Natalya Popovich will be buried on Monday at the Vagankovsky cemetery‍. Natalya Popovich

Farewell to her will take place on April 2 in the Mirror Foyer of the theatre, reports FAN .

“Farewell to Natalya Grigorievna will take place in the mirror foyer of the Novaya Opera Theater named after Kolobov on April 2 from 11:00 to 13:00. On the same day, a funeral will take place at the Vagankovsky cemetery, where Natalya Grigorievna will be buried next to her husband, the outstanding conductor Evgeny Vladimirovich, ”the theater said.

Photo report: Natalya Popovich died

Is_photorep_included11701388: 1

Also, representatives of the theater pointed to the significant role of Popovich throughout the country. REN-TV .

“It is impossible to overestimate the role of Natalya Grigorievna in the development of many singers; with their work and talent, they increase the glory of their native theater and their native country, ”the theater said.

Popovich was the theater's chief choirmaster from 1991 to 2017. In 1967, while still a student at the Ural State Conservatory, Natalya Popovich, as the most gifted student of the course, was invited to the position of choirmaster at the Sverdlovsk Academic Opera and Ballet Theater. A.V. Lunacharsky, where she later became the chief choirmaster, is indicated in the message on the website theater .

In the Sverdlovsk Opera and Ballet Theatre, together with the chief conductor of the theater Yevgeny Kolobov, Natalia Popovich created opera performances that were highly appreciated by the audience and the press: La Traviata and The Force of Destiny by G. Verdi (the first production in Russia in Italian), "Carmen" by J. Bizet, "The Tsar's Bride" by N.A. Rimsky-Korsakov, "Peter I" by A.P. Petrov and more than 20 premiere performances.

Since 1981, Natalya Popovich, at the invitation of the conductor, worked as a choirmaster at the Leningrad Opera and Ballet Theater. CM. Kirov (now the Mariinsky Theatre). During her work at the theater, Popovich participated in productions of performances with such masters of the opera stage as the choirmaster, conductors Yevgeny Kolobov, and many others. As the head of the choir, Natalya Popovich took part in the audio recording of the opera The Pirate, in the television version of the play Eugene Onegin.

From 1988 to 1991 Popovich was the chief choirmaster of the Musical Theatre. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko. Here she led the choir in already existing repertoire performances and participated in the premiere productions of operas under the direction of Kolobov. In 1991, Popovich, together with Kolobov, by that time - her husband, created the Novaya Opera.

“At the difficult moment of Kolobov’s departure from the Stanislavsky and Nemirovich-Danchenko Theater, Natalya Grigoryevna received several tempting offers, including from the Bolshoi Theater. But she, like her husband, preferred a pie in the sky - a dream of her theater - a titmouse in her hands, ”leads NSN words of colleagues Popovich.

From the day the theater was founded, together with the artistic director Kolobov Popovich, she participated in determining the ideological and creative direction of the development of the new team, its repertory policy, in the formation of the creative and technical departments of the theater, and the introduction of the contract system.

One of the merits of the chief choirmaster of the Novaya Opera Popovich is the upbringing of a choir of a high musical level, which not only masterfully masters the art of choral singing, but also plays an active role in the stage action of performances, demonstrating acting emancipation and plasticity. In 2003, after the death of Kolobov, by order of Popovich, she became the chairman of the artistic and creative board of the theater.

Natalia Popovich is the author of the idea of ​​theatrical performances, which have become the hallmark of the Novaya Opera: "Bravissimo!" (to the 10th anniversary of the theater) and “All this is Opera!” (on the 20th anniversary of the theater in 2011), the gala concert "Viva Verdi!" to the 200th anniversary of the composer's birth, which features fragments from all Verdi's operas.

For her contribution to the arts, Natalya Popovich was awarded honorary titles and awards: the State Prize of the Russian Federation for the creation of the Novaya Opera Theater, the honorary title People's Artist of Russia, the Diaghilev Order of the 1st degree "For the Benefit of Russian Culture" (2008) and others.

Another personnel reshuffle in one of the best Moscow musical theaters - the "New Opera named after Evgeny Kolobov" ended in a scandal. The widow of the founder of the theater Natalya Popovich, who also holds the position of chief choirmaster, was removed from the post of chairman of the art board and deputy director for creative issues.

On the same day, Kolobov's daughter Marfa Kolobova-Teslya, head of the literary department at the theater, wrote a letter of resignation of her own free will.

