2017). "Tenors of the XXI century". Bright evening with Dmitry Sibirtsev (08/28/2017) Tenor art group of the 21st century

Our guest was the artistic director of the art project “Tenors of the 21st Century”, director of the New Opera Theater Dmitry Sibirtsev.

We talked about music, how classics can be combined with modern pop, and also about music festival"Transfiguration".

A. Pichugin :

- “Bright Evening” on bright radio. Hello, dear listeners! We welcome you to this studio. We are Alla Mitrofanova...

A. Mitrofanova :

Alexey Pichugin.

A. Pichugin :

And together with us and with you, Dmitry Sibirtsev, artistic director and producer of the art project “Tenors of the 21st Century”, director of the Moscow Novaya Opera Theater, will spend this bright evening. Hello!

D. Sibirtsev :

Hello!

A. Pichugin :

Today we will talk about the “Tenors of the 21st Century” project and about the “Transfiguration” festival, which will begin literally tomorrow in the Hall of Church Councils of the Cathedral of Christ the Savior. Well, let’s first talk about the art project - as it is correctly called - “Tenors of the 21st Century”. You head it, you are the artistic director, but, as I understand it, this project includes - so, I open the site, I see that there are a lot, a lot of your colleagues. Please tell us about what this project is. “Tenors of the 21st century” - as I understand it, these are probably, most likely, young performers who, well, at least not since the middle of the 20th century, have been performing on the opera stage...

D. Sibirtsev :

Well, not from the middle - that's for sure. But the project is maturing along with its creators, along with those guys who stood at its origins. This, as we said, was the “magnificent five”, which, practically 12 years ago, decided to set out on their own and work independently of any other organizations. And the only obligatory condition has always been that each soloist continues to work in the opera house in parallel. That is, we had to have soloists working for us opera houses. These are the Stanislavsky Theater, the Bolshoi Theater and the New Opera. From that moment on, of course, the composition of the project was replenished a little, after some time several young singers came - younger, so to speak. And now, probably, he is in the same state and in the form in which, probably, in at the moment I would like to watch him. Very good composition. It is a little big - the main composition is 9 soloists. We have the opportunity to simultaneously perform at different venues, dividing into 4 and 5 people - for example, or leaving someone in the theaters. Because, if you look at the poster for the performances of our soloists, then, naturally, we are doing everything possible to ensure that neither the theaters interfere with the work in the project, nor the project interfere with the work in the theaters. Because, of course, for everyone opera singer his appearance on stage in the theater is very important, this is probably the most important thing - this is what he was once taught at the conservatory, and what he strived for. Everyone, of course, probably got their own specific place in the troupe. It’s easier for me to talk about this now, since I head one of the theaters - the Novaya Opera Theater. And it so fortunately happened that several people work in this theater, and I, of course, am very pleased with this. It’s nice that these guys are able to sing any other music along with opera music, because this is another important condition for being in the project - this is the ability to perform music with equal success different styles, eras, trends and be able to somehow reincarnate in a song genre, and... well, there are very unexpected ones, of course, we have programs that revealed some artists in a completely new way and, moreover, allowed them to add popularity, and the love of some part of the audience, in addition to what they do in the theater. I communicate a lot with our viewers, and they say that, thanks to the project, they got to know each of the artists from a completely different side, and they are now interested in what they do in the theaters, how they live. Previously, for... After all, the theater is such a situation, quite difficult for many artists, when they, as they say, in the general mass then come out for the final bows, and only the person who came to the theater not by chance, but specifically bought the program, looked into it or, for example, bought it in advance...

A. Mitrofanova :

But there are quite a few of them!

D. Sibirtsev :

Yes... well, or he bought tickets in advance, based on the lineup of performers, he knows who he came to see and why. And so - next to Boris Godunov, someone with a beard came out in the image of Shuisky and left unnoticed, and there was also a holy fool nearby... Now, of course, I’m joking a little, but this often happens. And the singers... they all really want, after all, to be recognized, and when they appear in our programs, in concerts, the public has the opportunity to evaluate each one, to choose the one who...

A. Mitrofanova :

Favorite...

D. Sibirtsev :

To my liking, yes - a favorite, and since we...

A. Pichugin :

Even if his party was not the main one.

D. Sibirtsev :

Well, here we have... Here we have...

A. Pichugin :

Well, what you are talking about, yes.

D. Sibirtsev :

It’s a fairly equal story, because concerts are built on the principle... everyone will definitely be able to show themselves. We consider it quite unacceptable for us when they try to call us a choir or ensemble. This is completely wrong, because people who sing at the same pitch - they definitely cannot be a choir, they simply do not know how to do it. Once upon a time Placido Domingo, Luciano Pavarotti and Jose Carreras were able to get together and...

