Famous conductors of the world. Presentation "Russian conductors of our time"

Cycle concert programs (Russia, 2010). 10 issues.

There are no more authoritative figures in modern musical culture than representatives of the world conductor's elite. The creators of the cycle have chosen ten significant names of significance - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues,. Today they are universally recognized masters and leaders of the largest orchestras.

Each program is based on the performance of one of the named maestro with his orchestra.

Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexei Utkin, pianist Denis Matsuev and others.

The program is the most diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.

The host of the cycle is pianist Denis Matsuev.

1st release. .
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Violin Concerto No. 1 in G minor; L. Beethoven. Symphony No. 7.

2nd issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recorded at the Golden Hall of the Musikverein in Vienna.

3rd edition. "Maris Jansons and the Bavarian Radio Symphony Orchestra".
Program: R. Wagner. Introduction and "Death of Isolde" from the opera "Tristan and Isolde"; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".

4th edition. "Daniel Barenboim and the West-Eastern Divan Orchestra".
Program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists - Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for Orchestra. G. Verdi. Overture to the opera "Force of Destiny".

5th issue. "Vladimir Spivakov and the National philharmonic orchestra Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Recorded at the Great Hall of the Moscow Conservatory in 2008.

6th edition. "Lauryn Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recorded in the Great Hall of the Moscow Conservatory.

7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.

8th issue. Yuri Bashmet and chamber ensemble"Soloists of Moscow".
In a programme: Joseph Haydn- Concerto for cello and orchestra. Soloist Steven Isserlis (Great Britain), Niccolò Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergey Krylov (Italy); V.A. Mozart - Divertimento No. 1.
Recording in the BZK.

9th edition. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky" Swan Lake", compiled by Mikhail Pletnev. Recording at the State Academic Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.

10th edition. Valery Gergiev and the Mariinsky Theater Symphony Orchestra
The Mariinsky Theater Symphony Orchestra conducted by Valery Gergiev performs orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's Romeo and Juliet.

Itay Talgam

Renowned Israeli conductor and consultant who helps leaders from business, education, government, medicine and other fields to become "conductors" of their teams and achieve harmony through collaboration.

Itay Talgam argues that leadership skills are universal, and the communication styles of a conductor with an orchestra are in many ways similar to the relationship of a boss with employees in a company. But there is no universal principle for organizing such relationships. The author shares his observations about the methods of orchestra management peeped from the great conductors and divides them into six conditional categories.

1. Dominance and control: Ricardo Mutti

The Italian conductor Ricardo Mutti is attentive to details and very meticulous in managing the orchestra both in rehearsals and in performances. All the nuances of the game are concentrated in his gestures: he notifies the musicians of the changing tone long before they have to rebuild. Mutti controls every step of his subordinates, no one and nothing is left without his attention.

Total control is due to the fact that the conductor himself feels pressure from the top management: the board of directors or the ever-present spirit of the great composer. Such a leader is always subject to condemnation from the ruthless super-ego.

The dominant leader is unhappy. His subordinates respect him, but do not like him. This was especially clearly demonstrated by the example of Mutti. Between him and the top leadership of the Milanese opera house"La Scala" there was a conflict. The conductor outlined his demands to the authorities, if they were not met, he threatened to leave the theater. He hoped that the orchestra would take his side, but the musicians said they had lost confidence in the leader. Mutti had to retire.

Do you think this conductor's stand is a throne? For me, this is a desert island where loneliness reigns.

Ricardo Mutti

Despite this, Ricardo Mutti is considered one of the greatest conductors of the 20th century. Itay Talgam says that at the seminars on personnel management, most of the students said that they would not want such a leader. But to the question: “Is his leadership effective? Can he force subordinates to do their job?" Almost everyone answered in the affirmative.

The dominant leader does not believe in the ability of employees to organize themselves. He takes full responsibility for the result, but requires unquestioning obedience.

When it works

This tactic is justified in the presence of problems with discipline in the team. The author gives an example from Mutti's biography and talks about his experience with the Israel Philharmonic Orchestra. This is a wonderful team, but the style of his work was formed at the junction of European, Mediterranean and Middle Eastern cultures. The diversity of traditions has led to a lack of formal discipline within the orchestra.

