Large children's choir. Bolshoi Children's Choir Bolshoi Theater admission to the children's choir

BIG THEATER

After returning from Germany, Rita found herself without work and without means of subsistence. By the time the singer arrived, another monetary reform in the country had devalued all her savings, which were in rubles. Friends at the conservatory suggested that she go straight to the Bolshoi Theater to audition. If they don’t accept you, you’ll go to another one.
“Rit, you just underestimate yourself,” they told her. - With such a voice you will shine on the stages of La Scala and Covent Garden.
But Rita was very self-critical of herself: “No, no,” she thought, “only very talented singers sing at the Bolshoi, such as Tamara Sinyavskaya, Elena Obraztsova, Evgeny Nesterenko, and who am I? No, that’s out of the question.” On one of these cloudy days, Rita received a call from her conservatory classmate Elena Bryleva. She was already singing at the Bolshoi Theater then, and says:
- Rita, we are starting a tour in Germany soon. Would you like to come with us? We are going under the heading: “Soloists of the Bolshoi Theater present!”.
Rita initially began to refuse:
- Lena, due to the fact that I am not a soloist of the Bolshoi, I will not be able to go. How to deceive people?
- Come on, be modest! You'll sing the best there. Nobody will notice. You see, we urgently need to replace one singer!
And Bryleva showed the conservatory recordings of the impresario, Rita was approved for the concert program. In Germany, she performed individual arias from operas and romances no worse than theater soloists. Therefore, during the tour, the guys from the troupe liked her so much that upon returning home, they took her under their wing and brought her to the theater to audition. It was the middle of the year. All competitions have long passed. But eminent soloists, especially Vladimir Bogachev, insisted to K. I. Baskov and E. T. Raikov, the leaders of the opera troupe, that they meet with Rita. And after a successful audition, she was accepted into the Bolshoi Theater as a trainee, but without a salary.
- You sing for now as a trainee, and by spring you will pass the competition along with everyone else.
There was no limit to the joy in her soul. A wave of feelings and emotions splashed out. This was a very big milestone that she had to take on the path of her solo career. At home she shouted from the doorway:
- Mom, I was accepted as an intern at the Bolshoi Theater!!!
“It can’t be,” said the mother and sat down on a chair.
...Bolshoi Theater! So that's what you are, a giant with a front colonnade and a quadriga on the pediment, ruled by Apollo. One of the best theaters in the world, a treasure of musical art.
“To be an opera singer today is to be able to re-create the stage image of the era when the opera was written, to convey to the viewer the embodiment of the synthesis of music and drama. - Rita thought. - One voice is not enough, you also have to be a real artist. You just have to imagine that more than two thousand people are looking at you from a gilded hall with numerous tiers, it’s so breathtaking. Will I be able to show myself adequately on stage? And Rita plunged headlong into the difficult life of the theater, with all its intrigues, undercurrents, and the struggle for survival.
The Bolshoi Theater has always been under the patronage of the state. No wonder it was called Imperial, and now Academic, State. At one time, Stalin loved to patronize the theater, like the Tsar Father to his serf artists. Then the Tsar died. Long live the new King! But serfdom towards the soloists of the theater troupe remained.
In subsequent years, the attitude towards the Bolshoi changed for the worse: the high rates for the first soloists disappeared, and the size of the pension dropped significantly. For the same money it was possible to go on stage less often, and leading artists flocked to the theater clinic to get sick leave. Then the same “school” of the best voices in Russia began to fly to “warmer climes” - to the west, where the artist’s material conditions are an order of magnitude higher. There was a “drain” of brains, voices and other important organs of the human factor in the country. What will remain? But what remains is what we will live with! And since that time, the Bolshoi Theater has been slowly going downhill: the ill-conceived repertoire policy of the opera directors, the low level of vocalists. As the new artistic director and chief conductor of the theater Gennady Rozhdestvensky said, spectators come to the theater mainly not to watch the performance, but to admire the gilded walls of the hall and the huge crystal chandelier."
...But six months have passed since Rita has been working here. During this time, she played various small roles on stage in operas. However, in Iolanta, which was performed two or three times a week, she managed to sing the part of Laura. The conductors already knew her vocal abilities and, when it came to the competition in the spring of 1993, she was allowed to come straight to the third round, bypassing the two previous qualifying rounds. The day before the competition, a bell rang in the apartment. Rita picked up the phone; a friend of the theater soloists was calling. There are disservices, and this is some kind of crocodile advice:
- If you don’t give money to someone who needs it, then know that they won’t accept you!
- But I don’t have them! - Rita answered in a fallen voice.
And how can they be if an intern in a theater works without any salary at all? My parents never had extra money. Maybe borrow from friends? No, I won't! Come what may! And in upset feelings I went to the competition.