A. Mitrofanova :

How did they do it? You know, I'm scratching my head. Is this... is this some kind of colossal production work?

D. Sibirtsev :

I must say a big thank you to Marta Domingo, who was able to persuade, as I understand it... I can’t say for sure who persuaded whom, because there was also the figure of Tibor Rudas, a wonderful producer, but she... I know that the very first concert these outstanding singers made it completely free. That is, it was a promo...

A. Mitrofanova :

Fantastic!

D. Sibirtsev :

A promotional event, which later, of course, brought huge dividends, including, probably, financial dividends to the participants of this action. But there was very difficult situation, because Domingo and Pavarotti were quite serious rivals on stage, and Domingo and Carreras were also rivals in the internal Spanish situation, because one is a Catalan, the other is a Spaniard, well, in general, that’s enough...

A. Mitrofanova :

An elegant story, but at the same time - what a touching relationship they have on stage...

D. Sibirtsev :

Here, but...

A. Mitrofanova :

When, there, Carreras sings, and Pavarotti, in my opinion, is there, wiping the sweat from his forehead with a handkerchief.

D. Sibirtsev :

But you probably remember that it was also dedicated not only to the World Football Championship, which was held in Italy in 1990, but it was also a tribute to Carreras’ return to the stage after a serious illness. And this is precisely what probably prompted these people not only to compete, but also to become friends. Despite all that, in this concert there was also internal rivalry - everyone tried to be better than the other. And here we are...

A. Mitrofanova :

And you notice this, right? Because I am a simple spectator, I don’t see this.

D. Sibirtsev :

We took this as a basis. I saw it. Because Placido Domingo has never been so collected, so... every note that he played at this concert and every piece that he chose for the program of this concert - I remember very well - it was all an absolutely precisely calibrated situation. Because he understood perfectly well that only those virtues that he had could help him in Italy to be as loved as Pavarotti. Because Pavarotti came out... Pavarotti is an unusually gifted man by nature. A lot is given to him - it was given much easier than to others. Because, having applied to this nature the absolutely fantastic school that Ettore Campogalliani, a wonderful teacher, gave him, he realized that he could do anything. AND...

A. Pichugin :

Sorry! Still, I’m very interested - what kind of competition, rivalry can there be between tenors?

A. Mitrofanova :

D. Sibirtsev :

Well, everyone wants to be better. They always say that a tenor is generally a rather complex substance: a person who wants to please everyone, in whom there is such an element of narcissism, egoism - absolutely creepy. We remember very well other stories when, for example, Franco Corelli, whose height was under 2 meters, always wanted... Firstly, the struggle for who would bow out first and who would come out last. That is, the last one to come out was either the prima donna, or the tenor had to come out. And there was famous story, when Franco Corelli met on the same stage with a baritone whose height was several centimeters taller. Franco became hysterical and refused to sing...

A. Mitrofanova :

Wow...

D. Sibirtsev :

Or rather, he did not refuse to sing the performance. He ordered himself - being about 2 meters tall - he ordered himself...

A. Mitrofanova :

High-soled boots?

D. Sibirtsev :

High-heeled boots, he added, there are, in my opinion, 6 or 8 centimeters, on these reels he went on stage, and then ran away in hysterics, because the baritone did the same. And when he saw that it was the same there, he just... That's the legend going around. Therefore, the task is to gather not just three tenors together, but to gather... or rather, even three, even such great ones... but to gather the company that we have is a very difficult story. But, thank God, I had a lot of experience living together and constantly seeing just a tenor before my eyes, because my father is a tenor, and sang in the Soviet Union, in Russia on the best stages. He just recently finally ended his career. And all the time I observed this behavior, these stresses before each performance, because the voice will answer, the voice will not answer, because I myself, not having... For example... I lead the tenors, but still , my voice is somewhere between tenor and baritone, and I... in general, everything that I do in the project, I do enough in this - in a calm mode. It's easier for me. I perfectly understand, for example, many baritones or basses, for whom it is sometimes quite enough to simply come out and show the wonderful timbre of their voice. And the tenor is always, excuse the word, but he is designed to surprise with his top notes. Top notes - they are not every day for a tenor, and if he is a little unwell, if he has undergone some extra physical activity, if he has eaten something wrong, something spicy, and so on and so on.. He begins to have these horrors and nightmares that haunt him, when, when he goes on stage, he doesn’t know whether it will work out or not.

A. Pichugin :

The whole career is... continuous...

D. Sibirtsev :

It's a complete struggle...

A. Pichugin :

Take care of yourself...