Natalya Popovich told Izvestia that she considers the decision of director Alexander Sibirtsev to be an excess of authority. Ms. Popovich sent a corresponding letter to the office of the head of the department of culture, the founder of the theatre, Sergei Kapkov.

I will fight. An unprofessional, inexperienced person with ambitions is expelling me from the theater, which I nursed on my own hands, - Natalya Popovich told Izvestia.

According to Ms. Popovich, the new director invites singers and conductors without consultation with the board, implements his projects, as a result of which the theater turns into a concert venue.

In her letter, Natalya Popovich proposes to Mr. Kapkov to amend the theater charter and create the post of artistic director.

According to the choirmaster, one of the claims expressed by the theater director Dmitry Sibirtsev was the presence of family ties between the theater workers.

The director of the Novaya Opera, Dmitry Sibirtsev, explained to Izvestia that he acted within the framework of the charter in relation to the art board. In accordance with paragraph 3.1.5, its composition is determined by the director and approved by the order of the institution. He also said that "we are not talking about the dismissal of Natalia Popovich."

Her main position is the chief choirmaster, she has an indefinite contract. She held other positions part-time, - said Mr. Sibirtsev.

As for Marfa Kolobova-Teslya, then, according to the director, she decided to leave of her own free will because of professional claims against her.

Jan Latham-Koenig, chief conductor of the Novaya Opera, took the place of the Deputy Director for Creative Affairs and Chairman of the Artistic Board, which in itself does not contradict the aesthetics of the theater: in 1991, the Novaya Opera was conceived by Yevgeny Kolobov precisely as a conductor's theater.

Ms. Popovich became an ordinary member of the art board, but did not come to the first meeting of the renewed composition. In addition to Natalia Popovich and Jan Latham-Koenig, the updated composition of the artistic college included all the main specialists of the theater. The director himself remained on the post of deputy chairman of the board.

Sergei Kapkov told Izvestia that he does not know and should not know about the events at the Novaya Opera: according to the theater's charter, all decisions regarding the artistic board are made directly inside the theater. Ms. Popovich's letter, according to the head of the department, has not yet reached his disposal.

The Moscow Novaya Opera Theater was founded in 1991 on the initiative of the theatre's artistic director and chief conductor, People's Artist of the RSFSR Yevgeny Kolobov (1946–2003) and Moscow Mayor Yuri Luzhkov. At the same time, Kolobov's wife Natalya Popovich was appointed to the post of chief choirmaster. Since 2006, the theater has been named after its founder. Dmitry Sibirtsev has been the Director since December 2012.

Natalya Popovich - People's Artist of Russia, laureate of the State Prize of the Russian Federation. Together with Yevgeny Kolobov, she stood at the origins of the creation of the New Opera Theater. The repertoire of the choir under the direction of Popovich includes more than 20 operas, sacred musical compositions, compositions of the cantata-oratorio genre. As a choirmaster, Natalya Popovich participated in the recording of 15 theater CDs.

The widow of Yevgeny Kolobov, who founded the Novaya Opera Theater, died after a serious illness. Natalya Popovich was surrounded by the attention and care of loved ones to the last. As the choirmaster's colleagues explain, although those around her knew about a serious illness, they hoped to the last that she would recover, having overcome an unpleasant illness. Everyone who knew Natalya Grigorievna expresses their condolences to their families and friends.

Natalya Grigoryevna Popovich died on March 30. The widow of Yevgeny Kolobov was only 73 years old, but her health failed her. Until the last day, relatives hoped for a miracle and supported the woman who suffered from a serious illness in every possible way. The fact that she passed away was reported by the press service of the Novaya Opera Theater.

Everyone who worked with Natalia Grigoryevna has already expressed condolences to the family and friends of the woman who was the choirmaster of her native theater from 1991 until 2017. The choir, which was created mostly by her efforts, has become almost a symbol of the theater.

“In 1991-2017, Natalya Grigoryevna Popovich was the chief choirmaster of the Novaya Opera. In many ways, it was her efforts that created the outstanding phenomenon of contemporary Russian performing arts - the choir of the "New Opera". It is rightfully considered a symbol of the theater, an expression of its aesthetics and creative principles. It is impossible to overestimate the role of Natalya Grigorievna in the development of many singers; with their work and talent, they increase the glory of their native theater and their native country,” specified in the press service.

