Name: The dawns here are quiet
Start: 2020-05-10T00:00:00.000Z
End: 2020-05-10T00:00:00.000Z
Location: Zaryadye Hall

Organization

Conductor

Valery Polyansky

Bass

Ruslan Rosyev

Vaskov

Mezzo-soprano

Evgenia Segenyuk

Jenya Komelkova

Soprano

Ekaterina Chudotvorova

Sonya Gurvitch

Oksana Sekerina

Liza Brichkina

Olga Siushkina

Rita Ovsyanina

Yana Usacheva

Kiryanova

Elena Evseeva

Marja

Liudmila Kuznetsova

Polina

Baritone

Evgeny Liberman

Guitarist

Yulia Tomina

Yolkina

Countertenor

Rustam Yavaev

Handel's aria

Anna Novikova

Orchestra

The State Academic Symphony Capella of Russia

Zaryadye Hall

The dawns here are quiet

Moscow

Russia

Public

Approved

The dawns here are quiet (Зори здесь тихие) Molchanov

Handel's Aria is performed by Rustam Javaev  , countertenor gold”…) and music for films (“It was in Penkovo”, “We'll Live Until Monday”, “The Dawns Here Are Quiet”…). An equally important place in the composer's work was occupied by musical theater. Kirill Vladimirovich Molchanov wrote two ballets, music for dramatic performances, a musical and eight operas.



Most of the composer's operas are dedicated to the events of the Great Patriotic War: Romeo, Juliet and Darkness, The Unknown Soldier, The Russian Woman, The Dawns Here Are Quiet.

The basis of the libretto for the opera The Dawns Here Are Quiet was Boris Vasiliev’s story The Dawns Here Are Quiet…, the story of the death of five selfless anti-aircraft gunners and their commander. In 1972, Stanislav Rostotsky's film of the same name was released with great success, the music for which was created by Kirill Molchanov. In 1975, the premiere of the opera The Dawns Here Are Quiet took place on the stage of the Bolshoi Theatre. The part of Zhenya Komelkova was performed by Tamara Sinyavskaya (later Elena Obraztsova performed in the same part).

The opera fully embodied, on the one hand, the bright song gift of the composer (the heroines of the opera are characterized by a song, a ditty, a romance, and a waltz), and, on the other hand, his interest in cinematography. The composer used techniques in the opera that would be called “flashback” and “flashforward” in today's film production. The opera is framed by a prologue and an epilogue, the action of which takes place in a peaceful post-war period.

As the composer wrote, his music "was dominated by the never-fading memory of the military feat of Soviet soldiers and the millions of lives that were cut short by the war."

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