At that moment, when Mutti's stick was frozen in the air in anticipation of the first notes, one of the musicians decided to move his chair. There was a creak. The conductor stopped and said: “Gentlemen, I don’t see the words “chair creak” in my score.” From that moment on, only music sounded in the hall.

When it doesn't work

In all other cases, and especially when the work of employees is related to. Mutti's management style excludes the presence of errors, and in fact they often lead to new discoveries.

2 Godfather: Arturo Toscanini

The star conductor Arturo Toscanini showed maximum participation in the life of the orchestra at rehearsals and on stage. He was not shy in expressions and scolded the musicians for their mistakes. Toscanini became famous not only for his talent as a conductor, but also for his professional temper.

Toscanini took every failure of his subordinates to heart, because the mistake of one is the mistake of all, especially the conductor. He was demanding of others, but no more than of himself: he came to rehearsals in advance and did not ask for privileges. Each musician understood that the conductor was sincerely worried about the result, and was not offended by insults for inaccurate playing.

Toscanini demanded full dedication from the musicians and expected impeccable performance. He believed in their talent and was collected at concerts. It was evident how proud he was of his "family" after a successful performance.

An important motivator of the employees of such a team is the desire to work well “for the father”. Such leaders are loved and respected.

When it works

When the team is ready to accept the three basic principles family culture: stability, empathy and mutual support. It is also important that the manager has authority, is competent in his field, has professional achievements. Such a leader should be treated like a father, so he should be smarter and more experienced than his subordinates.

This principle of management is often resorted to when the team is experiencing hard times. During the period of strengthening of trade unions, large companies introduce slogans from the category "We are one family!" Management seeks to improve working conditions, gives employees the opportunity to receive additional education, conducts corporate events and provides subordinates with a social package. All this is aimed at motivating employees to work for the sake of the authorities who care about them.

When it doesn't work

In some modern organizations where relationships between people are sometimes more important than formal hierarchy. In such groups, deep emotional involvement is not implied.

Such a management principle requires not only the authority and competence of the leader, but also the ability of subordinates to justify the expectations placed on them. Itay Talgam talks about his experience of studying with the conductor Mendy Rodan. He demanded a lot from the student and perceived his every failure as a personal defeat. This pressure, coupled with swearing, oppressed the author. He realized that such a teacher would help him get a diploma, but would not bring up a creative person in him.

3. According to the instructions: Richard Strauss

The author says that many of the managers present at his seminars were only amused by Strauss's behavior on stage. Visitors chose him as a potential leader only on the basis that with such a boss, you can not really bother yourself with work. The conductor's eyelids are lowered, he himself looks distant and only occasionally casts glances at one or another section of the orchestra.

This conductor does not aim to inspire, he only restrains the orchestra. But if you look closely, it becomes clear what is the basis of such a management principle - following instructions. Strauss is not focused on the musicians, but on the notes, even if the orchestra plays his work. By this, he shows how important it is to strictly follow the rules and clearly perform the work, not allowing one's own interpretations.

It should be understood that the lack of interpretation and discovery in music is not bad at all. This approach allows you to expose the structure of the work, to play it the way the author intended.

Such a leader trusts subordinates, requires them to follow instructions and believes that they will be able to comply with them. This attitude flatters and motivates employees, they gain self-confidence. The main disadvantage of the approach is that no one knows what will happen if a situation arises that is not specified in the instructions.

When it works

This principle of control works in different occasions. Sometimes it is the most comfortable for calm professionals who are used to working according to the letter of the law. Sometimes it is simply necessary to provide employees with mandatory instructions, for example, when interacting different groups subordinates.

The author gives an example of his experience with the orchestra and the rock band Natasha's Friends. The problem arose due to the fact that the musicians from the group came to the end of the second hour of a three-hour rehearsal. They were sure that nothing would stop them from devoting the rest of the day to music, not thinking about the fact that orchestra rehearsals were subject to stricter time frames.

When it doesn't work

The principle of management based on following instructions does not work where the ability to create and create new ideas should be encouraged. Like absolute obedience to the leader, following the instructions implies the absence of mistakes leading to new discoveries. It can also deprive employees of professional enthusiasm.