According to Igor Kolobov-Tesli, Natalya Grigoryevna's son-in-law, she died at home surrounded by relatives and friends. The funeral will take place at the Vagankovsky cemetery, where her husband, Evgeny Kolobov, is already lying. Farewell to the cultural figure is scheduled for April 2 from 11 am to 1 pm at the Novaya Opera Theater.

So far, Natalya Grigoryevna's colleagues are publishing memories of her on social networks. Many consider her passing away as an irreparable loss. Popovich is called a talented, wise teacher who helped many artists start. One of the students of Natalia Popovich was the opera diva Maria Maksakova.

In 1967, while still a student at the Ural State Conservatory, Natalya Popovich, as the most gifted student of the course, was invited to the position of choirmaster at the Sverdlovsk Academic Opera and Ballet Theater. A.V. Lunacharsky, where she later became the chief choirmaster. In the Sverdlovsk Opera and Ballet Theatre, together with the chief conductor of the theater Yevgeny Kolobov, Natalia Popovich created opera performances that were highly appreciated by the audience and the press: La Traviata and The Force of Destiny by G. Verdi (the first production in Russia in Italian), "Carmen" by J. Bizet, "The Tsar's Bride" by N.A. Rimsky-Korsakov, "Peter I" by A.P. Petrov and more than 20 premiere performances. The result of N. Popovich's labor activity in the Sverdlovsk Opera and Ballet Theater was the awarding of the title of Honored Art Worker of the Russian Federation to her.

Since 1981, Natalya Popovich, at the invitation of Yu.Kh. Temirkanova worked as a choirmaster at the Leningrad Opera and Ballet Theatre. CM. Kirov (now the Mariinsky). During his work in the theater N.G. Popovich participated in productions with such masters of the opera stage as choirmaster A. Murin, conductors Yu. Temirkanov, E. Kolobov, V. Gergiev, director B. Pokrovsky. As the head of the choir, Natalia Popovich took part in the audio recording of the opera "Pirate" by V. Bellini (conductor E. Kolobov, soloists: E. Tselovalnik, K. Pluzhnikov, S. Leiferkus), in the television version of the play "Eugene Onegin" by P.I. Tchaikovsky (conductor Y. Temirkanov). During the years of work in the theater. CM. Kirova Natalya Popovich was awarded the medal "For Labor Distinction".

In the period 1988–1991 N.G. Popovich is the chief choirmaster of the Musical Theater. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko. Here she leads the choir in already existing repertoire performances and participates in premiere productions of operas under the direction of conductor Evgeny Kolobov: “Pirate” by V. Bellini (the first production in Russia), “Boris Godunov” by M.P. Mussorgsky (in the first author's edition), which became legendary. Based on the play “Boris Godunov” (conductor E. Kolobov, director O. Ivanova, artist S. Barkhin, choirmaster N. Popovich), an opera film was made, in which the choir embodied the image of the Russian people with great certainty.

In 1991, Natalia Popovich, together with Evgeny Kolobov, was at the forefront of the creation of the Moscow Novaya Opera Theater. From the day the theater was founded, together with the artistic director E. Kolobov, Natalya Popovich participated in determining the ideological and creative direction of the development of the new team, its repertoire policy, in the formation of the theater's creative and technical departments, and the introduction of a contract system.

One of the merits of the chief choirmaster of the Novaya Opera N.G. Popovich is the education of a choir of a high musical level, which not only masterfully masters the art of choral singing, but also plays an active role in the stage action of performances, demonstrating acting emancipation and plasticity. Chorus of the New Opera under the direction of N.G. Popovich improves his vocal skills, performing sacred musical works a capella and works of the cantata-oratorio genre: the cantatas "Moscow" by P.I. Tchaikovsky, "Alexander Nevsky" by S.S. Prokofiev, "John of Damascus" S.I. Taneeva, "Spring" and "Three Russian Songs" by S.V. Rachmaninov, Requiem by G. Verdi, Requiem by V.A. Mozart and others. The Novaya Opera Choir is rightfully recognized by the audience and critics as one of the best choirs in Moscow.

As a choirmaster, Natalya Popovich participated in the recording of CDs and DVDs of the Novaya Opera: The Choir of the Novaya Opera Theatre, The New Opera at Carnegie Hall, the cantata Moscow by P.I. Tchaikovsky, cantata "Alexander Nevsky" by S.S. Prokofiev, Symphony No. 13 by D.D. Shostakovich, "Three Russian Songs" and the cantata "Spring" by S.V. Rachmaninov, "John of Damascus" S.I. Taneyev, "Romances by P. Tchaikovsky and S. Rachmaninov", the opera "Valli" by A. Catalani, the divertissement "Rossini", the opera "Eugene Onegin" by P.I. Tchaikovsky, Requiem V.A. Mozart, Requiem by G. Verdi, The World’s Favorite Opera Choruses (together with the choir of the Finnish Savonlinna Opera Festival), Masterpieces of the Opera Stage, Classics Through the Ages, etc.