D. Sibirtsev :

Yes, watch, watch yourself. With all that, because of this, in many respects... not only because, as they say, there is something to “rely on,” as the vocalists say, but also because that it’s just constant stress, many singers who sing tenor are quite plump people, obese and so on - that’s all, well, we know how it happens.

A. Mitrofanova :

You have now revealed to us some behind the scenes of what is actually happening in the life of a tenor, and this is not an easy path. Let's now listen to what the result is. You came to us with musical compositions. “Funiculi, funikula” will be our first?

D. Sibirtsev :

Yes, this is a song that, in general, was one of the very first in our repertoire. We were asked to perform it at some rather serious event. And since then, very often our concerts, which feature Italian music, we start with it. The line-ups change, but the song remains. Therefore... This one is one of latest versions recording of this song. Let's listen.

A. Mitrofanova :

With pleasure!

BRIGHT EVENING ON RADIO “VERA”

A. Pichugin :

We remind you that Dmitry Sibirtsev, artistic director and producer of the art project “Tenors of the 21st century” and director of the Moscow Novaya Opera Theater, is visiting Vera radio today.

A. Mitrofanova :

Can I ask you a question about internal relations and continue this topic a little? If it’s so difficult for even three outstanding performers on stage, then what is it like inside your team? And you, as a leader, what buttons do you have to press in order to maintain some kind of correct balance? After all, this state of jealousy, competition is something that is so typical of an artist, how much can this interfere with teamwork? But you, after all, have a large group, and everyone is a tenor.

D. Sibirtsev :

Well, those who were greatly disturbed by this are not working in the project. Because, of course, many people wanted to get into it. And we took some, and literally a month later someone realized that it was impossible. And we tried and tried the guys and - both from the very beginning and a little later - in the project there are always only those people who are able, firstly, to lend a shoulder to each other in any case. They - yes, they - in solo songs, they... We all want to be better than the other. That is, even in terms of the choice of repertoire, it is always very funny when...

A. Pichugin :

Who chooses the repertoire?

D. Sibirtsev :

I choose the repertoire, but each soloist comes and asks what he sings, for example, this Sasha - we have four Sashas, yes. And one Sasha says: “What is he singing?”...

A. Mitrofanova :

Undercover intrigues!

D. Sibirtsev :

- ... "So. Then I will sing this” - and then some certain debates begin, but sometimes I understand very well. If I can replace this or that piece, if I think that when performed by this singer it will sound, for example, absolutely no worse than what I would like to offer him. The most important thing is not to miss the mark with some things that are completely unsuitable for this or that artist. Here. We just work so hard, we give now... if usually we gave somewhere around 100 performances a year, 100 concerts, then...

A. Mitrofanova :

Seriously.

D. Sibirtsev :

Yes... then this year we... I’ll probably say a terrible thing, but it seems that we are reaching somewhere around 160, 170.

A. Pichugin :

I look at the posters section on your website - well, from what was already there the other day... This is Yaroslavl. Twenty...

D. Sibirtsev :

Well, this starts tomorrow, yes.

A. Pichugin :

Yes, yes... No. This is where your festival will begin. And what has already happened: Yaroslavl, the next day - Shchelkovo, the next day - Moscow, the next day - another Moscow, and so on ad infinitum, practically without a single day off. Are you also participating? That is, the entire cast, all participants in the “Tenors of the 21st Century” project participate in these concerts every day?

D. Sibirtsev :

Well, they are involved in something every day. That is, let’s say I don’t need all 9 of our people for every concert. Because there are programs that are more intimate, there are programs in which, for example, two out of nine cannot participate, because, nevertheless, they are significantly inferior in their stylistic capabilities, their sense of style, to other guys. For example, we have a program called “The Golden Age of Soviet Tango,” in which only guys with lyric tenors sing. Those that are stronger, they feel much more difficult in this program, and we decided simply not to involve them in it. There are individual performances, in small venues, where, for example, more than 4 people cannot fit on stage. There are corporate performances that have not been cancelled, for which we also agree with each customer on the number of singers on stage, this or that repertoire. For three songs, sometimes it’s not worth using all 9 people. They should rest. Then, I understand very well that if this or that singer is preparing for some serious opera role at one time or another, then we reduce his workload. And we are very interested in him singing this part well in his theater and thereby benefiting both himself and the project. This is very important. Some guys leave for a month, a month and a half, two...

A. Pichugin :

On my own tour...

