
In the same year, A. Borodin’s “Prince Igor” appeared on the Moscow Imperial stage. This revived interest in the Bolshoi Theater and contributed to no small extent to the fact that by the end of the century singers joined the troupe, thanks to whom the Bolshoi Theater opera reached enormous heights in the next century. In excellent professional form he approached end of the 19th century century and the Bolshoi Theater ballet. The Moscow Theater School worked without interruption, producing well-trained dancers. Caustic feuilleton reviews, such as the one posted in 1867: “What are the corps de ballet sylphs like now?.. all so plump, as if they deigned to eat pancakes, and their legs are dragging as they please” - have become irrelevant. The brilliant Lydia Gaten, who had no rivals for two decades and carried the entire ballerina repertoire on her shoulders, was replaced by several world-class ballerinas. One after another, Adelina Jury, Lyubov Roslavleva, and Ekaterina Geltser made their debuts. Vasily Tikhomirov was transferred from St. Petersburg to Moscow, becoming the premier of the Moscow ballet for many years. True, unlike the masters of the opera troupe, so far there was no worthy application for their talents: the secondary, meaningless extravaganza ballets of Jose Mendes reigned on the stage.
It is symbolic that in 1899, with the transfer of Marius Petipa’s ballet “The Sleeping Beauty”, choreographer Alexander Gorsky, whose name is associated with the heyday of Moscow ballet in the first quarter of the 20th century, made his debut on the stage of the Bolshoi Theater.
In 1899, Fyodor Chaliapin joined the troupe.
At the Bolshoi Theater it began new era, which coincided with the onset of a new one, XX century
It's 1917
By the beginning of 1917, nothing foreshadowed revolutionary events at the Bolshoi Theater. True, there were already some self-government bodies, for example, the corporation of orchestra artists, headed by the accompanist of the 2-violin group, Y. K. Korolev. Thanks to active actions Corporation, the orchestra received the right to organize symphony concerts at the Bolshoi Theater. The last of them took place on January 7, 1917 and was dedicated to the work of S. Rachmaninov. The author conducted. "The Cliff", "Island of the Dead" and "Bells" were performed. The Bolshoi Theater choir and soloists - E. Stepanova, A. Labinsky and S. Migai - took part in the concert.
On February 10, the theater showed the premiere of “Don Carlos” by G. Verdi, which became the first production of this opera on the Russian stage.
After the February Revolution and the overthrow of the autocracy, the management of the St. Petersburg and Moscow theaters remained common and was concentrated in the hands of their former director V. A. Telyakovsky. March 6, by order of the commissioner of the temporary committee State Duma N. N. Lvov A. I. Yuzhin was appointed authorized commissioner for the management of Moscow theaters (Big and Small). On March 8, at a meeting of all employees of the former imperial theaters - musicians, opera soloists, ballet dancers, stage workers - L.V. Sobinov was unanimously elected manager of the Bolshoi Theater, and this election was approved by the Ministry of the Provisional Government. On March 12, the search arrived; artistic part from the economic and service parts, and L. V. Sobinov headed the actual artistic part of the Bolshoi Theater.
It must be said that “His Majesty’s Soloist”, “Soloist Imperial theaters“L. Sobinov broke the contract with the Imperial Theaters back in 1915, unable to fulfill all the whims of the management, and performed either in performances of the Musical Drama Theater in Petrograd or at the Zimin Theater in Moscow. When it happened February Revolution, Sobinov returned to the Bolshoi Theater.
On March 13, the first “free gala performance” took place at the Bolshoi Theater. Before it began, L. V. Sobinov made a speech:
Citizens and citizens! With today's performance, our pride, the Bolshoi Theater, opens the first page of its new free life. Bright minds and pure, warm hearts united under the banner of art. Art sometimes inspired fighters of ideas and gave them wings! The same art, when the storm that made the whole world tremble subsides, will glorify and sing folk heroes. From their immortal feat it will draw bright inspiration and endless strength. And then the two best gifts of the human spirit - art and freedom - will merge into a single powerful stream. And our Bolshoi Theater, this marvelous temple of art, will become a temple of freedom in its new life.
March 31 L. Sobinov is appointed commissioner of the Bolshoi Theater and Theater School. His activities are aimed at combating the tendencies of the former management of the Imperial Theaters to interfere with the work of the Bolshoi. It comes to a strike. As a sign of protest against the encroachments on the autonomy of the theater, the troupe suspended the performance of the play “Prince Igor” and asked the Moscow Council of Workers’ and Soldiers’ Deputies to support the demands of the theater staff. The next day, a delegation was sent from the Moscow Soviet to the theater, welcoming the Bolshoi Theater in the fight for its rights. There is a document confirming the respect of the theater staff for L. Sobinov: “The Corporation of Artists, having elected you as director, as the best and staunch defender and exponent of the interests of art, convincingly asks you to accept this election and notify you of your consent.”