In 2003, after the death of the theatre's founder Yevgeny Kolobov, by order of the Moscow Government, Natalia Popovich became the Chairman of the Artistic and Creative Board of the Novaya Opera Theater (she held this position until 2013).

Natalia Popovich is the author of the idea of ​​theatrical performances, which have become the hallmark of the Novaya Opera: "Bravissimo!" (to the 10th anniversary of the theater in 2001) and "All this is Opera!" (to the 20th anniversary of the theater in 2011), the gala concert "Viva Verdi!" to the 200th anniversary of the composer's birth, in which fragments from all the operas of Giuseppe Verdi are heard.

Best of the day

In 2003, N. Popovich became one of the co-founders of the Evgeny Kolobov Foundation, the initiator and ideological inspirer of the annual International Festival Epiphany Week at Novaya Opera, dedicated to Evgeny Kolobov, who was born on January 19, on Epiphany. Thanks to the energy and enthusiasm of N. Popovich, the festival has turned from a local theater event into a significant cultural event in the capital. The employees of the Novaya Opera Theater, who made a special contribution to the continuation of the traditions of Yevgeny Kolobov, were awarded the honorary prize of the Yevgeny Kolobov Foundation "For Selfless Service to Opera Art".

For her contribution to the arts, Natalya Popovich was awarded honorary titles and awards: the State Prize of the Russian Federation for the creation of the Novaya Opera Theater (2003), the honorary title People's Artist of Russia (2004), the Diaghilev Order of the 1st degree "For the Benefit of Russian Culture" (2008), etc.

Participation in theater productions

“All this is Opera!” (theatrical performance) - the idea of ​​the play, choirmaster

Bravissimo! (musical act) - chief chorus director, idea of ​​the play

"Oh Mozart! Mozart…” (requiem) - chief choirmaster

"Lohengrin" by R. Wagner - chief chorus director

"Troubadour" by G. Verdi - chief choirmaster

"Rossini" (musical divertissement) - chief chorus director

"La Boheme" by G. Puccini - chief chorus director

"Prince Igor" A.P. Borodina - chief chorus director

"Eugene Onegin" P.I. Tchaikovsky - chief chorus director

"Nabucco" by G. Verdi - chief choirmaster

"Rigoletto" by G. Verdi - chief choirmaster

"The Tsar's Bride" N.A. Rimsky-Korsakov - chief choirmaster

"Boris Godunov" M.P. Mussorgsky - chief choirmaster

Viva Verdi! (gala concert) - idea of ​​the concert, chief choirmaster

"Rural honor" P. Mascagni - choirmaster

"Lombards in the first crusade" G. Verdi - choirmaster

"Maria Callas" (musical offering) - choirmaster

"Wally" A. Catalani - choirmaster

"Ruslan and Lyudmila" M.I. Glinka - choirmaster

"Mary Stuart" G. Donizetti - choirmaster

"Queen of Spades" P.I. Tchaikovsky - choirmaster

La Traviata by G. Verdi - choirmaster

Discography

P. I. Tchaikovsky. Eugene Onegin (DVD) - choirmaster

Rossini (DVD) - choirmaster

V. Bellini. Norma (DVD) - choirmaster

G. Verdi. Rigoletto (DVD) - choirmaster

Bravissimo! (DVD) - idea of ​​the performance, choirmaster

G. Verdi. Force of Destiny (CD) - Choirmaster

V. Bellini. Pirate (CD) - choirmaster

Ioann Damaskin S. Taneeva et al. (CD) - choirmaster

Rossini (CD) - choirmaster

P. Tchaikovsky. Eugene Onegin (CD) - choirmaster

Classics Through the Ages (CD) - Choirmaster

G. Verdi. Requiem (CD) - choirmaster

P. Mascagni. Rural Honor (CD) - choirmaster

Theater "New Opera". Photo - Alexey Moshchenkov

... For almost two years now, the famous Moscow Novaya Opera has been shaking as if from Ebola.

Created by the late conductor Yevgeny Kolobov, over the 20 years of its existence, the Novaya Opera has become one of the best opera houses in the country.