The third round took place on the main stage of the theater. You have to sing with an orchestra without rehearsal, just look at the conductor, who will show all the introductions and determine the tempo. This competition is held throughout the country. Hundreds of vocalists take part in it, but only a few people who were sitting in the hall and tremblingly awaiting their fate reach the third round. Rita decided to sing Rosina's aria from the opera The Barber of Seville. The excitement did not go away, but rather grew as the entrance to the stage approached. It's no joke to become a soloist of the Bolshoi Theater. She tried to focus only on the aria, but all sorts of disturbing thoughts kept popping into her head. Damn this money! Forward, and with your head held high! And Rita did as her teacher Nina Lvovna taught her: she got up early (she still couldn’t sleep), came to the theater two hours before and sang for about an hour. Before going on stage, her voice already sounded great, but excitement took over again when her appearance was announced. Her legs became weak, internal tension grew, and she thought to herself: “Lord, just don’t forget the words!” The aria was learned three days before the competition. But the experience of performing in the Children's Choir and from the stage of the Bolshoi Theater as a trainee took its toll. Rita pulled herself together, calmed down and put so much emotion and inspiration into the aria that her voice sounded beautiful and bright. She pronounced every word clearly, sending the sound to the farthest point of the hall.
“In the silence of midnight, your voice sang sweetly to me, It awakened many new dormant forces in my heart...” Rita performed Rosina’s Cavatina in Italian at a calm “Moderato” tempo and felt how the hall froze, how attentively the jury members listened. The voice disintegrated into a thousand small discords. The major turned to minor, then a sad adagio began. And after the quiet sounds of the night, a new wave of sounds of a sunny day came. “I don’t care about obstacles, I’ll put them on my own!” I will get along with my guardian, he will be my slave! Oh, Lindor, my gentle friend, I will not part with you!..” When she finished singing the last note, there was literally a dead pause in the hall for just a second, which seemed like an eternity to Rita, and the next moment it seemed to explode with applause. Stomping, screaming. The orchestra gave her a standing ovation: “Bravo, Maruna!” And Rita realized - this is a victory! Luck did not betray her this time either: contrary to all the forecasts of various “well-wishers,” fortune was on her side. She left the stage like in a dream. They asked her something, they congratulated her, but she didn’t remember anything. And when the jury announced that mezzo-soprano Margarita Maruna had been accepted immediately as a soloist into the theater’s opera troupe, without having to undergo an internship, Rita was simply shocked. As if all this was not happening to her. She couldn’t believe what had happened, or her success.
- Has the miracle that I wished for the New Year really happened?!
At the time of admission, Rita was already twenty-eight years old. Great opportunities lay ahead. Which path will she choose? How favorable will fate be to her in the future? These and other questions swarmed in her head. Olga Kurzhumova (soprano) entered the theater competition together with Rita. They will become friends. Rita will introduce her to a wonderful young musician from the theater - Stas Katenin, and will be the godmother of their little Klim...
Rita came to the theater at a time when the next wave of emigration of the best singers abroad had ended. There are still patriots at the Bolshoi who continue the traditions of the Russian school, despite all sorts of difficulties.
From the first days of working in the theater as a soloist, Rita studied new parts intensely at daily rehearsals. Over the next year, she played and sang such roles at the Bolshoi Theater as Laura in Iolanta by P. Tchaikovsky, Flora in La Traviata by G. Verdi, Cherubino in Le nozze di Figaro by W. A. ​​Mozart, Laura in The Stone Guest "A. Dargomyzhsky, Olga in "Eugene Onegin" by P. Tchaikovsky, Smeraldina the Blacka in "Love for Three Oranges" by S. Prokofiev. After listening to the parts of Lyubasha from the opera “The Tsar’s Bride” and Polina from “The Queen of Spades,” the theater conductor Andrei Nikolaevich Chistyakov invited Rita to go to the conductor’s room. He asked her to tell about herself, where she studied, who was her teacher. And then he said:
- Rita, you sing excellently. I would take you to all my performances right now, but I can’t: they’ll just devour me. Please wait a few years. Your time will come, and we will definitely work with you again.
Rita was accepted into the theater when V.M. Kokonin was its General Director, and A.N. Lazarev was the Chief Conductor. Then he was replaced by V.V. Vasiliev, and in 2000 G.N. Rozhdestvensky came. G. Iksanov became the General Director. A., and the main conductor of the theater is Ermler M.F.
The Bolshoi Theater is like a huge golden beehive, united into a single creative team. Here every person is a professional in his field. For more than two centuries, the theater has developed its own conservative laws and established strict rules. It seemed that behind the oak doors a completely different life was taking place, distinguished by its dynamics, bustle, and changes in power. It's just a state within a state.
