of the last, so today to tell run that that they have a problem in eastern d. c. the people have a problem is this is the national community dish to explain is what interest do they have? the fees that i do think the fear in favor of general see this. i don't think they have any more rounds even to come and discuss which one that on setting a certain issues and definitely not about to run the security. but that's all from me, not my colleague moran, her mom, it will be with you at the top of the office. thanks for watching. and by the, [000:00:00;00]

the we are in moscow standing in front of one of versus most iconic symbols and embodies greece elegans, and expressive goals. on a grandiose scale, the boss, i see it, or the said long as i thought about is the prima ballerina of the ball show

a. and one of the most famous dancers of our time having graced all of the world's best stages she chooses to make the ball for a her home, the taking the time to meet me here. and this is the imperial for a of the boss or a theater, and spectacular location. you've said that the bus ride doesn't actually accept everybody. what do you mean by that? who does the boss? we accept it that so the nice a special place i so it's out the stage of the bull show you is not your typical stage needs, whatever it is steep in tradition need. so emotionally is it has a rich history with a great artist because downstairs and seniors whose grace said lady in the z, even on a psychological level in which crossing that line which separates the wings from

the stage is not something everyone can do within the even that beautiful auditoriums, where people watch the shows themselves when you see it from the stage, your hearts stop that long. there's so much anxiety, not everyone is capable of overcoming that fear. so 1st of all, there's the psychological tension that some simply can't handle. and then of course, the stage of the boss choice, special as i said before, not everyone has the presence to occupy it. and that the record, when you enter it, you need to make an impression will go, but you need to own it because the stages so big the more to so not every artist has been successful in this regard is not every artist has been happy on this stage of sticks to what i'm talking about, our guest performers. for me though. as soon as i walked on, i realized it was the place for me, my theater, my stage, my audience. and i've been dancing at the bull show for 20 years now. it has seen

some of my happiest performances. when you started your career, your very young and you have said yourself that when rehearsing jacelle's descent into madness, that you had to rely on the cues of your instructor. because you yourself had not experienced those emotions and didn't know exactly how to move through that i guess you know, to what extent does the emotion play into your dance and how do you express that emotion in your dance? a, a bonus to kind of, i remember my teacher telling me where i was supposed to be her day. and that's what of what, how i was suppose to show my heart a, with the adjuster, because i see it the good that that's not where i was suppose to look so that the motion in the madness scene would read, should do the audio. and it's worth it know, and i definitely escalate. it wasn't just a life experience that helped me build the character of she says has a good performance experience to was i don't know how many times i've done. she's done it by now design brush and elsewhere. but if each performance is unique,

because they're all different, i know it depends on who you're dancing with, in whose eyes you're looking skills that the how your partner takes you by the hand . incredible emotions less than you can empty out on that stage in the moment. less then you move with those. that's what they may not even be there during rehearsals . but if it's something that there's a stage magic that can turn that what the language line is, the heart of a and her partner is provide entities in an algebra to make it real. that how do we only an artist can tell you what amazing changes you, or she can experience because at a moment like that, or that the motor for, when you're fully immersed in your role, every role can be dest and slightly different ways. every story can be told with a variation, somebody with a different feelings and in a different flight. i've never had 2 performances in my career that were exactly the same, okay, and lasers and there's something different every time. and it makes things very interesting. but as a way of ocean city is kind of following along with that and nothing happens in

a vacuum. the motions actually affect an artist on stage, the plasticity of an artist on stage outside of motions or something. this something that you cannot control when you're on stage technical here there's, i need to be able to control my to peek on stage, talking about emotions. it's true that sometimes they can all to your plasticity and movement. and they can be hard to control of the music, let's say i feel like turning my head not like this with a duck like this today, most of the, of the way it makes a different of those of the world. and it's a reflection of how i'm feeling at that moment. the deal is the, or maybe i feel like offering my hand not like this you, but like this, it creates a different mood. the ballet dancers tell stories with their bodies. so i, you, story is salem packages, caustically speaking in the short, and you can see our face as well. if you're sitting behind ro, 5 or 600, it's up,