In order No. 1 of April 6, L. Sobinov addressed the team with the following appeal: “I make a special request to my comrades, opera, ballet, orchestra and choir artists, to all production, artistic, technical and service personnel, artistic, pedagogical the staff and members of the Theater School to make every effort to successfully complete the theater season and academic year of the school and to prepare, on the basis of mutual trust and comradely unity, for the upcoming work in the next theater year.”
In the same season, on April 29, the 20th anniversary of L. Sobinov’s debut at the Bolshoi Theater was celebrated. The opera “The Pearl Fishers” by J. Bizet was performed. The comrades on stage warmly welcomed the hero of the day. Without taking off his make-up, in Nadir’s costume, Leonid Vitalievich delivered a response speech.
“Citizens, citizens, soldiers! I thank you from the bottom of my heart for your greeting and thank you not on my own behalf, but on behalf of the entire Bolshoi Theater, which Hard time you provided such moral support.
In the difficult days of the birth of Russian freedom, our theater, which until then had represented an unorganized collection of people who “served” at the Bolshoi Theater, merged into a single whole and based its future on an elective basis as a self-governing unit.
This elective principle saved us from destruction and breathed into us the breath of new life.
It would seem to live and be happy. The representative of the Provisional Government, appointed to liquidate the affairs of the Ministry of the Court and Appanages, met us halfway - he welcomed our work and, at the request of the entire troupe, gave me, the elected manager, the rights of a commissar and director of the theater.
Our autonomy did not interfere with the idea of uniting everyone state theaters in the interests of the state. For this, a person with authority and close to the theater was needed. Such a person was found. It was Vladimir Ivanovich Nemirovich-Danchenko.
This name is familiar and dear to Moscow: it would have united everyone, but... he refused.
Other people came, very respectable, respected, but alien to the theater. They came with the confidence that it would be people outside the theater who would give reforms and new beginnings.
Less than three days passed before attempts to end our self-government began.
Our elected offices have been postponed, and we are promised one of these days a new regulation on the management of theaters. We still don’t know who and when it was developed.
The telegram vaguely says that it meets the wishes of theater workers, which ones we do not know. We did not participate, were not invited, but we know that the recently released chains of command are again trying to confuse us, again the discretion of the command argues with the will of the organized whole, and the quieted command rank raises its voice, accustomed to shouts.
I could not take responsibility for such reforms and resigned as director.
But as an elected theater manager, I protest against the capture of the fate of our theater in irresponsible hands.
And we, our entire community, are now turning to representatives public organizations and the Soviets of Workers' and Soldiers' Deputies to support the Bolshoi Theater and not give it to Petrograd reformers for administrative experiments.
Let them take care of the stable department, the appanage winemaking, and the card factory, but they will leave the theater alone.”
Some provisions of this speech require clarification.
A new regulation on the management of theaters was issued on May 7, 1917 and provided for separate management of the Maly and Bolshoi theaters, and Sobinov was called a commissioner for the Bolshoi Theater and the Theater School, and not a commissioner, i.e., in fact, a director, according to the order of March 31.
When mentioning the telegram, Sobinov means the telegram he received from the Commissioner of the Provisional Government for the department of the former. courtyard and estates (this included the stable department, winemaking, and card factory) of F.A. Golovin.
And here is the text of the telegram itself: “I am very sorry that due to a misunderstanding you resigned. I urge you to continue working until the matter is clarified. One of these days there will be a new one general position about the management of theaters, known to Yuzhin, meeting the wishes of theater workers. Commissioner Golovin."
However, L.V. Sobinov does not cease to direct the Bolshoi Theater and works in contact with the Moscow Council of Workers' and Soldiers' Deputies. On May 1, 1917, he himself took part in a performance in favor of the Moscow Council at the Bolshoi Theater and performed excerpts from Eugene Onegin.
Already on the eve October revolution, October 9, 1917. The Political Directorate of the War Ministry sends the following letter: “To the Commissioner of the Moscow Bolshoi Theater L.V. Sobinov.
According to the petition of the Moscow Council of Workers' Deputies, you are appointed commissar over the theater of the Moscow Council of Workers' Deputies ( former theater Zimina)".
After the October Revolution, E.K. Malinovskaya was placed at the head of all Moscow theaters, who was considered the commissar of all theaters. L. Sobinov remained as director of the Bolshoi Theater, and an (elected) council was created to help him.