The author gives an example from the biography of the conductor Leonard Bernstein. The Israel Philharmonic Orchestra, under his direction, rehearsed the finale of Mahler's symphony. When the conductor gave the signal for the entry of the brass, there was silence in response. Bernstein looked up: some of the musicians had left. The fact is that the end of the rehearsal was scheduled for 13:00. The clock was 13:04.

4. Guru: Herbert von Karajan

Maestro Herbert von Karajan barely opens his eyes on stage and does not look at the musicians. He only expects that his subordinates seem to magically consider his desires. This was preceded by preliminary work: the conductor carefully explained the nuances of the game at rehearsals.

The guru did not give the musicians a time frame or set the rhythm, he only listened attentively and conveyed to the orchestra the softness and depth of the sound. The musicians were perfect for each other. They themselves became interdependent conductors and improved their skills of playing together over and over again.

Such an approach speaks of the arrogance of the leader: he acts bypassing the accepted postulates and is always sure of success. At the same time, team members are much more dependent on each other than on the instructions of the management. They are vested with the power to directly influence the results of work. They have an additional responsibility, so being in such a team for some can be a psychologically difficult test. This management style is similar to Mutti's dominance in that the leader is also unavailable for dialogue and imposes his vision of the organization on subordinates.

When it works

When the work of the team is connected with the creativity of employees, for example, in the field of art. American artist Saul Levitt hired young artists (several thousand in total), explained the concepts and gave some directions. After that, the subordinates went to create without Levitt's control. He was interested in the result, not submission in the process. A sensible and wise leader, he understood that joint creativity only enriches the project. This is what made him the most exhibited artist in the world: in his entire life he held more than 500 solo exhibitions.

When it doesn't work

In each team, the appropriateness of this management principle depends on many individual factors. This approach often leads to failure, which is why, for example, Cadbury & Schweppes created a code corporate governance Cadbury, which describes procedures designed to protect the company from the excessive ego of the leader and convey important information to all participants in the process.

The author also tells cautionary tale from my own experience. He wanted to start his work with the Tel Aviv Symphony Orchestra with a high-profile innovation. Itai Talgam divided the string section into quartets and placed the wind instruments between them. He suggested that in this way each of the musicians could feel like a soloist. The experiment failed: the participants were unable to communicate, being far from each other, so they played extremely poorly.

5 Leading Dance: Carlos Kleiber

Carlos Klaiber dances on stage: stretching out his arms, jumping up and down, bending over and swaying from side to side. At other times, he leads the orchestra with only his fingertips, and sometimes he just stands and listens to the musicians. On stage, the conductor shares his joy and multiplies it. He has a clear vision of the form and leads the musicians, but he does it not as a leader, but as a solo dancer. He constantly requires subordinates to participate in interpretations and does not load his instructions with details.

Such a leader manages not people, but processes. It provides subordinates with scope for innovation, stimulates them to create on their own. Employees share power and responsibility with the leader. In such a team, it is easy to correct a mistake and even transform it into something new. "Dancing" managers value ambitious employees, preferring them to those who are able to conscientiously perform their work according to instructions.

When it works

A similar principle applies when an ordinary employee may have more relevant information than the boss. As an example, the author cites his experience of working with agencies to combat terrorism. An agent in the field must be able to make decisions on his own, sometimes violating direct orders from the command, because he has the most complete and up-to-date knowledge of the situation.

When it doesn't work

When employees are not interested in the fate of the company. The author also claims that such an approach cannot be artificially imposed. This will work only if you are able to genuinely rejoice in the success of the employees and the result of the work.

6. Searching for Meaning: Leonard Bernstein

The secret of Leonard Bernstein's interaction with the orchestra is revealed not on stage, but off it. The conductor did not want to separate emotions, life experience and aspirations from music. For each of the musicians, Bernstein was not only a leader, but also a friend. He invited not a professional, but a person to work: in his orchestras, first of all, individuals perform, listen to and compose music, and only then subordinates.

Bernstein posed the main question for musicians: “Why?” This was: he did not force him to play, but made the person himself want to play. Everyone had their own answer to Bernstein's question, but everyone equally felt their involvement in the common cause.

