Auditions for Youth continue opera program Bolshoi Theater. Singers who pass the competition will receive a two-year course vocational training: vocal lessons, acting, master classes from famous teachers. In addition, each of the program participants performs roles in Bolshoi productions, sometimes duplicating the main performers of the opera troupe. 30 candidates advanced to the second round. They tell
Search best votes started back in May. Auditions took place not only in Moscow and St. Petersburg, but also in Krasnoyarsk, Chisinau, and Minsk. The second round turned out to be the hottest in terms of the number of disputes. In the classes of the Atrium of the Bolshoi Theater, everyone's capabilities are assessed with special passion.
“The worst thing is to stand at the door, and those people who will sing here later and wait - this is much worse than being first,” says Alexander Murashov, a student at the Gnessin Russian Academy of Music.
Alexander Murashov, like many here, is still studying. For him, this competition is an opportunity to once again perform in public and test his strength. Just like for Alexander Mikhailov, a student at the St. Petersburg Conservatory. This is his first time taking part in such shows.
“The most difficult thing is to cope with nervous system, because this is a test - and this test causes excitement,” says a student at the St. Petersburg Conservatory. Rimsky-Korsakov Alexander Mikhailov.
Many people have been preparing for this competition for years: they listen to recordings, practice not only vocals, but also acting and a foreign language. However, for some, even a month is enough: Anzhelika Minasova, taking into account the wishes of the first round, managed to prepare a new repertoire in a month.
“I had to change from what I sang before to what was recommended to me, so this a short time“Explains student of the Schnittke Moscow State Historical Institute Anzhelika Minasova.
Out of 30 participants, only four lucky ones will remain. Although Dmitry Vdovin, artistic director of the Bolshoi Youth Opera Program, does not exclude additional places. The selection criteria are not only artistry and natural talent, the selection committee must take into account the timbre priorities of the Bolshoi Theater repertoire.
“Naturally, the theater has its own needs, so the results of the competition are not the results of a quality selection, because quality is the most important criterion, but we have production needs, we have a repertoire,” notes artistic director Youth Opera Program of the Bolshoi Theater of Russia Dmitry Vdovin.
Very soon the names of new participants in the Bolshoi Youth Opera Program will become known, within the framework of which the chosen ones will improve their skills for two years. In the future, each of them has a long-term contrast with the Bolshoi Theater of Russia.
culture News
13.03.2017 13:52
Grand Theatre will conduct an additional recruitment of participants for the 2017/18 season in the Youth Opera Program, the press service of the theater reported.
“The youth opera program announces an additional intake of participants for the 2017/18 season as a soloist-vocalist (from two to four places). Performers born in 1983 to 1997, with an incomplete or completed higher education, are allowed to participate in competitive auditions for the program. musical education", the message says.
It is specified that auditions will be held in Tbilisi, Yerevan, Minsk, Chisinau and a number of Russian cities. Acceptance of applications for participation in the competition will begin in mid-April 2017 on the theater website and ends three calendar days before the audition date in each city; the deadline for submitting applications for auditions in Moscow is five calendar days. Auditions in the first round will be held in Tbilisi, Yerevan, Chisinau, Minsk, Yekaterinburg, Novosibirsk, St. Petersburg, and Moscow.
“At each stage of the auditions, the participant must present to the commission at least two arias - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list provided by the contestant earlier in the application form and including five prepared arias. The list of arias must include arias in three or more languages, necessarily Russian, Italian, French and/or German. All arias indicated in the list must be performed in the original language,” the press service explained.
Auditions for the second round will take place in Moscow, at the Bolshoi Theater on June 24 and 26. As specified, the number of participants in the second round will be no more than 40 people. The third round auditions will take place in Moscow, at Historical scene Bolshoi Theater. The number of participants in the third round is no more than 20 people.
In October 2009, the State Academic Bolshoi Theater of Russia created a Youth Opera Program, within the framework of which young singers and pianists from Russia and the CIS undergo professional development courses. For several years, young artists who entered the program based on competitive auditions have been studying various academic disciplines, including vocal lessons and master classes. famous singers and teachers-tutors, training foreign languages, stage movement and acting. In addition, each of the participants in the Youth Program has extensive stage practice, performing roles in the theater’s premiere and current productions, as well as preparing various concert programs.
Artists and graduates of the Youth Opera Program perform at the largest venues in the world, such as the Metropolitan Opera (USA), Royal Opera Covent Garden (UK), La Scala Theater (Italy), Berlin state opera(Germany), German opera in Berlin (Germany), Paris National Opera (France), Vienna State Opera (Austria), etc. Many graduates of the Youth Opera Program joined the troupe of the Bolshoi Theater of Russia or became guest soloists of the theater.