D. Sibirtsev :

For performances. Just, literally, a few days ago, Maxim Pasteur returned from his contract in Salzburg. And now he is joining us again in work. Therefore, there are simply 9 people who, in our opinion, are worthy of working in this project. There are several singers who know the most popular songs in our repertoire and are sometimes able to help us a little, for which we always thank them very much. These are our friends, also the soloists of the Bolshoi Theater, the Helikon Opera Theater, and the Novaya Opera Theater. Here. Unfortunately, there are losses that occur due to objective circumstances. Because, for example, 2 years ago the person who was at the origins of the project and was one of its main stars, Mikhail Urusov, left for permanent residence in the United States of America, our Ukrainian tenor Sasha Ostrovsky left and works under contract in Poland and in Japan - he is not with us now, and, of course, the most terrible loss for us is the first loss - in 2010...

A. Pichugin :

Eduard Semyonov.

D. Sibirtsev :

Edik Semyonov, who simply... well... He was a person whom we still miss, has passed away. And he went through the first 5 years, the most difficult ones we had, with us, and I always regret it very much, I think that... now we wish we had him. Now he too would like the situation in which we find ourselves. Because, you know, he was pulling... pulling a rather difficult burden. He was the only one who interrupted his performances in the West for the sake of the project, and it was very difficult for him, having arrived in Moscow, to try to somehow start living here in a new way, and so on, and so on. And therefore, probably, maybe, in some way...

A. Pichugin :

Did he come from the Far East?

D. Sibirtsev :

He is a native of the Far East. In my opinion, the only singer on Far East who is for real opera artist. Because we all know the situation... there now... A man who devoted his best young years to bring the Opera to Vladivostok. But Opera appeared much later, when he was no longer in the world, and appeared thanks to completely different people who came from St. Petersburg, so... Edik, unfortunately, did not live to see this. For nine years he worked in Italy, singing absolutely fantastic concerts. Moreover, it so happened that... He, for example, sings a concert with a world opera star, with Katya Ricciarelli. The concert is billed as her solo concert. Katya Ricciarelli sings three songs in this concert, Eduard sings twelve. And the concert is hers. This also happened, and it was greatly appreciated. He was a very modest man, amazingly modest. He never, even in our team... He says: “Well, I... I’ll be the last one out.” That is... And he always worried, was always ready, was always unusually neat, made sure he looked decent on stage, always... the way he wore a suit... Well, in general, he was a unique person - with all despite the fact that it was very difficult for him, because he was just ready to enter some opera house, because for the first years he tried to work only with us - we really needed such a person. Here. But it happened, it’s a pity... At the beginning of September every year we remember that here he is... Moreover, he is an amazing story - he passed away in his native Vladivostok, having gone there to change his passport. He got off the plane - he felt unwell on the plane. Everyone remembers this year 2010...

A. Pichugin :

Yes, hot...

D. Sibirtsev :

This is Moscow smog. He had to spend a whole month here, in the heat, waiting for the moment when he could fly away, and he flew away, and, unfortunately, his mother... she couldn’t even see him alive - he fell in the entrance of his house. Here. A very sad story. And when we said goodbye to him - literally two days before - we did not know at all that it would be his last performance, what will it be... And the broadcast of this speech was given exactly an hour after we found out that he had passed away. And now they give our performance from Luzhniki. The next day he would have turned 45 years old. It's such a sad, sad story.

A. Mitrofanova :

You know...

A. Pichugin :

We remember him, we remembered him here too...

D. Sibirtsev :

And we always dedicate one song to his memory in our concerts. It can be either the song “Notte” - “Night”, which he himself loved to sing and in which he recorded with us, or... of course, the song “In Memory of Caruso” always corresponds to this...

A. Mitrofanova :

Caruso...

D. Sibirtsev :

Here... If we have the opportunity, we can listen to it.

A. Mitrofanova :

Yes, let's listen to it.

A. Pichugin :

Yes, now is the time for us to listen to the song. Come on, let it be “In Memory of Caruso.” And in memory of Eduard Semyonov.

A. Mitrofanova :

That's how I would listen! Such musical compositions... Thank you very much.

A. Pichugin :

Yes, thank you! And we remind you that this was the composition “In Memory of Caruso”, which is not just in memory of Caruso, but in this case, on our air, it also sounded in memory of the wonderful tenor, participant in the art project “Tenors of the 21st Century” Eduard Semyonov. Our guest is Dmitry Sibirtsev, artistic director and producer of the art project “Tenors of the 21st Century” and director of the Moscow Novaya Opera Theater. Alla Mitrofanova and I, Alexey Pichugin - we will be back in a minute.

BRIGHT EVENING ON RADIO “VERA”

A. Mitrofanova :

Once again - good bright evening, dear listeners! Alexey Pichugin, I’m Alla Mitrofanova, and let me remind you that our guest today is Dmitry Sibirtsev, artistic director and producer of the art project “Tenors of the 21st Century”, director of the Moscow Novaya Opera Theater. We are talking about the “Tenors of the 21st Century” project and about the “Transfiguration” festival, in which you are taking part, let’s now also talk a little. What kind of phenomenon is this on the Moscow, Russian opera stage? What is this?