When it works

The dialogue of management with employees and giving meaning to their activities will benefit any organization where the work of team members is not brought to a set of similar actions. An important condition for this is that employees must respect the leader and consider him competent.

When it doesn't work

Itay Talgam talks about a situation when he tried to apply the Bernstein method, but met only misunderstanding on the part of his subordinates. The reason was that many of the musicians symphony orchestra Tel Aviv was much older and did not know him at all. The first rehearsal didn't go well. "Something's wrong," Talgam told the orchestra. - I just don't know what. Tempo, intonation, something else? What do you think? What can be fixed? One of the older musicians stood up and said: “Where we came from, the conductor didn't ask us what to do. He knew what to do."

In the book “The Ignorant Maestro”, Itay Talgam not only talks about the management principles of great conductors, but also reveals three important qualities effective leader: ignorance, giving meaning to voids, and motivational listening. The author talks not only about what a leader should be like, but also about the role of subordinates in work communications. universal principle there is no control, every effective leader generates it on its own. And you can learn something and adopt some techniques from the six great conductors that are written about in this book.

Carlos Kleiber named best conductor of all time.
According to a survey conducted by the English magazine BBC Music Magazine, Carlos Kleiber recognized as the best conductor of all time. The survey was conducted among 100 leading conductors of our time, such as Sir Colin Davis, Gustavo Dudamel, Valery Gergiev, Mariss Jansons and others, to identify which of their colleagues they admire the most (who is their inspiration). Carlos Kleiber, the Austrian maestro, who only performed 96 concerts and about 400 opera performances in his 74 years, was ahead of Leonard Bernstein and Claudio Abbado, who came in second and third respectively.

Susanna Mälkki, Finnish conductor of the French Ensemble Intercontemporain and one of the survey participants, commented on the results: "Carlos Kleiber brought incredible energy to music... Yes, he had about five times more rehearsal time than today's conductors can afford, but he deserved it because his vision of music is amazing, he knows exactly what he wants and his attention to the smallest details really inspiring."

So, Top 20 Conductors of All Time according to a BBC Music Magazine poll conducted in November 2010 and published in March 2011.

1. Carlos Kleiber (1930-2004) Austria
2. Leonard Bernstein (1918-1990) USA
3. (born 1933) Italy
4. Herbert von Karajan ((1908-1989) Austria
5. Nikolaus Harnoncourt (born 1929) Austria
6 Sir Simon Rattle (born 1955) UK
7. Wilhelm Furtwangler (1896-1954) Germany
8. Arturo Toscanini (1867-1957) Italy
9. Pierre Boulez (born 1925) France
10. Carlo Maria Giulini (1914-2005) Italy
11. John Eliot Gardiner (born 1943) UK
12.
13. Ferenc Fricsay (1914-1963) Hungary
14. George Szell (1897-1970) Hungary
15. Bernard Haitink (born 1929) Netherlands
16. Pierre Monteux (1875-1964) France
17. Evgeny Mravinsky (1903-1988) Russia (USSR)
18 Colin Davis (born 1927) UK
19. Thomas Beecham (1879-1961) Great Britain
20. Charles Mackerras (1925-2010) Australia

Curriculum vitae:
Carlos Kleiber, full name Carl Ludwig Kleiber is an Austrian conductor. Born July 3, 1930 in Berlin, the son of the famous conductor Erich Kleiber. Grew up in Argentina, 1949-1950. studied chemistry in Zurich. Musical career started in 1951 as a tutor in Munich. Kleiber's debut as a conductor took place in 1954 in Potsdam. Then he worked in Dusseldorf, Zurich and Stuttgart. In 1968-1973. worked at the Bavarian State Opera in Munich and remained its guest conductor until 1988. In 1973 he performed for the first time at the Vienna State Opera. He performed at La Scala, Covent Garden (since 1974), the Metropolitan Opera (since 1988) and other theaters; participated in the Edinburgh Festival (since 1966). He collaborated with the Vienna and Berlin Philharmonic Orchestras. The last performance of the conductor took place in 1999. He died on July 13, 2004 in Slovenia.

L.V. Beethoven. Symphony No. 7 Op.92.
Royal Orchestra Concertgebouw (Netherlands). Conductor Carlos Kleiber.