The chief conductor and directors of opera and ballet have unlimited power over the artists, who can afford a lot in relation to their subordinates: early dismissal, despite the contract, and rudeness, regardless of the age, experience and skill of the soloist. Artists are people with exposed nerves, with “thin skin.” They are very sensitive to any manifestations: both good and bad addressed to them. And therefore, for the slightest positive attitude towards himself, the artist is ready to turn himself inside out while working on the role. And, on the contrary, with every unfair attitude towards himself, he can get a nervous breakdown or even a heart attack, which leads to loss of voice in singers or non-closure of ligaments or other occupational diseases, and in ballet dancers - pain in the back, arms and legs. How many times have soloists become hysterical after a performance because of rude, even fair, management? No one knows about this and will never know, but it happens to almost everyone. It is not without reason that they say that any artist must first be praised, praised and praised, and only then, very gently, pointed out his mistakes in his work.
For some time now, an unusual and difficult situation has developed in the theater. Why did this happen at the Bolshoi? Maybe someone will benefit from this!?! Conservative forms of government and the absence of a multi-talented leader - the new Diaghilev - led the once best theater in the country into decline.
Rita studied and recognized the artists and employees. She liked some, some didn’t, but she tried to stay on level terms with everyone, taking from them everything positive and valuable. She had to perform in performances with such famous soloists as M. Kasrashvili (soprano), V. Motorin, E. Nesterenko (bass), Y. Mazurok (baritone), Z. Sotkilava, V. Tarashchenko, V. Voinorovsky (tenor) and other wonderful vocalists. I had to work with such conductors as Chistyakov, P. Sorokin, A. Stepanov, P. Ferants, F. Mansurov and many other wonderful musicians.
For some time now, the Bolshoi Theater has introduced a contract system based on Western principles, although of a formal nature. The contract is concluded for a season, that is, for ten months. The soloist must be constantly prepared for the fact that he will be called to a rehearsal or to replace a sick artist in a performance at any time of the day, so everyone must be within telephone or mobile communication with the theater office.
To participate in the performance, the artist must audition at the competition and, after approval of your candidacy by the director or theater conductor, sign a contract. In the theater there are no restrictions on rehearsals or lessons with accompanists; study as much as you need. Rita worked mainly with pianists Valery Gerasimov, Alla Osipenko and Marina Agafonnikova - excellent musicians. After a few years, she knew almost all the parts written for her voice. There is a bad omen for soloists: if in an opera you stumble on a note once, then almost always the soloist will have a quirk at this point, and he will overcome this line with great difficulty. One day one of the employees at the theater asked Rita:
- What is your interesting surname? Ma-ru-na!? Are you by any chance Moldovan?
- Practically - yes! The gypsy blood just boils in me! I sing and play Carmen without makeup!
“Carmen” is Rita’s favorite part, and the pearl in it is “Habanera”. Every woman is Carmen at heart. But Wiese's Carmen does not love Jose until her last breath. A woman like Carmen cannot love a man for long. She is a gypsy and loves freedom more than Jose.
Rita perceived the new role as another offer of a new life. She reproduced the feelings and emotions of her hero, experiencing his life with him. Stanislavsky’s system is a system of “experience”, this is how they were trained at the conservatory, and experience came from performance to performance.
Performing on the stage of the Bolshoi Theater or at concerts, Rita always sought to instill a love of classical music in her listeners with her performance. She sang with her soul, captivating the audience. Of course, she understood that opera is mainly for the rich and intelligentsia; the audience for opera has always been small: not everyone understands classical vocals. The difficult legacy of communist times, when classical music was played mainly when one of the leaders of the CPSU died, also has an impact. And today it is difficult to rebuild the subconscious of the Russian people, who sometimes associate the classics with a funeral march. But, nevertheless, the public gladly goes to concerts to listen to opera singers Lyubov Kazarnovskaya and Nikolai Baskov. Opera is a very expensive and expensive pleasure. Even sold-out performances do not pay for themselves, so they must be subsidized in order to somehow stay afloat.
An artist does not necessarily need to have his own theater. You can work with different teams under a contract. But an artist must have his own audience, which adores him and without which the artist is not an artist.
Lately, Rita has increasingly come to the conclusion that a good modern singer can and should work in different musical genres: classics, romance, folk songs, with a chamber choir, lyrical pop music. The repertoire at the Bolshoi Theater opera is limited; young soloists also want modern music.
One leading singer was told every time after her performance: “You sang great today as always!” However, professionals know that no singer sings great all the time, and there are many reasons for this, especially for women.
Opera soloist Sergei Gaidei (tenor) recalled that once in the performance one pretty soprano diligently sang to the audience in a love scene with a cold gaze, turning away from her lover. Who will believe her that she loves him?
A star should not only shine from the stage, but also warm the viewer’s soul with its singing.
And yet, fans and soloists of the Bolshoi live in the hope that along with the major renovation of the theater, not only the foundation and walls will be renewed, but the level of the best theater in the country will rise to the proper height.