Until in October 2012, Dmitry Sibirtsev, the producer of the art project “Tenors of the 21st Century”, was appointed its director ...

And for two years now, conflicts and squabbles have not stopped here.

Who is to blame? Is there a new leader who breaks the rules that have been established for two decades? Or the artists themselves, sometimes resisting decisions from above?

Let's start with the fact that from now on, talking with the MK journalist (and any other journalists) about the events currently happening at the Novaya Opera is now allowed only with a written notification from Dmitry Sibirtsev and his subsequent consent, so understand what is happening here and collect the opinions of all sides I did not succeed immediately.

And not everyone agreed to speak openly: the theatrical world is small, you complain, then they won’t take you anywhere.

Over the past two years, more than 50 people have been fired from the Novaya Opera (or were forced to leave on their own). The last hopeless performance of the former artists of the Novaya Opera is a collective letter to Vladimir Putin with a request to save the theater and protect them.

It was sent only a few days ago - it's still not too late, according to its authors. In October - Dmitry Sibirtsev has a new employment contract in the Department of Culture.

Chorus of the discontented

Among those dismissed are soloists, choir artists, directors, part of the technical staff, for example, a sewing workshop, and unique masters of theatrical costume. Well, on the little things - single mothers, those who have very little left before retirement.

What is there to say! As unnecessary, as was said, even the chief artist of the theater, Honored Artist of the Russian Federation Viktor Gerasimenko, was reduced. His position was simply taken out of the staff list - as too costly. In return, Viktor Gerasimenko was offered to become ... a cloakroom attendant, an auxiliary stage worker or an assistant on posters. By choice. "MK" has already written about this ugly story (see "The Six of Spades" by Alexander Minkin on December 15, 2013).

More than twenty former employees of the Novy Opera, meanwhile, filed lawsuits demanding their reinstatement, the prosecutor's office and other regulatory bodies, including the Moscow Department of Culture, are inundated with complaints, the showdown has been going on for months...

“I will still change what doesn’t suit me in the Novaya Opera, for this I was put in charge of it,”

Dmitry Sibirtsev himself said in a conversation with MK.

“To remove to hell the former Kolobov team, his relatives, people who still remember how this theater was created, in order to become the sole leader here. Well, from a career point of view, Dmitry Alexandrovich Sibirtsev, whom I remember as a very young boy, is doing exactly the right thing, clearing his way at any cost. In form it is true, but in content it is bad, ”

The artist Viktor Gerasimenko talks..

“I want to forget the new Novaya Opera as a bad dream. In my father's theater, I started as a simple editor ... The whole history of the theater developed before my eyes. And when the newly appointed Dmitry Sibirtsev told me that "Kolobov's daughter is not a profession," it was very painful and unfair. I left of my own accord…”

Marfa Kolobova speaks to me on the phone, the daughter of the founder of the theater Yevgeny Kolobov, who previously headed the literary department here. She flatly refuses to meet, so as not to “reopen” old wounds.

But the new director thinks he's right. But Kolobov's associates are not. They still - and more than ten years have passed since his death - "for some reason do not want to realize that other times have come." Some of the performances staged under Kolobov, according to the new management, have already become obsolete and either need to be improved or should disappear from the repertoire altogether. And the theater itself must be modernized - in order to remain interesting to the viewer.

But how this reorganization should take place is different for everyone.

So far, the traditional January festival "Epiphany Week at Novaya Opera", established in memory of the maestro, has died.

“Instead, a certain “Epiphany Festival” was urgently organized on the ruins, which I personally consider plagiarism. None of us, even the Kolobov Charitable Foundation, was involved in its organization, in the development of the concept - our opinion was simply ignored, ”

Explains Natalya Grigoryevna Popovich, the widow of Evgeny Kolobov.

Natalya Popovich herself, People's Artist of Russia, laureate of the State Prize of the Russian Federation for the creation of the Novaya Opera Theater, who once stood at the origins of the Novy Opera, the director, without explaining the reasons, as she claims, deprived her of the post of chairman of the artistic and creative board, leaving for now chief choirmaster. And everyone who supported her in one way or another lost their jobs altogether - the dissenters simply did not renew their annual fixed-term employment contracts, to which the entire creative staff was transferred.

“Fixed-term contracts were concluded in the theater from its foundation, but they were renegotiated annually,” the old actors recall. - This was done by a fair decision of the management and did not cause fears and doubts about the extension of the employment relationship. We were confident in the future."