The Soviet era was generous with talents. The history of world culture included the names of brilliant Soviet pianists, violinists, cellists, singers and, of course, conductors. At this time, a modern idea was formed about the role of the conductor - leader, organizer, master.

What were they, musical leaders Soviet era?

Five portraits from the gallery of outstanding conductors.

NIKOLAY GOLOVANOV (1891–1953)

Already at the age of six, during a walk, Nikolai tried to conduct a military orchestra. In 1900, the young music lover was admitted to the Synodal School. Here his vocal, conducting and composing abilities were revealed.

Having already become a mature master, Golovanov with big love writes about the years of study: "The Synodal School gave me everything - moral principles, principles of life, the ability to work hard and systematically, instilled sacred discipline."

After several years of work as a regent, Nikolai entered the composition class of the Moscow Conservatory. In 1914 he graduated from it with a small gold medal. Throughout his life, Nikolai Semenovich wrote spiritual chants. He continued to work in this genre even when religion was proclaimed "the opium of the people."

Fragment of the performance of Tchaikovsky's overture "1812"

In 1915 Golovanov was admitted to the Bolshoi Theatre. It all began with a modest position as assistant choirmaster, and in 1948 he became chief conductor. Relations with the famous theater were not always smooth: Nikolai Golovanov had to endure many insults and disappointments. But it was not they who remained in history, but the brilliant interpretations of Russian opera and symphonic classics, bright premieres of works by contemporary composers and the first radio broadcasts classical music in the USSR with his participation.

Conductor Gennady Rozhdestvensky recalls the master like this: “He couldn't stand the middle. Indifferent middle. And in nuance, and in phrasing, and in relation to the case.

Although Golovanov did not have students-conductors, his interpretations of Russian classics became models for young musicians. Alexander Gauk was destined to become the founder of the Soviet conducting school.

ALEXANDER GAUK (1893–1963)

Alexander Gauk studied at the Petrograd Conservatory. He studied composition in the class of Alexander Glazunov, conducting - in the class of Nikolai Tcherepnin.

In 1917, the musical and theatrical period of his life began: he worked at the Petrograd Theater of Musical Drama, and then at the Leningrad Opera and Ballet Theater.

In the 1930s, symphonic music was at the center of Gauk's interests. For several years he led the symphony orchestra of the Leningrad Philharmonic, and in 1936 he headed the newly created State Symphony Orchestra of the USSR. He did not miss the theater, he only regretted that he did not have a chance to stage his favorite " queen of spades» Tchaikovsky.

A. Honegger
Pacific 231

In 1953, Gauk became the chief conductor of the Bolshoi Symphony Orchestra of the USSR State Radio and Television. This work was very intense and interesting. The orchestra played programs, as they say, in live. In 1961, the maestro was "politely" retired.

Joy for Gauk was pedagogical activity. Evgeny Mravinsky, Alexander Melik-Pashaev, Evgeny Svetlanov, Nikolai Rabinovich - they were all students of the maestro.

Evgeny Mravinsky, already a renowned master himself, will write to his teacher in a congratulatory letter: "You are our only conductor who carries the traditions of a real great culture."

EUGENE MRAVINSKY (1903-1988)

Mravinsky's whole life was connected with Petersburg-Leningrad. He was born into a noble family, but in difficult years he also had to deal with “non-noble” affairs. For example, work as an extra at the Mariinsky Theatre. An important role in his fate was played by the personality of the head of the theater - Emil Cooper: "It was he who introduced into me that" grain of poison ", which for the rest of my life connected me with the art of conducting."

For the sake of music, Mravinsky left the university and entered the Petrograd Conservatory. At first, the student was diligently engaged in composition, and then became interested in conducting. In 1929, he came to Gauk's class and very quickly mastered the basics of this complex (or "dark" as Rimsky-Korsakov used to say) business. After graduating from the conservatory, Mravinsky became an assistant conductor at the Leningrad Opera and Ballet Theatre.

In 1937 the first meeting of the conductor with the music of Dmitri Shostakovich took place. Mravinsky was entrusted with the premiere of his Fifth Symphony.