D. Sibirtsev :

Well, this phenomenon is probably not entirely on the opera stage. Because everyone understands perfectly well that large groups become participants in the festival. It is a great honor for us to be in company with these groups. And, if you look, for example, at the poster of those concerts that take place in the Hall of Church Councils of the Cathedral of Christ the Savior, then this is the Pyatnitsky Choir, this is the choir Sretensky Monastery. These are magnificent groups with which our people perform, including the soloists of the theater that I direct. How many concerts did our wonderful tenor Lyosha Tatarintsev give with the choir of the Sretensky Monastery, for example. We all know this very well. Certainly...

A. Mitrofanova :

You know this... We don't know everything about it.

D. Sibirtsev :

This is an ensemble named after Alexandrov - this is especially pleasant for me, because my whole family went through this ensemble. Grandfather stood at the origins of this ensemble and was the first button accordion of this ensemble until the early 70s. My father, who then sang as a baritone, worked in this ensemble for several years, and my uncle, my mother’s brother, worked in the choir for 20 years. Therefore, I... Moreover, our soloist, our project, Alexander Zakharov, served and worked there for several years. So, here is the fact that the ensemble is being revived, and we are constantly learning what is happening there. I know that they took a very good squad, very strong guys. I'm very glad that such things are happening. And, of course, to be on the same bill with such groups is an honor, it’s very pleasant and responsible, because we, of course... we don’t want to be compared with anyone, and under no circumstances... Here That’s why, perhaps, I said that we, perhaps, stand a little apart in this poster. Because, perhaps, initially the organizers of the festival, after all... Well, this... we have too, there are 9 people, a collective that we are... but we are, of course, not a choir. Naturally, we cannot just do this. We have several songs in the concert that we all sing together. And so - this is an attempt to always show each soloist from the best side.

A. Pichugin :

In general, how can the community of tenors be called a choir?

D. Sibirtsev :

I don't know - they call it...

A. Pichugin :

They call it?

D. Sibirtsev :

Sometimes they call it, yes. This... By the way, the first to say this, in some kind of humorous form... was Vladimir Volfovich Zhirinovsky.

A. Pichugin :

In a joking manner. Let's not argue with Vladimir Volfovich!

D. Sibirtsev :

No, we came to some broadcast, there we had a parody of some song - we had to sing it. And there was even some kind of director’s idea - thank God that it drowned in the wilds of the director’s thoughts - but the director thought: “But now Vladimir Volfovich would come out to you, and something together...” And so Vladimir Volfovich, in his characteristic manner, ran into the studio and said: “Well, where is the choir?” Why Maxim Pasteur...

A. Mitrofanova :

Your lead singer?

D. Sibirtsev :

Our soloist answered him something terrible at that moment... well, that's it... and... Of course, this happens... But that's where it went from there. But, really, we cannot sing in chorus. And the fact that sometimes, in this or that song, we still sing some parts together, and even sing some things at some intervals and build some chords - this is, after all, probably because many of our singers have a conducting and choral education and... well, sometimes we understand that this may sound good. But, if you remember Domingo, Pavarotti and Carreras - well, the three of them took this B-flat together. Moreover, for one it sounded a little higher, for the other it sounded at 422... I wanted to say - “turnover” - forgive me, for God's sake, but with Carreras it sounded, as they say, under the note - and still the public perceived it as a kind of such a great pleasure when it means three in one. But we get... sometimes there are even nine in one. Therefore, this is the task, and, of course, it was very difficult to select an appropriate program for this festival. Because, again, we... We couldn’t sing next to, for example, the choir of the Sretensky Monastery or the Alexandrov ensemble, some similar works that they would sing. Therefore, we decided to make a program of the favorite songs of our youth - these are songs Soviet era, which we love very much, on which we grew up, and grew up with examples of the wonderful performance of these songs by those people who not only sang well, but also knew perfectly well what verses they were pronouncing in these songs. And, of course, these are the traditions that we are trying to preserve; they differ significantly, probably, from the style that is sometimes presented to us, including, unfortunately, from central television screens. But I think that the public that comes understands very well some definite difference. Moreover, the most noticeable thing is that this probably happens at concerts of military songs, when we, after all, try to comply with the traditions that were laid down, including in Alexandrov’s ensemble, and do not fit, for example, into that rhythmic pattern , on which these songs are based now and... I think that our dear veterans who come to such concerts, after all, are much closer to the manner that we preserve, and which they remember from the times of Vinogradov, with since the time of Evgeniy Belyaev, since the time of the man who did not have singing voice, but he sang this repertoire absolutely amazingly - Mark Bernes, and so on, and so on. We would still like to follow this path. Thank God, we all have wonderful parents who probably instilled in us some kind of good taste. And we, to the extent possible, to the extent of our education and strength, we try to correspond to this. Despite all this, both we and, probably, our public understand perfectly well that the project also exists not only “thanks to this,” but also “in spite of it.” Because many singers would never work in this project if everything they did in the opera took up all their time, that they would be kindly invited by all the world's theaters. Of course, Mitya Korczak or, say, Lesha Tatarintsev would hardly need the “Tenors of the 21st Century” project; they are already doing well on the opera stage. Here, after all, there is a certain element of this desire to realize oneself even more creatively, and I, as a producer, as a musician, I must use this as much as possible.