“I think that this is right, it stimulates the artist, he must understand that every year he must show himself - otherwise he will become unclaimed. I myself have the same fixed-term annual contract with the Department of Culture,”

Dmitry Sibirtsev explains.

theater on the street

Novaya Opera was organized in a turbulent era of change, when the new Russia itself was taking its first steps.

“We were very excited. New life. New Opera. We organized ourselves on the street. Only a real, powerful leader, like the magnificent Kolobov, could hold such a theater. Conductor, who was followed, who was idolized”,

Natalya Grigoryevna Popovich meets me in her apartment on Belorusskaya.

We cannot talk to Popovich in the theater itself. Despite the fact that her office is still retained by her, she has no rights left in the theater. And she can't even give an interview there. By order of the new director, any meetings with journalists without a resolution from the leadership are no longer possible.

“If it were not for the people, I would not have been there for a long time,” Natalya Grigoryevna has no doubts. - I walk down the corridor, and they look into my eyes. "Are we going to be fired?" We hope, but the theater has become different. The only thing left there was Kolobov's office, his scores, things - and that Sibirtsev wanted to take away for some needs.

In difficult times, Evgeny Kolobov chose Russia, despite the fact that he was called and expected at the best opera venues in the world.

“We then performed in simple Moscow clubs, traveled to the provinces, brought art to the people. Kolobov expanded the scope of pure opera…”

Luzhkov handed over the dilapidated building of the Mirror Theater in the Hermitage Garden, where there is a nightclub. In those days it was in the order of things.

“The former tenants were evicted for a long time. Kolobov was threatened with death. We sent our daughter to another city ... - the widow recalls. “Then the reconstruction went on for a very long time.”

The walls of the old theater have collapsed. And new ones were erected on its ruins. It seemed - for centuries. "Rigoletto", "Mary Stuart", "Boris Godunov" ... 200 performances of "Eugene Onegin" - a record! The average percentage of theater attendance is 97%.

... In 2003, conductor Evgeny Kolobov died suddenly. The theater so lovingly built was left without an owner.

“According to the charter, Kolobov was our artistic director-director,” continues Natalya Grigoryevna. - “Artistic Director” is not a position, it is a value. After Zhenya died, such a "combination" became impossible. I was offered to become artistic director, but I refused, heading the art board. We talked with Luzhkov, he agreed with me that it is necessary to educate a young conductor in the spirit of the theater - and then we'll see if he can eventually lead the Kolobov Theater.

“He worked as a choirmaster for us, they always had good organizational skills. Although he also had problems, including personal ones, let's say he had bad habits ... But the worst thing is that, as it turned out later, Lysenko changed the Charter of the Novaya Opera and put creative issues under the director's control. And these edits now allow us to create anything with our theater.”

In 2012, they said goodbye to Sergei Lysenko. When Dmitry Sibirtsev, the producer of the art project "Tenors of the 21st Century", appeared on the stage, he was greeted with thunderous applause.

“From a musical family, pianist, producer. Yes, he immediately announced that he would make a modern, European theater. But we could not even imagine that this means the destruction of the repertory theater. Most of the old performances were removed from the poster. And what did we get in return? We have actually turned into a rental concert venue, pop "Tenors of the 21st century", which are produced by Sibirtsev, are being introduced into our programs,

Natalya Popovich is indignant.

From a letter from the artists of the Novaya Opera to the President of the Russian Federation Vladimir Putin:

“... one of the best repertory theaters in Moscow is being destroyed, turning into a private venue for visiting artists. The destructive actions of the director are as follows:

1. The monthly rental of created performances has sharply decreased: performances of the Russian repertoire are extremely rare (“Boris Godunov” by M.P. Mussorgsky - 1 time per season, “The Tsar’s Bride” by N.A. Rimsky-Korsakov - 1 time, “The Snow Maiden” A. Rimsky-Korsakov - 2 times); the performances - "Ruslan and Lyudmila" by M.I. Glinka, "Iolanta" by P.I.

2. More and more in the repertoire of various kinds of concerts with invited musicians from outside, this is the style of the philharmonic, but not the repertory opera house.