At first, Shostakovich was even frightened by the conductor’s method of work: “About every measure, about every thought, Mravinsky made me a real interrogation, demanding from me an answer to all the doubts that arose in him. But already on the fifth day of our joint work, I realized that this method is definitely the right one.”

After this premiere, Shostakovich's music will become a constant companion of the maestro's life.

In 1938, Mravinsky won the First All-Union Conducting Competition and was immediately appointed head of the Leningrad Philharmonic Orchestra. Many of the orchestra's artists were much older than the conductor, so they did not hesitate to give him "valuable instructions". But very little time will pass, a working atmosphere will be established at rehearsals, and this team will become pride national culture.

Rehearsal of the Leningrad Philharmonic Orchestra

Not so often in the history of music there are examples when a conductor has been working with one group for several decades. Yevgeny Mravinsky led the Philharmonic Orchestra for half a century, his younger colleague Yevgeny Svetlanov led the State Orchestra for 35 years.

Dmitri Shostakovich, Symphony No. 8

EVGENY SVETLANOV (1928–2002)

For Svetlanov, the Bolshoi Theater was native in a special sense of the word. His parents are soloists of the opera troupe. The future maestro made his debut on the famous stage at a tender age: he played little son Cio-Cio-san in Puccini's Madama Butterfly.

Almost immediately after graduating from the conservatory, Svetlanov comes to the Bolshoi Theater, mastering all theatrical classics. In 1963 he became the chief conductor of the theatre. Together with him, the troupe goes on tour to Milan, to La Scala. Svetlanov brings Boris Godunov, Prince Igor, Sadko to the judgment of the demanding public.

In 1965, he headed the State Symphony Orchestra of the USSR (the same one that was once led by his teacher Alexander Gauk). Together with this group, which became academic in 1972, Svetlanov implemented a large-scale project - "Anthology of Russian symphonic music on record". The significance of this work was very precisely defined by the musical director of Radio France, Rene Goering, who worked a lot with the conductor: “This is a real feat of Svetlanov, another testament to his greatness.”

M. Balakirev, symphony No. 2, final

Working with GASO, the conductor does not forget about the Bolshoi Theatre. In 1988, the production of The Golden Cockerel (directed by Georgy Ansimov) became a real sensation. Svetlanov invited the "non-opera" singer Alexander Gradsky to the super-complex part of the Astrologer, which added even more originality to the performance.

Concert "Hits of the outgoing century"

Among the most important achievements Evgenia Svetlanova - communion a wide range listeners to the music of the outstanding composer Nikolai Myaskovsky, which was very rarely performed by Soviet orchestras.

The return to the concert stage of little-known compositions has become one of the key tasks for maestro Gennady Rozhdestvensky.

GENNADY Rozhdestvensky (Born in 1931)

Conductors who play instruments or compose music are not uncommon. But conductors who can talk about music are rare. Gennady Rozhdestvensky is a real unique person: he can tell and write about musical works in a fascinating way different eras.

Rozhdestvensky studied conducting with his father, the famous conductor Nikolai Anosov. Mom, singer Natalya Rozhdestvenskaya, did a lot to develop her son's artistic taste. Not yet graduating from the conservatory, Gennady Rozhdestvensky was admitted to the Bolshoi Theater. His debut was Tchaikovsky's Sleeping Beauty. In 1961, Rozhdestvensky led the Bolshoi Symphony Orchestra Central Television and broadcasting. At this time, the conductor's repertoire preferences emerged.

He mastered the music of the 20th century with great interest, and also introduced the public to "non-hit" compositions. Musicologist, doctor of art history Viktor Zukkerman admitted in a letter to Rozhdestvensky: “For a long time I wanted to express deep respect and even admiration for your selfless, perhaps even ascetic activity in performing either undeservedly forgotten or little-known works.”

A creative approach to the repertoire determined the work of the maestro with other orchestras - well-known and not so well-known, youth and "adults".

All aspiring conductors dream of studying with Professor Rozhdestvensky: for 15 years he has been the head of the Department of Opera and Symphony Conducting at the Moscow Conservatory.

The professor knows the answer to the question “Who is a conductor?”: “This is a medium between the author and the listener. Or, if you like, some kind of filter that passes the flow emitted by the score through itself, and then tries to convey this to the audience.

