Organization

Singer

Baritone

Alexander Polkovnikov

Sascha Bubenzow

Yuri Syrov

Mezzo-soprano

Natalia Ritter

Masha

Anna Semenyuk

Soprano

Tamara Kasumova

Lidotschka

Anastasia Sorokina

Ekaterina Ferzba

Bass

Viktor Borovkov

Semyon Semyonovich

Alexander Kolesnikov

Tenor

Vasily Sokolov

Boris Korezki

Azamat Tsaliti

Zahar Kovalev

Sergej Gluschkow

Valery Makarov

Marianna Asvoynova

Liusia

Ekaterina Semenova

Alexei Morozov

Fjodor Michailowitsch Drebednjow

Roman Shevchuk

Alexandra Nanoshkina

Vava

Irina Khruleva

Alexey Prokopyev

Afanassi Iwanowitsch Barabaschkin

German Yukavsky

Anatoly Zakharov

Kurotschkin

Kirill Filin

Irina Alekseenko

Kurotschkina

Tatiana Vetrova

Sergey Zinov

Mylkin

Daniil Sokolov

Anastasia Mirzoeva

Mylkina

Natalia Petrova

Stage director

Ivan Popovski

Conductor

Pavel Klinichev

Ayrat Kashaev

Lighting designer

Aivar Salikhov

Costume designer

Lyudmila Gaintseva

Set designer

Sergey Choban

Alexandra Scheiner

Choreographer

Mikhail Kolegov

Chorus master

Alexander Rybnov (II)

Pavel Suchkov

Alexey Vereshchagin

Roman Bobrov

Olga Berezanskaya

Nervous lady

Irina Berezina

Bolshoi Theatre

venäjä

Moscow, Cheryomushki, Op.105

Moscow

Russia

Boris Pokrovsky Chamber Stage of the Bolshoi Theater

Boris Pokrovsky Chamber Stage

Boris Pokrovsky Chamber Opera Theatre (not used from 2018)

Cheryomushki Shostakovich

Public

Private

Approved

The film in the framework of the project "Ticket to the Bolshoi" is dedicated to the preparation for the premiere of Giacomo Puccini's opera "Tosca". On the New Stage, the opera was staged by director Stefano Poda. This is not his first work with a world-famous work, but his debut in the Bolshoi. An adept of the author's theater, Poda works not only as a director, but also as a set designer, costume designer, lighting designer and choreographer, each time creating an aesthetically and conceptually integral performance. What new does the director want to find in a well-known plot? Why is it important to stage "Tosca" right now and how do opera artists prepare for the premiere? The answers to these questions you will find in the new film.  New film dedicated to the premiere of "Tosca" opera. One of the most favourite operas in the world returned to The Bolshoi theatre after almost a seven-year break. An Italian staging crew is working on the production – conductor Daniele Callegari and director Stefano Poda.

The premiere of Dmitri Shostakovich's only operetta "Moscow, Cheryomushki" took place at the Moscow Operetta Theater on January 24, 1959. Performances soon followed in Rostov-on-Don, Odessa, Sverdlovsk, Bratislava, Prague, Magadan, Zagreb, various cities of the GDR and Czechoslovakia. And two years later, on the basis of the operetta, the film "Cheryomushki" was shot (directed by Herbert Rappaport).

The composer's return to musical theater after the "anti-formalist campaign" of the 1930s and, moreover, his debut in the "light" genre were awaited with great impatience. One of the founders and leading artist of the Moscow Operetta Theater, Grigory Yaron, wrote in his book of memoirs: "The message that Shostakovich was writing an operetta was met with great interest. How? The composer who wrote the Seventh Symphony, and recently the Eleventh, suddenly composes an operetta?!! Wherever I appear, the first question I heard from people familiar and unfamiliar, of different ages and professions, was, "What is Shostakovich's operetta?" The composer himself, regarding his "sensational" appeal to the genre of operetta, said: "I believe that a real composer should try his hand at all genres."

The composer (a man by nature witty and sarcastic) was sympathetic to the music of light genres, including classical operetta - Offenbach, Johann Strauss, Lehár, Kalman. He began to write his own opus in this genre in September 1957 "at the relentless, urgent requests" of the chief conductor of the Moscow Operetta Theater Grigory Stolyarov and completed work on it in October 1958.

Bright, cheerful music captured the sound atmosphere of the 1950s - in this the composer was alien to any rigorism. The operetta was filled with the usual rhythms of waltzes, gallops, poles, and the unexpected appearance of familiar melodies - "Songs about the Counter" by Shostakovich himself, popular folk songs "Fried Chicken", "In the Garden, in the Garden", "Moscow Nights" by Solovyov-Sedy and others - creates a special comic effect.

The plot was chosen to be extremely topical. The libretto by Vladimir Massa and Mikhail Chervinsky is based on comic vicissitudes associated with the mass resettlement from old communal buildings to new residential quarters. Then the "housing issue" was especially relevant, and not only for Muscovites. It has not lost its relevance even now, at the time of renovation - the resettlement of Khrushchevs, in which Shostakovich's heroes happily settled.

Today, more than sixty years after the premiere, the operetta "Moscow, Cheryomushki" sounds in a new way: with a bright "note" of sadness for the idyllic life of moscow newcomers of the 1950s, for the time of youth and hopes of the post-war generation. The director, Ivan Popovski, sought to preserve the "game and bright nature", the special atmosphere of those times, "when, it would seem, it became a little easier to breathe, although internal contradictions in people still remained." A bright performance reminiscent of Soviet comedy films, created by his production team - conductor Pavel Klinichev, set designers Sergei Choban and Alexandra Sheiner and others - fully corresponds to this feeling.

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