A. Pichugin :

Let's listen to music. And then we’ll move on to discussing the Transfiguration festival, for which we, including ourselves, are gathering here today, in this studio. What are we listening to?

D. Sibirtsev :

Let's listen to the tango “My Happiness”, which will be sung by Georgy Faradzhev. Well, this is one of the songs that, quite possibly, will be performed at our concert.

BRIGHT EVENING ON RADIO “VERA”

A. Pichugin :

We remind you, dear listeners, that Dmitry Sibirtsev, artistic director and producer of the art project “Tenors of the 21st Century” and director of the Moscow Novaya Opera Theater, is visiting the bright radio today. We talked about your project and the Transfiguration festival, which begins tomorrow in the Hall of Church Councils of the Cathedral of Christ the Savior. Why exactly there, by the way?

D. Sibirtsev :

Well, I think this is the choice, first of all, of the organizers. And, of course, it seems to me that when they made us an offer, they still meant that we would not sing, for example, one of our programs on this platform... well, something like like... you know, “Cosa Nostra” we have a program - songs of the Italian mafia...

A. Mitrofanova :

Oh, seriously?

D. Sibirtsev :

Yes, we have such programs. For 12 years we have already made 54 programs and sung more than 2000 works, so...

A. Pichugin :

After the broadcast, you will tell Alla and me where we can listen to this program.

D. Sibirtsev :

Yes, yes. We sing - that's it. Here. Therefore... I think that the Pyatnitsky choir, the Alexandrov ensemble, and the Sretensky Monastery choir selected a certain repertoire. And, of course, the choice of the site itself... well... we are on this site - we are pleased to return to it. Because at it we were awarded, for example, the “National Treasure” award in 2007. We sang a lot of concerts - participated in large group concerts - on this stage, and I personally accompanied some big, serious singers on this stage. It seems to me that a person coming to a concert... here... in the Hall of Church Councils is, in general, a reason, after all, to find himself next to the Cathedral of Christ the Savior. Therefore, this... despite the fact that this is considered a secular stage, on which you can perform practically absolutely any music, it still seems to me that there should be certain limits. And that’s why we personally will perform such beautiful lyrical songs about love on this stage. We don’t know at all what kind of audience will come. It seems to me that, quite possibly, a lot of new audiences will come who do not attend, for example, our concerts at the House of Music - all the more interesting it is for us. And if someone else finds out about what we are doing, that will be wonderful. And we should look around once again and think about whether it makes sense to make such concerts quite regular. Here, like this.

A. Mitrofanova :

You just mentioned the venue of the House of Music - the Moscow International House of Music - this is a popular place. A place where people come to opera concerts, and, in general, to... I don’t know, there... to some big orchestral events. You know, I wonder: what is the phenomenon of popularity in the 21st century of crazy rhythm - this genre, the genre of opera, which still presupposes, well, it seems to me, a slightly different habit of moving, looking at the world, looking at oneself somehow in this world to feel. This is a genre that probably corresponds more to the end of the eighteenth century and the nineteenth. I don’t know, maybe I’m wrong, then correct me, because, well, in my opinion, the concert you mentioned by Domingo, Pavarotti and Carreras was such a moment of, well, a renaissance, or something, the return of a broad such popularity of the opera genre, when people who, perhaps, never thought that they might like it, heard it and liked it. This is how you explain - what kind of attention is this now from the public, which, perhaps, does not even have music education, to this genre?

D. Sibirtsev :

Now, here you need to understand that, for example, for professionals... well... or people who... so... believe that they are professionals... at least who have studied music all their lives and believe that they sacredly preserve certain things and traditions, for them the concert of Domingo, Pavarotti and Carreras was horror. Because many...

A. Mitrofanova :

I know, yes, yes! “It’s pop-pop,” yes!

D. Sibirtsev :

Yes, and they think it's unacceptable. But in reality...

A. Mitrofanova :

It's so beautiful!