Procedure for holding the competition
First tour:
. Audition in Tbilisi, Georgian Opera and Ballet Theater. Z. Paliashvili - June 1, 2017
ACCEPTANCE OF APPLICATIONS CLOSED ON MAY 28. The schedule of auditions in Tbilisi was sent to e-mail. Those applicants who have not received the schedule, please notify us by e-mail [email protected]
. Audition in Yerevan, Yerevan State Conservatory. Komitas - June 3, 2017
ACCEPTANCE OF APPLICATIONS CLOSED ON MAY 30. The schedule of auditions in Yerevan was sent out by email. Those applicants who have not received the schedule, please notify us by e-mail [email protected]
. Audition in Chisinau, Academy of Music, Theater and fine arts— June 4, 2017
ACCEPTANCE OF APPLICATIONS CLOSED ON MAY 31. The schedule of auditions in Chisinau was sent out by email. Those applicants who have not received the schedule, please notify us by e-mail [email protected]
Audition in Minsk, Belarusian State Academic Musical Theatre— June 10, 2017
(The last date for accepting applications is June 6, 2017)
Audition in Yekaterinburg, Ural State Conservatory named after. M. P. Mussorgsky - June 12, 2017
(The last date for accepting applications is June 8, 2017)
Audition in Novosibirsk, Novosibirsk academic theater Opera and Ballet - June 14, 2017
(The last date for accepting applications is June 10, 2017)
Audition in St. Petersburg, Palace of Student Youth of St. Petersburg - June 17 and 18, 2017.
(The last date for accepting applications is June 13, 2017)
Auditions in Moscow, Bolshoi Theater - from June 21 to 23, 2017.
(The last date for accepting applications is June 15, 2017)
The participant comes to the audition with his own accompanist, having previously filled out electronic form on the website. In Moscow, for non-resident participants, upon prior request, the theater provides an accompanist.
At each stage of the auditions, the participant must present to the commission at least two arias - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list provided by the contestant earlier in the questionnaire and including 5 prepared arias. The list of arias must include arias in three or more languages, necessarily Russian, Italian, French and/or German. All arias listed must be performed in their original language. The commission reserves the right to listen to fewer or more arias.
The number of participants in the first round is not limited.
Second round:
Audition in Moscow, at the Bolshoi Theater - June 24 and 26. The participant comes to the audition with his own accompanist (for non-resident participants, upon prior request, the theater provides an accompanist). The participant must present two or three arias to the commission - the first at the request of the singer, the rest - at the choice of the commission from the repertoire list prepared for the first round. All arias listed must be performed in their original language. The Commission reserves the right to ask for less or more quantity Aryan.
The number of participants in the 2nd round is no more than 40 people.
Third round:
1. Audition in Moscow, on the Historical Stage of the Bolshoi Theater - 27th of June.
The participant comes to the audition with his own accompanist (for non-resident participants, upon prior request, the theater provides an accompanist). The participant must present to the commission one or two arias according to the preliminary selection of the commission (based on the results of the 2nd round) from his repertoire list.
2. Lesson/interview with program leaders.
The number of participants in the third round is no more than 20 people.
For advice on participating in auditions, please email [email protected] .
YOUTH OPERA PROGRAM OF THE BOLSHOI THEATER
In October 2009, the State Academic Bolshoi Theater of Russia created a Youth Opera Program, within the framework of which young singers and pianists from Russia and the CIS undergo professional development courses. For several years, young artists who entered the program as a result of competitive auditions study various academic disciplines, including vocal classes, master classes with famous singers and tutors, training in foreign languages, stage movement and acting. In addition, each of the participants in the Youth Program has extensive stage practice, performing roles in the theater's premiere and current productions, as well as preparing various concert programs.
Throughout the years of the Youth Program's existence, the largest professionals in the field of opera art worked with the participants: singers - Elena Obraztsova, Evgeny Nesterenko, Irina Bogacheva, Maria Guleghina, Makvala Kasrashvili, Carol Vaness (USA), Neil Shicoff (USA), Kurt Riedl (Austria ), Nathalie Dessay (France), Thomas Allen (Great Britain); pianists - Giulio Zappa (Italy), Alessandro Amoretti (Italy), Larisa Gergieva, Lyubov Orfenova, Mark Lawson (USA, Germany), Brenda Hurley (Ireland, Switzerland), John Fisher (USA), George Darden (USA); conductors - Alberto Zedda (Italy), Vladimir Fedoseev (Russia), Mikhail Yurovsky (Russia), Giacomo Sagripanti (Italy); directors - Francesca Zambello (USA), Paul Curren (USA), John Norris (USA), etc.