On the eve of the anniversary of the Department of Choral Conducting of the Moscow Conservatory. P.I. Tchaikovsky, celebrating its 90th anniversary next year, the Orpheus radio station is beginning a series of interviews with artists and graduates of the famous department. In the first issue of the anniversary series - a meeting with Yulia Molchanova, the director of the children's choir at the Bolshoi Theater.

- Yulia Igorevna, please tell us what is the history of the children’s choir at the Bolshoi Theater?

The children's choir is one of the oldest groups of the Bolshoi Theater, almost 90 years old. The appearance of the children's choir dates back to 1925-1930. Initially, it was a group of children of theater artists who took part in opera performances, because almost every opera performance has a part for a children's choir. Later, when the theater was evacuated during the Great Patriotic War, a professional creative group of the Bolshoi Theater children's choir was formed, and strict selection began for its groups. After which the choir received powerful creative development, and today it is a bright, strong group, which, in addition to participating in theatrical performances, now also performs in concert halls not only with the Bolshoi Theater orchestra, but also with other famous orchestras and conductors.

- That is, the children's choir is not tied only to theater performances?

Of course, the choir is closely connected with the theater, but in addition to theatrical activities, it also conducts active independent concert activities. We perform with major Moscow orchestras and are invited to significant concerts both in Russia and abroad. The choir has its own solo program, with which we have traveled abroad several times: to Germany, Italy, Lithuania, Japan.

- Does the choir go on tour with the theater?

No, not always. Since it is quite difficult to take a children’s troupe on theater tours. On tour, the theater usually performs with a local children's group. To do this, I arrive in advance, and in about a week or a week and a half I study with the local children’s choir, learn the parts with them, and introduce them into the performance. And by the time our theater troupe arrives, local children are already well versed in the repertoire. This is also part of my job as a choirmaster.

- Are there many people in the Bolshoi Theater children’s choir today?

Today there are about 60 people in the choir. It is clear that all the guys go to performances together extremely rarely, because different performances require a completely different number of choir members.

- What composition does the team usually have on tour?

The optimal number is 40-45 people. It doesn’t make sense to take a smaller roster (after all, you need to understand that someone may get sick, someone for some reason will suddenly not be able to perform), and taking more than 45 people is also not good - this is already overload.

- How do you resolve the issue of parental permission for children under 18 to travel?

Here, of course, we have worked out everything for a long time. We take children abroad from the age of six. In addition to the conductor, a doctor, an inspector and an administrator must travel with the group. Of course, touring greatly brings the team together. Whenever there is preparation for a tour and the tour itself, the children become friendlier and more independent. Although, of course, we generally have a very friendly team; the children have a common goal and idea, which they treat very touchingly and with care.

As you know, the process of “breaking your voice” goes differently for everyone. We have very good sound performers in the theater, and children have the opportunity to attend them. In addition, I myself also monitor this moment very carefully, and if the withdrawal is quite serious and is difficult, then, of course, you need to be silent for a while.. In this case, the children really go on a short academic leave. If the withdrawal occurs smoothly, then we gradually transfer the child to lower voices. For example, if a boy sang soprano and had a treble, and then his voice gradually lowers, then the child switches to altos. Usually this process occurs quite calmly. In girls, if they sing with the correct sound production and if their breathing is correct, as a rule, no problems with “voice breaking” arise.

Has it ever happened that the children of your group, who in principle are aimed at the classical repertoire, suddenly start going to pop vocal studios? Or is this basically impossible?

Here, rather, the opposite happens. There have been cases when people from various children's pop groups came to audition for us and we even took some children into our team. It is clear that pop and classical vocal directions are still different, so it is impossible to combine them. This is difficult for a child too because of the difference in singing style. Let me note that we are not talking now which style of singing is better or worse. We are only talking about the fact that the directions are different, so it is almost impossible to combine them, and I don’t think it’s necessary.

- Yulia Igorevna, please tell us about the rehearsal schedule?

We, of course, try to adhere to a single schedule; most of our rehearsals take place in the evening. But situations are different. We, of course, are very tied to the theater schedule, so if there are orchestral rehearsals (for example, morning ones), then it is quite understandable that children are called to them. Or if children are involved in a production, they are also called to the performance according to the schedule in which it appears on the playbill. Example: when the opera “Turandot” was on (in which some of the children sing, and some of the children dance on stage), the children were busy literally every other day. And there's nothing you can do about it. But when the production is over, we, of course, give the children a few days to rest.

- It is clear that the choir is for children. There are probably some organizational difficulties associated with this?

Of course, there are certain difficulties in the organization, but I want to emphasize that despite the fact that the team is for children, I immediately try to accustom them to the fact that they are already adults. Since they came to the theater, they are already artists, which means that they already have a certain share of responsibility. I try to raise them in such a way that here they should behave like adult artists. Firstly, it has to do with going on stage, the scenery, and discipline. That is, with great responsibility. Because when you go out somewhere in a kindergarten or at school to read a poem, it’s one thing, and completely different when you go on the stage of the Bolshoi Theater. In any case, this is very obliging. That is why they should feel like adult artists, feel responsible for every movement made and word sung and it seems to me that even small children at 6-7 years old very quickly become adults and, in general, feel their responsibility.

- Are there any restrictions on food before a rehearsal or performance? Can they eat everything?

Of course, in ordinary life they eat everything, like ordinary children. Although during performances, when the theater feeds them (children are given special coupons for which they can take some food for a certain amount). These days I specifically go to the buffet and warn that the children have a performance today, so I categorically forbid selling sparkling water and chips to children. As you know, this is what children usually buy at the buffet instead of, for example, taking a full lunch.

This is bad for the cords; chips cause a sore throat, hoarseness, and carbonated sweet water really “dries up the voice”; the voice becomes hoarse.

- Besides serious everyday life, there are probably some funny incidents?

Yes, of course, there are a lot of such cases. For example, during the opera Boris Godunov, children participate in a scene at St. Basil's Cathedral (where they sing with the Holy Fool). In this scene, children play beggars, ragamuffins, and they are made up accordingly they are dressed in special rags, bruises, abrasions, and characteristic pallor are painted on them And before this exit there is a scene of a completely different nature a ball at Marina Mnishek, a scene at the fountain with very magnificent with ceremonial outfits depicting the richest audience, and a beautiful fountain was installed in the middle of the stage. Before the start of this picture, the curtain, of course, is closed and so the children, having already dressed up as ragamuffins for their next appearance, went backstage - they are interested in seeing - there is a real fountain here! And so they, in their costumes of beggars, ran up to the fountain and began splashing in the water, catching something from there and the stage director, not seeing the children on stage, gave the command to raise the curtain And now imagine the curtain opens - the secular audience, the expensive decoration of the palace, everything sparkles and there are about ten hungry people washing and splashing in this fountain.. it was very funny…

- I wonder if there is also a make-up artist for children?