D. Sibirtsev :

This is truly a turnaround for those who would never go, for example, to the opera, which is very cool. We ourselves, sometimes, giving some interviews, speaking on air, we suddenly get some kind of echo - a review, there, on the phone - when some girl says: “Oh, I thought opera was so boring , and here such funny guys came!” Here. Well, that happens too. In fact, I believe that Domingo, Pavarotti and Carreras, and, at one time, Montserrat Caballe and Freddie Mercury...

A. Mitrofanova :

With Freddie Mercury, for sure...

D. Sibirtsev :

They did the greatest thing to popularize classical music. Another thing is that we are talking about the House of Music. Not everything that is given in the House of Music is opera.

A. Mitrofanova :

Undoubtedly!

D. Sibirtsev :

Not everything that is given on the Culture channel is a classic in its purest form. Nowadays there is a mixing of genres and so on.

A. Mitrofanova :

There's wonderful jazz playing there. Well, different, different...

D. Sibirtsev :

Yes, definitely! No, well... it happens that... for example, the “Romance of a Romance” program has long ago ceased to be a program in which romances are performed. Anything can be done in it. We are the only ones in this program - we had 3 full big concert, ours only - we sang Babajanyan’s songs, we sang Italian songs, we sang the program “The Golden Age of Soviet Tango”, that is, everything is performed. In my opinion, everything that brings us, especially young people, closer to the fact that they are, after all, fueled by performing music at a high level. Even if... Well, let's... well, what are we... we won't scold Khibla Gerzmava for singing jazz. She does it perfectly.

A. Mitrofanova :

Oh, how beautifully she does it!

D. Sibirtsev :

She does it wonderfully. Here. We will not scold Dmitry Hvorostovsky for the fact that he sings Soviet songs and songs of the war years, but some people like it, some don’t like it. This is already...

A. Pichugin :

Well, this is the business of Hvorostovsky himself and the business of each performer.

D. Sibirtsev :

This is a completely different question, but thanks to the name, thanks to fame, thanks to, yes, some things... - people are also drawn to this music, and that’s great. And the one who came to the theater or concert hall only to sit with a notebook and calculate that “this note was not taken very cleanly,” that “here he violated the rhythmic foundation of the work laid down by the composer,” you know, this. ..

A. Mitrofanova :

Literalism is like that.

D. Sibirtsev :

This is to the library, to music school to the Faculty of Music Theory - and here you go, do it there. I... We have these at concerts. More irritation than when you see one such person who was clearly sitting... And if this is some other failed singer, but, as he believes, an accomplished teacher, well, this is generally a nightmare. That is, such people, in my opinion, have absolutely no place at... including at our concerts. Because we are open, we are smiling, we... even the mistakes that we make are made quite easily, because they are our mistakes. As Vladimir Horowitz said... When they told him: “You know...” - he had had enough years already... he said: “Well, I’ll leave in this recording everything that I played. Every false note. Because it's mine false note" And, for me, the manner, for example, in which Vladimir Gorovets played - it is much closer to me than the style of some first prize winner of the Tchaikovsky Competition, who plays everything purely, but - neither the mind, nor the heart, and there is no soul in it No. Do you understand? Like this. And with vocals it’s the same. You can sing absolutely technically, absolutely correctly, but without putting your soul, heart, or anything into it... everyone feels it.

A. Mitrofanova :

D. Sibirtsev :

Oh, I personally felt like this last year... I... surprisingly, I had some kind of revolution. Because when I was very little, everything that Mark Bernes did irritated me like crazy.

A. Mitrofanova :

Seriously?

D. Sibirtsev :

Because I didn't understand why he sang it. Why does he say this? Why does he practically pronounce the song that needs to be sung? Because my dad and my uncle were nearby, chanting, singing passages, and so on. And I didn't understand how this happened. But after some time, and especially now, when I myself suddenly decided to perform this - for example, in our military program - the songs “Dark Night” and “Cranes”, after all, I used them as a basis I took, with all due respect, not Dmitry Hvorostovsky, but Mark Bernes. So this is very, very important. Since, for example, in the song “August”, which I will sing at a concert in the Hall of Church Councils, I took as a basis Jan Frenkel himself, who performed this song absolutely...

A. Pichugin :

Jan Frenkel, by the way, too... like Bernes - one cannot say that he had a truly fantastic voice.

D. Sibirtsev :

Here! I say: I didn’t have, didn’t have a voice. But it was done with soul, the man knew what he was singing about, he knew poetry...

A. Mitrofanova :

He lives... yes...

D. Sibirtsev :

He felt, he lived every moment. This is very important for us. We don’t have any... forgive me for the word - “vokalyuk”, we don’t have anything like that. We have people who are burdened with this quality, but we are struggling with it, so to speak.