The film "Triangles of Life"
(with fragments of the conductor's performances), in three parts

Musical culture cannot exist without conductors, as well as the film industry without directors, the literary and publishing industry without editors, fashion projects without designers. The leader of the orchestra ensures the organic interaction of all instruments during the performance. The conductor is in charge actor on the stage of the Philharmonic, concert hall or any other music platform.

Virtuosi

The coherence of the symphony orchestra, the harmonious sound of numerous musical instruments is achieved due to the skill of the conductor. No wonder the most talented of them are awarded various high titles and titles, and among the people they are called "virtuosos". And indeed, the impeccable possession of the conductor's baton allows you to bring to every musician sitting in orchestra pit, all the nuances of a creative impulse. A huge symphony orchestra suddenly begins to sound like a whole, and the musical composition is revealed in all its splendor.

Well-known conductors are united on the basis of skill, they all went through the school of high art, it took them a while to gain popularity and recognition from the general public. Popularity is gained over the years. For the most part, well-known conductors, in addition to concert activities, are engaged in teaching, conduct training courses for young musicians, as well as master classes.

self-sacrifice

The art of conducting an orchestra requires many years of practice, continuous improvement, which spills into endless rehearsals. Some well-known conductors are notable for their special creative perseverance, bordering on self-sacrifice, when personal life is relegated to the background and only music remains. However, this situation is good for art.

The most famous conductors are bound by contracts with certain musical groups and this enables them to achieve high level performance musical works. At the same time, mutual understanding is necessary, which will subsequently serve as a guarantee of successful concert activity.

Related videos

Notable opera conductors

There are names in the world musical hierarchy that everyone knows. The names of famous opera conductors can be found on posters, billboards, their names are called cruise ships. This popularity is well-deserved, since few people are still able to devote their entire lives, without a trace, to music. The most famous conductors travel all over the world, tour with various musical groups or lead orchestras in major music centers. Opera performances require a special coherence of the orchestra, accompanied by vocal parts, arias and cavatina. In all music agencies you can find out the names of famous opera conductors who can be invited for a season or a series of performances. Experienced impresarios know the style of work and character traits of each. This helps them make the right choice.

Famous conductors of Russia

Music, especially opera, has many components. Here is the orchestra, which includes a variety of instruments: wind, string, bow, percussion. Soloists, performers of vocal parts, choir and other participants in the performance. Disparate fragments of an opera performance are united into one whole by the director of the performance and the conductor of the orchestra. Moreover, the latter actively participates in the action from beginning to end. There are conductors in Russia who, with their music, direct the opera according to the only the right way which brings the viewer to the real art.

Famous conductors of Russia (list):

• Alexandrov Alexander Vasilievich.
• Bashmet Yuri Abramovich.
• Bezrodnaya Svetlana Borisovna.
• Bogoslovsky Nikita Vladimirovich.
• Bronevitsky Alexander Alexandrovich.
• Vasilenko Sergey Nikiforovich.
• Garanyan Georgy Abramovich.
• Gergiev Valery Abisalovich.
• Gorenstein Mark Borisovich.
• Diaghilev Sergei Alexandrovich.
• Evtushenko Alexei Mikhailovich
• Ermakova Ludmila Vladimirovna
• Kabalevsky Dmitry Borisovich.
• Kazhlaev Murad Magomedovich.
• Kogan Pavel Leonidovich.
• Lundstrem Oleg Leonidovich
• Mravinsky Evgeny Alexandrovich.
• Svetlanov Evgeny Fyodorovich.
• Spivakov Vladimir Teodorovich

Every well-known Russian conductor can successfully lead any foreign symphony orchestra, a few rehearsals are enough for this. The professionalism of musicians helps to overcome both the language barrier and the difference in styles.

World celebrities

Famous conductors of the world are talented musicians recognized by the general public.

Pavel Kogan

The most famous Russian conductor who has been giving the world his art for more than forty years. Its popularity is unprecedented. The maestro's name is on the list of the ten greatest contemporary conductors. The musician was born in the family of famous violinists, Leonid Kogan and Elizaveta Gilels. Since 1989, he has been the permanent artistic director, as well as the Chief Conductor of the MGASO (Moscow State Symphony Orchestra). At the same time he represents Russia in the major musical centers of America.

Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. Maestro is a laureate of the State Prize of Russia, bears the title of " National artist Russia". Pavel Kogan also has many awards, including the Order of Merit for the Fatherland and the Order of the Arts.

Herbert von Karajan

The world famous conductor of Austrian origin Herbert von Karajan (1908-1989) was born into a family of Greek immigrants. At the age of eight, he entered the Mozarteum Conservatory in Salzburg, where he studied for 10 years and received basic conducting skills. At the same time, young Karajan was learning to play the piano.

The debut took place in 1929 at the Salburg Festival Theatre. Herbert conducted the opera Salome by Richard Strauss. In the period from 1929 to 1934 he was Chief Kapellmeister at the theater in the German city of Ulm. Then Karajan stood for a long time at the conductor's stand of the orchestra. Vienna Philharmonic. Then he performed with Charles Gounod's opera "Walpurgis Night".

The finest hour for the conductor came in 1938, when Richard Wagner's opera "Tristan and Isolde" performed by him was a huge success, after which Herbert was called "Miracle Karajan".

Leonard Bernstein

American conductor Leonard Bernstein (1918-1990), born to Jewish immigrant parents. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became involved in conducting, and in 1939 he made his debut - young Bernstein performed the composition own composition under titled The birds.

Thanks to his high professionalism, Leonard Bernstein quickly gained popularity and, already at a young age, led the New York Philharmonic Orchestra. Being comprehensive creative person, the conductor was engaged in literature. He wrote about a dozen books on music.

Valery Gergiev

The famous conductor Valery Abisalovich Gergiev was born on May 2, 1953 in Moscow. At the age of nineteen he entered the Leningrad Conservatory. Participated as a student in international competition conductors in Berlin, where he took second place.

After graduating from the conservatory in 1977, the young conductor was accepted as an assistant at the Kirov Theatre. Yuri Temirkanov became his mentor, and already in 1978 Valery Gergiev stood at the podium and played Prokofiev's opera War and Peace. In 1988, he replaced Yuri Temirkanov after he left for the Leningrad Philharmonic.

The year 1992 was marked by the return to the Kirov Theater of its historical name "Mariinskii Opera House"The theater audience of St. Petersburg, in order to get to opera performances, is recorded in advance, months in advance. Today, Valery Gergiev is the chief conductor of the theater and its artistic director.

Evgeny Svetlanov

The famous conductor, Russian and world, Evgeny Fedorovich Svetlanov (1928-2002) left a noticeable mark in cultural heritage Russia. Has the title of "Hero Socialist Labor"and" People's Artist of the USSR. He is a laureate of the Lenin and State Prizes of the USSR.

Svetlanov's creative career began immediately after graduating from the Gnessin Institute in 1951. He continued his studies at the Moscow Conservatory in the class of opera and symphony conducting and composition.

The debut took place in 1954 on the stage of the Bolshoi Theater in a production of Rimsky-Korsakov's opera The Maid of Pskov. From 1963 to 1965 he was the chief conductor of the Bolshoi Theatre. During his work, the level of opera performances noticeably increased.

In 1965-2000 combined work in office artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).

Vladimir Spivakov

Russian conductor Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. In 1968 he graduated from the Moscow Conservatory, in 1970 he completed his postgraduate studies.

Mastery Vladimir Spivakov studied at the Gorky Conservatory with Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.

Currently, he is the permanent leader and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally organized in 1979. He has performed with European orchestras and US musical groups. Conducted at the La Scala Theatre, the Cecilia Academy, the Philharmonic of the German city of Cologne and the French Radio. He is the president of the International House of Music in Moscow.

Yuri Bashmet

Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. Laureate of four State Prizes of the Russian Federation.

In 1976 he graduated from the Moscow Conservatory. In 1972, while still a student, he acquired a violin-viola Italian master Paolo Testore, made in 1758. On this unique instrument Bashmet still plays today.

Active concert activity began in 1976, and two years later received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the "Experimental Viola Department", where the study of viola parts in the symphony, opera and chamber music. Then he received the title of professor at the Moscow Conservatory. Currently engaged in active charitable and social activities.