Make-up artists and costume designers are a must. Everything is like in adults. They are made up in a special way, they are helped to dress and figure out the costume. The costume designers, of course, make sure that all the children are ready to go for the required scene. Moreover! When a new production comes out, each of them has their own costume made, the children go to fittings, this is also always very interesting for them.

- Have there been cases when a children’s choir grew into soloists?

Certainly! It’s quite natural - children who start working here become very attached to the theater. After all, the theater is very attractive. And, as a rule, many children who came here try to further connect their fate with music. Therefore, many then enter music schools, conservatories, and institutes. Children here sing very well, have the opportunity to listen to leading opera stars, sing with them in the same performance, and learn stage skills from them. Some from the children's choir then move on to the adult choir, some become a soloist, some become an orchestra artist. In general, many return to the theater in one way or another, or simply connect their lives with music.

- Until what age can a young artist sing in a children's choir?

Up to 17-18 years old. If there is a desire to continue singing, already in an adult choir, then in this case, of course, they need, just like everyone else, to pass the qualifying competition for an adult choir. To join an adult choir, you must already have a musical education. At least a music school. And you can join an adult choir from the age of 20.

- Probably all members of the children's choir receive music education in music schools?

Of course, definitely. Almost all children study in music schools. This is, after all, a theater, not a music school. The choir is an absolutely concert group and, of course, we do not have such subjects as solfeggio, rhythmics, harmony in our program… Naturally, children should study at a music school, and it is very good when they study there.

- As far as I know, you yourself also sang in the Bolshoi Theater choir as a child?

Yes, for quite a long time I sang in the children's choir of the Bolshoi Theater. In addition, the director of the adult choir, Elena Uzkaya, was also an artist in the Bolshoi Theater children's choir as a child. For me personally, singing in a children's choir largely determined my future destiny.

- Yulia Igorevna, are your parents musicians?

No. Although my dad is a very talented person. Plays the piano beautifully and improvises. He is very musical. Although he has a completely technical education.

- What was your path to the profession?

I studied piano at regular music school No. 50, then through a competition (there was a very serious competition several rounds) I entered the children's choir of the Bolshoi Theater. Then she began to study more seriously, first entered the music school and then the Moscow Conservatory as a choir conductor (to class of Professor Boris IvanovichKulikova, - approx. author).

Children are busy all the time on different days different groups, you call separate ensembles for rehearsals Do you personally have fixed days off?

Yes. I have one day off like in the whole theater Monday.

Interviewed by special correspondent of Radio Orpheus Ekaterina Andreas

Yulia Molchanova( director of the children's choir at the Bolshoi Theater.)
: “Many artists of the Bolshoi Theater children’s choir continue to try to connect their destiny with music”

Not a single large-scale opera production at the Bolshoi Theater is complete without a children's choir. Orpheus radio correspondent Ekaterina Andreas met with Yulia Molchanova, the director of the children's choir at the Bolshoi Theater.

- Yulia Igorevna, please tell us what is the history of the children’s choir at the Bolshoi Theater?

- The children's choir is one of the oldest groups of the Bolshoi Theater, it is almost 90 years old. The appearance of the children's choir dates back to 1925-1930. Initially, it was a group of children of theater artists who took part in opera performances, because almost every opera performance has a part for a children's choir. Later, when the theater was evacuated during the Great Patriotic War, a professional creative group of the Bolshoi Theater children's choir was formed, and strict selection began for its groups. After which the choir received powerful creative development, and today it is a bright, strong group, which, in addition to participating in theatrical performances, now also performs in concert halls not only with the Bolshoi Theater orchestra, but also with other famous orchestras and conductors.

- That is, the children's choir is not tied only to theater performances?

- Of course, the choir is closely connected with the theater, but in addition to theatrical activities, it also conducts active independent concert activities. We perform with major Moscow orchestras and are invited to significant concerts both in Russia and abroad. The choir has its own solo program, with which we have traveled abroad several times: to Germany, Italy, Lithuania, Japan....

- Does the choir go on tour with the theater?

- No, not always. Since it is quite difficult to take a children’s troupe on theater tours. On tour, the theater usually performs with a local children's group. To do this, I arrive in advance, and in about a week or a week and a half I study with the local children’s choir, learn the parts with them, and introduce them into the performance. And by the time our theater troupe arrives, local children are already well versed in the repertoire. This is also part of my job as a choirmaster.

- Are there many people in the Bolshoi Theater children’s choir today?

- Today there are about 60 people in the choir. It is clear that all the guys go to performances together extremely rarely - after all, different performances require a completely different number of choir members.

- What composition does the team usually have on tour?