3. The theater's budget funds are spent on one-time projects of dubious quality that cannot withstand even two shows. For example, the third screening of the recent premiere of V. I. Martynov's opera School for Wives was canceled due to lack of spectators. The first premiere of the theater this season was B. Britten's opera The Turn of the Screw, which contains clear allusions to the unnatural relationship between adults and children ... "

From the appeal of Sergei Benediktov, chairman of the STD RF scenography commission, chief artist of the RAMT, to the head of the Moscow Department of Culture, Sergei Kapkov:

“In our opinion, a cynical (in essence and form) precedent has been created when the director, who considers his power in the theater unlimited, and the decisions he makes are the only true and undeniable ones, thereby declares disrespect for the unique profession of the Artist.”

From the letter of the chairman of the STD RF Alexander Kalyagin:

“The question immediately arises: is a professional director at the head of a well-known theater if his decisions are so obvious, to put it mildly, devoid of wisdom? Who is this Mr. Sibirtsev, does he have experience in managing the theatre, does he know the internal theatrical laws, albeit behind the scenes, but existing in the theater from time immemorial?

Conductor Yuri Temirkanov, director Eldar Ryazanov, actor and Moscow City Duma deputy Yevgeny Gerasimov, opera singer and State Duma deputy Maria Maksakova sent their requests to the Moscow Department of Culture, the mayor, the Ministry of Culture of the Russian Federation with a request to explain what is happening with Novaya Opera , officials, figure it out!

Therefore, I decided to address the same questions to Dmitry Sibirtsev.

Who sings, he does not sue!

- Dmitry Alexandrovich, you probably guess what could bring me to your office?

Unfortunately, I understand that this is not the beginning of our theatrical season, - Sibirtsev nods his head.

- Artists complain about layoffs ...

Artists complain that they were not offered a new agreement after the expiration of the previous contract. But with people who benefit the theater and have artistic value for it, the management usually does not part. Good artists also have no problems with further employment. There is an example in this regard. My father is a People's Artist of Russia, but this does not mean that he should sing all his life. The time comes when the creative policy of the theater does not see him in repertory performances, and then what is left for him to do?

- As far as I know, now your father privately teaches vocals to the soloists of the Novaya Opera ...

He just deals with some people, helps them if they ask him to. I must also say “thank you” to individual vocal teachers who followed the voices of the soloists so much that they lost their shape ...

- That is, those who left - they lost their shape?

It is no secret that those artists who have stopped singing begin to speak and resent the leadership.

- And what is your conflict with Natalya Grigoryevna Popovich, Kolobov's widow and chief choirmaster?

She is still a member of the art board for the time being. Although she did not attend board meetings during the year, she ignored them. We sit with her on different floors. When I meet her on the stairs, I always say hello.

- Is she with you?

Did not notice.

- Popovich was for you when you first arrived?!

Maybe yes. But I came to the theater not from the street, but with a certain managerial and musical baggage. Moreover, I have to fulfill the tasks that the Department of Culture, our founder, sets for me. Natalya Grigoryevna does not agree with the policy that I am pursuing. But if I was evaluated as a person who would come here to make sure that the pipes do not flow, and sign papers, and not engage in creativity, then this is a miscalculation.

There are trials in every theater, believe me. And in the Bolshoi, and in Stanislavsky ... Any director, if he makes unpopular decisions, will be dissatisfied.

You are accused of the fact that the theater is moving away from primordially Russian traditions and becoming a project, European one. That it has become a venue for concerts. One-time events. The same recent play, The Turn of the Screw, which was accused of promoting pedophilia, ran only twice.

If someone says that there are some bad motives in the performance, then there is no better PR for us. Besides the absolutely amazing music by Britten, the very delicate and laconic direction of Oliver Mears, the work of the conductor Jan Latham-Koenig, I see nothing in this performance. We have completely deadly positive press reviews. According to the terms of the contract, we had to show The Turn of the Screw twice. After that, the scenery went to London. Although ... If the jury of the Golden Mask selects it for their festival, then we will do our best to restore it and roll it.

“Eugene Onegin” is a textbook performance by Evgeny Kolobov, just like “La Traviata”, like “Rigoletto”, staged 12 years ago. They are still sold out. But I can't do anything if the public doesn't go to see Richard Strauss' Capriccio. And it was staged two days before my arrival, as part of the Open Stage project, it was staged frankly weakly, all the critics noted this. We did not renew the contract with this director. Yes, I understand that people leaving the theater are offended, but the Novaya Opera is not a field for experiments.

Okay, they kicked out the young director - but to reduce the position of the chief artist of the theater? You offered the famous Viktor Gerasimenko, who started with Kolobov, to work as a cloakroom attendant.