Artists and graduates of the Youth Opera Program perform at largest platforms world, such as the Metropolitan Opera (USA), Royal Opera Covent Garden (UK), Teatro alla Scala (Italy), Berlin State Opera (Germany), Deutsche Oper Berlin (Germany), Paris National Opera (France), Vienna State Opera opera (Austria), etc. Many graduates of the Youth Opera Program joined the troupe of the Bolshoi Theater of Russia or became guest soloists of the theater.
The artistic director of the Youth Opera Program is Dmitry Vdovin.
Participants are paid a stipend while studying in the program; non-resident participants are provided with a hostel.
In September in Moscow, St. Petersburg, Yekaterinburg, Novosibirsk, Nizhny Novgorod, Kazan, Saratov, Rostov-on-Don, Minsk, Kyiv and Yerevan, auditions are planned for a new, rather intriguing project of the Bolshoi Theater - the Youth Opera Program. To begin with, it is planned to select eight singers and two accompanists, who will be adapted to difficult life inside the main theater of the country. The details are provided by the newly appointed artistic director of the program, Dmitry Vdovin, who in recent years has become a leader in nurturing young voices with successful Western careers.
- As far as I understand, such youth programs have long been accepted in Western theaters. Again, the Mariinsky Theater has one...In principle, this system was created in the world more than thirty years ago. Since the 70s, such programs have existed in major theaters around the world, and now even in small, so-called Group B theaters.
Why did they turn out to be so tenacious and successful? Because the interests of theaters and the interests of young singers coincide. Theaters are interested in promising soloists; at the same time, these artists perform small roles, that is, some kind of help for the theater. And for young soloists... what, exactly, is their problem? Between the conservatory and work in the theater, they have several very dangerous years - when a person is not yet ready for a big career. These years are often times of crisis for young singers.
On the one hand, the singer may, as they say, not get into the mainstream - if, for example, he is not very successful in competitions, if he does not have a good agent. On the other hand, there is a danger that he will be taken to the theater, loaded early with a heavy repertoire, and after a few years will go in expense. Even great theaters often push an artist to act rashly. Then his career will also be in jeopardy.
Therefore, for this period - approximately the age of 23-28 years (depending on the type of voice, gender) - youth programs come in handy. That is, the singers are maturing in them, or something. Like an apple on a windowsill in the sun.
What will they do in the Bolshoi Theater Youth Program besides, as I understand it, performing small roles?
Well, that's just First stage. Approximately a year after entering the program, they must, at a minimum, insure the main performers (that is, be ready to replace the soloist in case of illness or other unforeseen situation. - OS). And for this you need to prepare these batches. They will have a permanent one for this vocal teacher- in this situation they called me. And we will use the full potential of the theater, as well as those who tour in it, we will invite teachers from all over the world. There aren't many of them.
Read the full text - It is believed that not every repertoire is suitable for young voices, but easier ones - Mozart, bel canto. How will they insure what is on stage at the Bolshoi Theater?
Well, it depends. If a young man of twenty-three needs to sing Boris Godunov, then this is nonsense. But we still have an age range from 20 to 35. And people will be different. Although there will be few of them - this, by the way, is the difference between our concept and the Mariinsky one. Their academy there is quite crowded. And in the first year we will have somewhere from 8 to 12 people.
But in general, your question is at the root. The repertoire really depends on age. A person must grow in the repertoire. For those who at 25 want to immediately start with strong parts, at 35 there is nothing left to sing - the limit has been reached, there is nowhere to jump, problems with the voice begin. Therefore, the Youth Program should have some kind of repertoire stories of its own - maybe concert performances, individual scenes from operas. And later, if the budget allows, these may be their own productions with a more lyrical repertoire than usual at the Bolshoi Theater.
- Do you only accept people with higher education?
Of course, it is desirable that the person has already graduated from the conservatory and is mature enough. But often people who did not graduate educational establishments, are already being snapped up. I myself have encountered this: before a person had time to graduate, they grabbed him here, grabbed him there, invited him to a youth program in the West. And it turns out that he cannot graduate from the conservatory - he is already leaving. And even if he graduated from the conservatory, what is a young singer doing in Russia? He starts going to competitions, looks for an agent, and eventually leaves too.
So what else is it needed for? Youth program? This is a bastion to save talented people around the Bolshoi Theater in order to interest them, to give them opportunities that did not exist before.
- Have we already lost many young singers?
We have lost them, we are losing them and, unfortunately, we will continue to lose them for some time. Look how many tenors have left Moscow in just one recent years five. The troupes are simply naked.
And it seems to me that in order to retain these young people, we need to come to an agreement with them in advance - 3-4 years in advance. And accordingly, compile the theater repertoire in advance. This, in general, is not very good, because God only knows how this singer will sing in four years. And it often happens that a singer signed a contract and then lost his voice. Or is it no longer a soprano, but a mezzo-soprano.