- The optimal number is 40-45 people. It doesn’t make sense to take a smaller roster (after all, you need to understand that someone may get sick, someone for some reason will suddenly not be able to perform), and taking more than 45 people is also not good – this is already overload.

- How do you resolve the issue of parental permission for children under 18 to travel?

- Here, of course, we have worked out everything for a long time. We take children abroad from the age of six. In addition to the conductor, a doctor, an inspector and an administrator must travel with the group. Of course, touring greatly brings the team together. Whenever there is preparation for a tour and the tour itself, the children become friendlier and more independent. Although, of course, we generally have a very friendly team - the children have a common goal and idea, which they treat very touchingly and with care.

- And when children experience a loss of voice, do they continue to sing or take a creative break?

- As you know, the process of “voice breaking” goes differently for everyone. We have very good sound performers in the theater, and children have the opportunity to attend them. In addition, I myself also monitor this moment very carefully, and if the withdrawal is quite serious and is difficult, then, of course, you need to be silent for a while..... In this case, the children really go on a short academic leave. If the withdrawal occurs smoothly, then we gradually transfer the child to lower voices. For example, if a boy sang soprano and had a treble, and then his voice gradually lowers, then the child switches to altos. Usually this process occurs quite calmly. In girls, if they sing with the correct sound production and if their breathing is correct, as a rule, no problems with “voice breaking” arise.

Has it ever happened that the children of your group, who in principle are aimed at the classical repertoire, suddenly start going to pop vocal studios? Or is this basically impossible?

“It’s more like the opposite is happening here.” There were times when people from various children's pop groups came to audition for us... and we even took some children into our team. It is clear that pop and classical vocals are still different directions, so it is impossible to combine them. This is difficult for a child too - due to the difference in the style of singing. Let me note that we are not talking now which style of singing is better or worse. We are only talking about the fact that the directions are different, so it is almost impossible to combine them, and I think it is not necessary.

- Yulia Igorevna, please tell us about the rehearsal schedule?

- We, of course, try to adhere to a single schedule, mostly our rehearsals take place in the evening. But situations are different. We, of course, are very tied to the theater schedule, so if there are orchestral rehearsals (for example, morning ones), then it is quite understandable that children are called to them. Or if children are involved in a production, they are also called to the performance - in the schedule in which it appears on the playbill. Example: when the opera “Turandot” was on (in which some of the children sing, and some of the children dance on stage), the children were busy literally every other day. And there's nothing you can do about it. But when the production is over, we, of course, give the children a few days to rest.

- It is clear that the choir is a children’s group. There are probably some organizational difficulties associated with this?

- Of course, there are certain difficulties in the organization, but I want to emphasize that despite the fact that the team is for children, I immediately try to accustom them to the fact that they are already adults. Since they came to the theater, they are already artists, which means that they already have a certain share of responsibility. I try to raise them in such a way that here they should behave like adult artists. Firstly, it has to do with going on stage, the scenery, and discipline. That is, with great responsibility. Because when you go out somewhere in a kindergarten or at school to read a poem, it’s one thing, and completely different when you go on the stage of the Bolshoi Theater. In any case, this is very obliging. That is why they should feel like adult artists, feel responsible for every movement made and word sung... and it seems to me that even small children at 6-7 years old very quickly become adults and, in general, feel their responsibility.

- Are there any restrictions on food before a rehearsal or performance? Can they eat everything?

- Of course, in ordinary life they eat everything, like ordinary children. Although during performances, when the theater feeds them (children are given special coupons for which they can take some food for a certain amount). These days I specifically go to the buffet and warn that the children have a performance today, so I categorically forbid selling sparkling water and chips to children. As you know, this is what children usually buy at the buffet instead of, for example, taking a full lunch.

- This is bad for the cords... chips cause a sore throat, hoarseness, and carbonated sweet water really “dries up the voice”... the voice becomes hoarse.

- Besides serious everyday life, there are probably some funny incidents?

- Yes, of course, there are a lot of such cases. For example, during the opera Boris Godunov, children participate in a scene at St. Basil's Cathedral (where they sing with the Holy Fool). In this scene, children play beggars, ragamuffins, and they are made up accordingly - they are dressed in special rags, bruises, abrasions, characteristic pallor are painted on them... And before this appearance there is a scene of a completely different nature - a ball at Marina Mnishek, a scene at the fountain - with a very with magnificent ceremonial outfits depicting the richest audience, and in the middle of the stage there is a beautiful fountain. Before the start of this picture, the curtain, of course, is closed... so the children, having already dressed up as ragamuffins for their next appearance, went backstage - they were interested in seeing - there was a real fountain here! And so they, in their costumes of beggars, ran up to the fountain and began splashing in the water, catching something from there... and the stage director, not seeing the children on stage, gave the command to raise the curtain... And just imagine - the curtain opens - a secular audience, expensive decoration palace, everything sparkles... and about ten hungry people washing and splashing in this fountain... it was very funny...

- I wonder if there is also a make-up artist for children?

- Definitely – both make-up artists and costume designers. Everything is like in adults. They are made up in a special way, they are helped to dress and figure out the costume. The costume designers, of course, make sure that all the children are ready to go for the required scene. Moreover! When a new production comes out, each of them has their own costume made, the children go to fittings, this is also always very interesting for them.