I had to remove several performances from the repertoire, and this was due to the scenery. People wrote memos asking them not to go on stage, as it was dangerous. Thank God that nothing fell ... But the last straw was the disgrace, which was released under the name "Queen of Spades" ...

- Disgrace?

I think that Tchaikovsky's opera was simply mutilated.

- Decorations?

Directors. Director and artist. Quite a lot of money was invested in this performance. The theater hoped to return them. This did not happen. And then I decided that in the future we invite artists who will stage premieres from outside. And some directors too. Therefore, the need for the main artist at the theater has disappeared. We will do different performances with different invited masters. It will be much more interesting for the viewer.

- But what about the people? They are alive. They gave the theater their whole lives.

And the theater gave them a lot. If they find a use for themselves in accordance with their level - fine. If not, everyone has the right to sue and defend themselves.

We do not have a private theatre. It belongs to Moscow. We must put on performances that keep pace with the times, on which the theater will educate a new young audience and will earn money. Don't waste government money. Kolobov was a great musician. We were still students going “to him”. But… Kolobov passed away 11 years ago. Times are different now...

…and a different attitude towards people.

“Kolobov always said that even a cleaner in her place can be a people's actress,” recalls his widow. - Because she knows how to wipe the piano in such a way that it “will play”. That is why all of them, from the artist to the last cloakroom attendant, still remember him.”

I met with the former chief artist of the Novaya Opera, Viktor Gerasimenko, and sympathized with him. How is he without the theater:

"What are you speaking about? I have six performances coming out this year, I have no time to rest. To be honest, I knew it would work. I openly stood up for Natalya Popovich, told Sibirtsev to his face that we must not give up all the experience and traditions that we had before. He remembered it. And my days in the theater were numbered. Yes, The Queen of Spades was and remains a controversial performance ... But you can say whatever you like, and even though Sibirtsev is trying to blame me for this, I have never violated safety regulations, and there has not been a single case of injury in 20 years of my work … Did I sue him? From the point of view of labor legislation, he did everything correctly - he did not fire me, he simply abolished the position of chief artist in the theater. It is probably too late to explain to a young man that the main artist is not only the one who produces performances, but also the one who is responsible for the general aesthetics of the theater. And this, probably, is no longer necessary for Novaya Opera with the new leadership ... "

Victor Gerasimenko is proud that he still managed to keep the position itself, to outwit the Labor Code. At least for a few years. He did not go to "nowhere", was not laid off, and is now officially on parental leave.

At this time, the rate of the main artist survived. What's next? Who knows... Maybe the officials will think about it.

Actors cannot defend themselves. Even by virtue of his creative impressionable soul. But still, they were able to unearth, as they believe, the weak point of the new leadership:

“The law does not give the right to a civil servant, who is Sibirtsev, to direct in private firms. But until March 2014, i.e. a year and a half after his appointment, Dmitry Alexandrovich combined the position of director of the theater with the leadership of a concert agency, which, we believe, made him interested in reducing the troupe and recruiting for one-time contracts from outside, only after complaints to the department did he de jure stop to be a businessman, they show me extracts from documents. - We also found an extract from the register, which shows that Novaya Opera, through the foundation it established, is now the founder of a dairy plant and a grain growing company and a construction and engineering company. And this is art?!”

Immediately after the announcement of gratitude in connection with the 50th anniversary, the contract with the leading actor of the choir Igor Manko was not renewed. Not needed!

“Now I am selling apartments and villas on the Mediterranean Sea and in the Crimea. If anything, Katya, call, "

He smiles bitterly.

Probably, Dmitry Sibirtsev is right - why spend public money on those who do not agree with him or, in his opinion, do not sing like that anymore? Moreover, the “Queen of Spades” alone cost the budget 16 million and, as it turned out, was not “beaten off”. Making money on concert cards is much faster and more reliable.

Pure art is the last century. The time of great artists has passed. The time has come, as Dmitry Medvedev once said, for effective managers. They think correctly and speak correctly, you will not undermine. Released - get out of the theater. Made an unsuccessful performance, from the point of view of management, also leave. The theater is not a place for experiments. Theater is a business and should generate income. This is the new aesthetic.

But when the time comes, effective managers will be driven in the back by others, even newer ones who have come in their place, no less effective and able to earn better ...

Still, the theater does not begin with an effective manager. And not even from the director. It starts with a hanger. And since the time of Konstantin Sergeevich Stanislavsky, she has been on an indefinite contract.