- What should we do then?
Deal with the problem. But nothing can be done - this is international practice. By the way, this started not so long ago. Literally 30 years ago. Before this, contracts were concluded six months in advance, or a maximum of a year.
What do you think is good for a career? modern singer the main thing is a good agent, competitions, participation in such a youth program?
There is no clear answer. Firstly, we must start with the fact that there are practically no agents in Russia. We don’t have salaries from which agents could take interest and live on them. The market across the country has not yet formed. There are agents who send our singers to the West. But living here, it is impossible to be a good Western agent. We have only one such person (meaning Alexander Ivanovich Gusev, through whom a significant part Russian singers works with the West. - OS), but it is unique.
Therefore, Russian singers have a slightly different situation than in the West. They cannot rely on the generally accepted scheme: sang an audition - found an agent - immediately found a job. They must combine: if they want to work in the West, they must catch these agents during their stay in Moscow, go to the competition in order to arouse some interest there among the jury members and the agents present there. And there are people who generally want to work in Moscow - not everyone likes to live out of suitcases, some need stability, they are quite happy with a stationary troupe.
Although, of course, almost everyone is ambitious, everyone wants to sing at La Scala, the Metropolitan, the Bolshoi and the Mariinsky.
- Moreover, now the situation is such that stationary troupes are no longer available everywhere...
Well, in general, life takes its toll and shows that a stationary troupe is no longer very suitable for such a theater that claims to be international. Basically, now there are combined versions of stationary and contract systems - often very successful.
This practice existed before. Some of my colleagues even began to laugh at me; they say it’s a soviet approach - to travel around cities and towns and look for talent. This, they say, is unproductive. Nothing like this. For example, in America there is a Metropolitan Council- this is an absolutely Soviet system, when an annual competition takes place: first in each state, then in the region, then in huge regions and as a result - the semi-finals and finals on the stage of the Metropolitan itself.
Houston also has an annual competition in February. And before him, the director of the Youth Program and representatives of the theater travel throughout the country. Just like we used to recruit boys into the choir or into the Moscow choreographic school. They still have it all! Moreover, at the Metropolitan and in Houston, as well as in San Francisco and some other theaters, they have international youth programs. Of course, the base is made up of Americans, but they also invite foreigners. And at the Lyric Opera of Chicago - this is the second theater in America - a youth program only for Americans.
As for the Bolshoi Theater, I believe that it is an international theater. He has a very difficult task- to be a citadel national repertoire and at the same time a large international troupe. There are not many such theaters, because there are not many national composers opera schools: Italian, French, German, Russian, and more specific - Czech, young American. That's six - that's all.
And the main theaters of only these countries must combine these two tasks. Which is quite difficult, especially for the Bolshoi Theater. Because the Russian repertoire is not easy, it is only in last decades begins to seriously enter into international practice. Before this, appeals to him were spot-on.
And in order to combine these two tasks, we must, like, say, the Italians, tolerate foreigners singing the Russian repertoire. And create a situation so that foreigners sing the Russian repertoire in Russia. Which we don't have yet.
- There were several precedents in Chernyakov’s Onegin...
Well, these were the first steps. And the Youth Program, by the way, can help with this. If someday - even in small numbers - there will be Italians, Poles, Americans, Englishmen who have an interest in the Russian repertoire, why not?
- Are there any scholarships available?
Yes, program participants should receive a stipend that would be enough to lead a decent lifestyle in Moscow. This is the original condition. They shouldn't be running around with their tongues hanging out.
- That is, additional earnings are excluded?
Well, this will be monitored: everything is only in agreement with the directorate of the Youth Program.
I know that in similar programs in the West a lot of attention is paid to the chamber repertoire, which our opera singers, as a rule, are not interested.
We will definitely have this too. Therefore, we will try to invite so-called coaches - trainers, pianists who specialize in chamber repertoire. Because without a chamber repertoire there is no opera either: the work with text that goes into the chamber repertoire is necessary for opera stage. And partly this skill has been lost.
- You are recruiting two more accompanists for your program...
Yes, this is by the way pain point. We have a lot of accompanists, but there are practically no coaches who know languages, styles, and international repertoire.
- Should they understand the technology of singing?
Well, it's a matter of personal choice - some people get into it, others don't.
- But in principle, these are normal pianists who graduated from the conservatory?
Yes, who want to work in the opera repertoire. Because this, of course, is a completely different area than solo performance.
- How can they be selected? Listen to them play "Appassionata"?
They will play solo repertoire, they will accompany, they will sight read. And there will be an interview to check whether this is really a sincere interest in opera or just an attempt to get a job somewhere. You have to love opera, you have to love vocalists - it’s difficult to love them, but you have to.