- Have there been cases when a children’s choir grew into soloists?

- Certainly! It’s quite natural - children who start working here become very attached to the theater. After all, the theater is very attractive. And, as a rule, many children who came here try to further connect their fate with music. Therefore, many then enter music schools, conservatories, and institutes... Children here sing very well, have the opportunity to listen to leading opera stars, sing with them in the same performance, and learn stage skills from them. Some from the children's choir then move on to the adult choir, some become a soloist, some become an orchestra artist... In general, many return to the theater in one way or another, or simply connect their lives with music.

- Until what age can a young artist sing in a children's choir?

- Up to 17-18 years old. If there is a desire to continue singing, already in an adult choir, then in this case, of course, they need, just like everyone else, to pass the qualifying competition for an adult choir. To join an adult choir, you must already have a musical education. At least a music school. And you can join an adult choir from the age of 20.

- Probably all members of the children's choir receive music education in music schools?

- Of course, definitely. Almost all children study in music schools. This is, after all, a theater, not a music school. The choir is an absolutely concert group and, of course, we do not have such subjects as solfeggio, rhythm, harmony in our program... Naturally, children should study at a music school, and it is very good when they study there.

- As far as I know, you yourself also sang in the Bolshoi Theater choir as a child?

- Yes, for quite a long time I sang in the children's choir of the Bolshoi Theater. In addition, the director of the adult choir, Elena Uzkaya, was also an artist in the Bolshoi Theater children's choir as a child. For me personally, singing in a children's choir largely determined my future destiny.

- Yulia Igorevna, are your parents musicians?

- No. Although my dad is a very talented person. Plays the piano beautifully and improvises. He is very musical. Although he has a completely technical education.

- What was your path to the profession?

- I studied piano at regular music school No. 50, then through a competition (there was a very serious competition - several rounds) I entered the children's choir of the Bolshoi Theater. Then she began to study more seriously, first entered the music school and then the Moscow Conservatory as a choir conductor (to class of Professor Boris IvanovichKulikova, - approx. author).

Children are busy all the time on different days - different groups, you call separate ensembles for rehearsals... Do you personally have fixed days off?

-Yes. I have one day off - like in the whole theater - Monday.

Interviewed by special correspondent of Radio Orpheus Ekaterina Andreas

polka backgammon

In Your Kingdom...(Castalsky - from the Divine Liturgy)

Cherubic (Castal - from the Divine Liturgy)

Holy God (Castalsky - from the Divine Liturgy)

Guest of the "Canon" program is the choirmaster of the State Academic Bolshoi Theater of Russia, artistic director of the Bolshoi Theater children's choir Yulia Molchanova. The dialogue will focus on the history of the country's oldest children's group and the specifics of the work of young artists. The program uses fragments of a concert performance by the Bolshoi Theater children's choir in the Hall of Church Councils of the Cathedral of Christ the Savior.

Today our guest is the choirmaster of the Bolshoi Theater of Russia, artistic director of the Bolshoi Theater children's choir Yulia Molchanova.

The children's choir at the Bolshoi Theater is one of the oldest children's studios in the capital; it was founded in the early 20s of the last century. It is quite difficult to get into the group; those with a good voice and basic musical literacy need to pass a professional selection. The competition for a place is like in a good metropolitan university. Choir artists are involved in most of the theater's productions. In addition, the choir goes on tour with a concert program. We’ll talk more about the life of the group with the choirmaster and artistic director of the Bolshoi Theater children’s choir, Yulia Molchanova.

Although the choir you lead is called a children's choir, in fact it is not a child's age: your choir is almost 90 years old.

Yes, the Bolshoi Theater children's choir is one of the oldest groups in Russia (at least for children); it was created around 1924. Initially it consisted of children of theater artists. This is due to the fact that almost every opera has some part for the children’s choir, and naturally, when these operas were staged at the Bolshoi Theater, someone had to perform these parts. At first these were the children of artists, but the team grew as necessary.

- And now it no longer bears such continuity?

Yes. The Bolshoi Theater implies a very high performing level, and we have a very serious, tough competition. We recruit children only on a competitive basis; they go through several audition stages; We take only those children who really suit us, only talented ones.

- What age are the children who sing?

Age ranges from six years to approximately sixteen, sometimes a little older. But the youngest are five and a half and six years old.

- And besides participating in productions and performances, does the team live some kind of concert life?

Yes. Fortunately, the team has a lot of independent projects and concerts, but, again, we also perform a lot as part of the Bolshoi Theater troupe, in some Bolshoi Theater concerts. But we also have independent concert activities - for example, we collaborate with a number of very good large Moscow orchestras. We work closely with the Russian Philharmonic Orchestra under the direction of Dmitry Yurovsky, and quite often we perform with the Polyansky Chapel and the Pletnevsky Orchestra.

I know that this year you had a major project with the choir of the Cathedral of Christ the Savior. You took part in the Christmas service with His Holiness.

Yes. It was an overnight patriarchal Christmas service, and we were lucky enough to take part in it.

- Is this experience unusual for you, for children?

For the children, naturally, this was an unusual experience. This was our first time taking part in such a wonderful project.

- There was also a live broadcast?

