Organization

Stage director

Rimas Tuminas

Lighting designer

Damir Ismagilov

Costume designer

Maria Danilova

Set designer

Adomas Jacovskis

Choreographer

Anželika Cholina

Chorus master

Valery Borisov

Singer

Tenor

Ilya Selivanov

Zinovy Borisovich Izmailov

Soprano

Maria Lobanova

Ekaterina Lvovna Izmailova

Ivan Gyngazov

Sergei

Anna Bauman

Aksinia

Roman Muravitsky

Shabby Peasant

Ivan Maximeyko

Bass

Daniel Akimov

Porter

Marat Gali

First labourer

Timofey Dubovitsky

Second labourer

Alexander Borodin

Mill-worker

Coachman

Vladimir Komovich

Steward

Drunken guest

Alexander Krasnov

Seargeant

Andrei Grigoriev

Mikhail Kazakov

Old Convict

Denis Makarov

Contralto

Svetlana Shilova

Sonyetka

Evgenia Segenyuk

Maria Gavrilova

Woman Convict

Sentry

Officer

Valery Gilmanov

Priest

Policemen

Dmitry Ulyanov

Boris Timofeyevich Izmailov

Valery Makarov

Conductor

Artem Abashev

Vladislav Popov

Evgenia Muraveva

Dmitrij Golovnin

Alexander Markeev

Ilya Legatov

Nihilist

Andrey Valenty

Irina Rubtsova

Demian Onufrak

Igor Vyalykh

Roman Kollert

Bolshoi Theatre

errusiera

Lady Macbeth of Mtsensk, Op. 29

Moscow

Russia

Historic Stage

Katerina Izmaylova Shostakovich, D.

Public

ingelesa

Approved

About the performance
Lady Macbeth of the Mtsensk District is one of the most famous Russian operas of the 20th century. Not only did it vividly reflect the era but became its first victim. It was its demolition in the newspaper “Pravda” that started the campaign against formalism in Soviet art. The prohibited opera managed to return to the stage only after almost thirty years’ wait, in the new edition under the name Katerina Izmailova.

It was the edition that the Bolshoi Theatre referred to at the time when the hundred and tenth anniversary of the birth of the composer was celebrated. These days, when the first edition is the one that is performed around the world, Katerina Izmailova is a true operatic rarity. Tugan Sokhiev, the music director of the Bolshoi and of the production itself, is telling us what considerations the theatre was guided by to choose the second edition: “Knowing Shostakovich as the author of symphonies, quartets and ballets, I can say that late Shostakovich’s works seem closer and more interesting to me, and this particular edition of the opera allows me to have a deeper and further look into it. First of all, I am attracted to the continual development in Katerina Izmailova: from the beginning to the end our nerves are being wound on a reel”.

English

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Aktoreak

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