A. Pichugin :

Let us remind you once again that you can hear the “Tenor of the 21st Century” project live in the Hall of Church Councils of the Cathedral of Christ the Savior. Artistic director- Dmitry Sibirtsev, who was with us today in the “Bright Evening” program. Dmitry Sibirtsev is also the director of the Moscow Novaya Opera Theater, and his colleagues from the project “Tenors of the 21st Century” will appear on the stage of the Hall of Church Councils - come and listen...

A. Mitrofanova :

As part of the Transfiguration festival.

A. Pichugin :

And we finish our program, and end with one more composition.

D. Sibirtsev :

Well, let's smile goodbye. Because this is such... an easy one... well, not exactly a parody, but... here, a completely different performance than we are used to, the song “Bee and Butterfly”, sung by Maxim Pasteur, and he He will definitely sing it, so come!

A. Pichugin :

Alla Mitrofanova...

A. Mitrofanova :

Alexey Pichugin.

D. Sibirtsev :

Best wishes!

A. Mitrofanova :

- “Bee and Butterfly”!

Organization of concerts,
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The art project “Tenors of the 21st Century” is an exclusive group of soloists from the best opera houses in Moscow.

All members of the ensemble are unique in their own way, each of them has a beautiful chest voice that makes everyone present tremble.
If you are a fan of a real sonorous voice, then you should invite the art project “Tenors of the 21st Century” to a concert. You always have the opportunity to order a performance of the art project “Tenors of the 21st Century” for your anniversary, corporate event or other celebration format. To carry out your plans, you should dial the phone number indicated on the official website and voice your desire - to listen to the singing of the great voices of Russia.
Organizing performances of the art project “Tenors of the 21st Century” is our field of activity. Household and technical riders are also our concern.During its existence, the art project “Tenors of the 21st Century” has managed to fully conquer its audience. Thousands of fans beautiful sound classic musical works Every year they attend concerts of such a popular group. It is not for nothing that in 2007 the art project “Tenors of the 21st Century” received the “National Treasure of Russia” award. The performance of great Russian voices cannot be compared with anything. How beautiful are the sounds that flow through the opera house? concert hall, so wonderful are the melodies of all existing natural phenomena, such as a waterfall, wind or thunderstorm.
The art project “Tenors of the 21st Century” is highly popular among all lovers of classical works.
Especially for them, the official website of the art project “Tenors of the 21st Century” was opened, where photos of the art project “Tenors of the 21st Century” are posted. The website of the art project “Tenors of the 21st Century” makes it possible to watch tracks and videos of the art project “Tenors of the 21st Century”, as well as video recordings best concerts performed by team members. Contained here full biography singers, their history creative success, as well as all the information about their life off stage. Contacts for organizing concerts on our website.
Call today and order performances by famous tenors of Russia, which will be specially timed to coincide with your special event. You will be treated to a live concert performed by the art project “Tenors of the 21st Century”. Let the organization of concerts of the art project “Tenors of the 21st Century” fall entirely on our shoulders. And, you should definitely be prepared to meet a famous musical group.

Repertoire of the art project “Tenors of the XXI Century”:

ARIAS FROM OPERAS, Neapolitan and Spanish songs
World hits of the twentieth century and songs from films
Sacred songs
Folk songs
SONGS OF ARNO BABAJANYAN (Accompanied by orchestra)
SONGS OF THE WAR YEARS AND SONGS ABOUT WAR
FROM THE REPERTOIRE OF THE “PESNYARY” ENSEMBLE

In 2016, the “Tenors of the 21st Century” art project celebrated its anniversary. For more than ten years now, millions of music lovers have had the opportunity to listen to these wonderful vocalists who gather to give pleasure to the public and to receive joy from it themselves. It is no secret that tenors have always been and remain the favorites of the public. Their singing involuntarily makes you freeze and creates a desire to listen more and more.

Each tenor is always a bright creative individual, an artist who is not used to sharing stage space with anyone. He always main character and it is to him that attention should be focused. All the more surprising is the combination of so many wonderful singers in one project. And moreover, strong friendship between very different people.

Dmitry Sibirtsev - Russian musician and producer - managed to gather the leading tenors of prestigious Moscow and European opera houses: the State Academic Bolshoi Theater Russia, Moscow Academic Musical Theater them. K. Stanislavsky and V. Nemirovich-Danchenko, Moscow Theater New Opera them. E. Kolobova, Moscow Helikon-Opera Theater, LEIPZIG OPER (Germany).

About five dozen unique programs, more than a thousand concerts and two thousand works different eras, styles and trends, performances on almost all continents globe. When they come together, you have the opportunity to touch a miracle.