Yes, everything was live broadcast. It happened like this: we received such a proposal from the regent of the Cathedral of Christ the Savior, Ilya Borisovich Tolkachev, and discussed with him how this could be done. It turned out quite interesting. We did antiphonal singing. Mostly, of course, the adult choir sang, but some parts of the service were sung by a children's choir, and it sounded very good. Antiphon in the church - in my opinion, it turned out just wonderful.

- Julia, tell me, what are your responsibilities as a choirmaster?

My responsibilities as a choirmaster include an absolutely complete range of preparing children for the performance. What does this mean? Learn the parts first; Naturally, theatrical parts. For example, some new production begins (say, “The Queen of Spades”). First, you need to learn the parts: learn everything, take it apart, accept the parts so that all the children know it. Then work begins with the director, production rehearsals, at which the choirmaster is also always present. The next stage is, let's say, working with the conductor; a conductor comes and also expresses some of his requirements regarding performance at the stage, say, before orchestral rehearsals, before going to the orchestra. The next stage is when the production is almost completed or is at the last stage, when children (and not only children, but adults too) enter the main stage with the orchestra.

- This is the run, right?

Run-throughs in costumes and makeup have already begun.

- This is a colossal job.

Yes, this is quite a big job, quite a large layer - to bring everything to the final result.

- How many productions do you have in which you are involved now?

You know, a lot. The children's choir is busy almost everywhere. I’ll tell you more: there are even ballet performances where a children’s choir is involved, for example, “Ivan the Terrible”; there is an acapella children's choir; By the way, it's quite complicated. Naturally, the children's choir sings in “The Nutcracker,” and during the December-January period we have up to twenty-seven “Nutcrackers” literally in a month. That is, we are also involved in some ballets.

There are performances (it is clear that they are in the minority) where the children's choir is engaged as mimance artists in a mimic ensemble; that is, even if the part of the children's choir is not written, the children still participate in something. For example, they take part in the opera “Così fan tutte” (“This is what all women do”), although there is no part for a children’s choir.

Despite the enormity of this work, these are still children. They still have time for some pranks, maybe?

There's always time for pranks!

- How do you organize young artists?

You know, we have quite strict discipline; and we simply part ways (naturally, after some warnings) with children who cannot cope with this discipline. Unfortunately, theater is a machine; theater is very difficult, very responsible. This is also connected with the responsibility of going on stage, it must absolutely always be the highest level of performance, it must be the highest discipline, because it is connected, you understand, with the machinery, scenery, costumes, with the presence of sometimes a huge number of people on stage. For example, in the opera “Boris Godunov” we have on stage 120-130 adult choir members, soloists, a children’s choir, and a large number of mime ensemble actors. Even this alone requires enormous organization.

This also has its advantages. In my opinion, children become very responsible in a team.

- They grow up quickly.

Yes, they grow up quickly. How do they grow up? Maybe psychologically. They feel responsibility, they feel that they are taking part in some big and wonderful common cause and that they are a part of this huge wonderful process. In my opinion, this is very important.

Yulia, do children have any restrictions in terms of nutrition or, perhaps, physical activity? Any special diets?

Of course not. Naturally, there are no special diets. And there are no restrictions. The only thing is that children have the opportunity to eat at the theater for free, that is, the theater pays for their meals, and we, of course, categorically prohibit selling them chips and fizzy drinks; Besides the fact that there is nothing good about them at all, it also has a harmful effect on the voice. For example, after Coca-Cola or something else, your voice may completely go dead. Therefore, this is, of course, prohibited.

Forgive me for this perhaps a little dry question, but does staff turnover often occur in your team? After all, children grow up.

There is practically no turnover. We have such a wonderful, homely atmosphere that some are up to 20 years old...

- ... keep it in the children's choir.

Not that we hold it. I understand, of course, that the person is no longer a child, but they say: “Yulia Igorevna! Well, please, can we come and sing this performance? Yulia Igorevna, can we come and take part in the concert?” In general, we have such a big family. To be honest, I sang in the Bolshoi Theater children’s choir for quite a long time when I was a child. I can just say that the tradition of this group is that we still all communicate, I still keep in touch with the guys with whom I sang. Many of them are now working at the Bolshoi Theater. I also cultivate such an atmosphere in my team. For example, we have several traditions. On the thirty-first of December there is a performance of “The Nutcracker”, and we definitely get together, many graduates come. Sometimes these graduates sing this performance; that is, not the children who are now in the theater, but graduates - the guys are already more mature; This is such an outlet, a tradition. We go together, as a choir, to the skating rink, that is, some such things.

- So the legends about the intrigues of the Bolshoi Theater are all legends?

In my opinion, yes. I don’t know, but this certainly doesn’t apply to the children’s choir. You know, intrigue and all sorts of things like that exist everywhere, not only at the Bolshoi Theater. I think that in any field this is present and will always be present.

- Healthy competition is, in principle, necessary.

Yes, healthy competition is needed, but, you know, all our children are very good, and, fortunately, there are no evil children in the team, they simply do not take root with us. The guys are all very kind, always ready to help each other, they always help the kids: put on makeup, get dressed, and introduce them to the performance. Overall, the atmosphere is wonderful.

(To be continued.)

Presenter Alexander Kruse

Recorded by Lyudmila Ulyanova