which means that we can only express our emotions with our souls before god, which is how russians dance. they and our bodies move, move plastic until the you bring up a good point in some ways that the la gives a form to the intangible, something that we cannot grasp. it gives meaning in a lot of ways. in this sense is belly understandable by everybody? is it for everybody? or do you have to have that special, unique quality to understand bella as

a form of our there's this stereotype that valet is an art form for the chosen few, but on the i strongly disagree. just as long as the viewers do a little bit of homework to understand what the ballet is about to ask them what the artist are dancing about and what's happening on stage, then they'll get everything. the viewers will even think, gosh, it's a simple, after all, it actually makes perfect sense. why was afraid of going to evaluate before and whatever made me think i wouldn't be able to understand it. that's because body language is simple and easily accessible and modern technology these days give us a greater range of tools and technology as well. modern dancers are like a job fleets and have greater cap ability to stand on the stool. everything has evolved through it. they jump higher, do more,

turns to from crazy live in the right. it's all very impressive. it should. we cherish our solutions for sure. but we also try to build on them and try something new that. and so we like to showcase new possibilities to move dancers today even look different compared to 40 or 50 years ago. as of if it's all very impressive as up by the move. sure. thought chip. that, by the way, i have to point out the echo in this room is pretty intense. it's fun to play with . one of the interesting facts about the most, i guess classical ballet is often confined if you will. maybe that's not the right word by the idea of the choreographer. um, have you yourself ever thought about going into modern ballet or trying something is different so that you can have more freedom as an artist? the other question, that's a pros. great question. you can look there are many new answers to consider here. classical abilities have been around for centuries. at one point i realized there

was no need to invent anything else. some of this valley is genius. as it is. all you need to do is perform it as brilliantly as it was choreographed. it helped me at the time because that was when i was in a spiral young valerie knox. but i used to think i should go like this or like just the stuff that can explain the deal. it just sits. and here i thought i should give this look for a place my foot in a different position to do is i keep thinking of how to do everything my way back was staying within the boundaries of the initial choreography. because the system, when you call it, every artist is unique. so we all have a certain disease kind of us and certain physical limits and technique and stuff. so i stopped obsessing about all those relevant things and just done with the right mood and with souls to him. it's always a great pleasure when the motion you've been trying to channel throughout the show . lots that comes back to you from the audience. that was that i said, so that's the most important thing for me as an artist of just

the, the most iconic part of the bulk of the theater is it's a historic stage category. and another cove a has been with the goals really for over 2 decades. and she's the white person to help us get a better understanding of what this theater is all about. the so it seems here we are in the big stage of the traditional hall. so it is said that no of the theater in the entire world can do with the bulk or a theater does. what does that mean to, to my video, it's very difficult to judge and the most roy's definitely unique festival by outstanding beauty of this whole, where we're staying with you, our historical. and secondly, by the great size of, mostly by all means, bush was always able to stage something to a big,

there's lots of sets and also in the design and costs choose and numbers of outstanding arches and in the bali field as well. not many companies can perform classical malia on such a level as we can do because we don't have only just some outstanding condenser score. doing reading flies, we have the whole core, they've all a we, she's trained in the best possible way. so that's why when you look on the old heritage, such as swan lake or by a there or some other titles where you need, if huge, quoted, by a united way is the same b or c. then you definitely have to look after only very few companies and as well, such as the bolshoi marine skin that made it very sore throat lascola and covent garden. but not many people. story. a lot of efforts must be done. so be, is the idea of such kind of level, what is the mission of the policy prime mission, these, of course, to promote josh and large and russian culture. and in that sense, when we build our repertoire and also is there a per theater?

so we have numbers of different titles every year in ball a and in the but of course, his goal is to see one to the phone from russian classics. because we think if we don't perform russian kwasic in the proper way, who else in the world would do this? so this is our prime mission to preserve the highest point of rushing noise. and then of course to show the highlights of wealth culture. so our 2nd goal is to perform old mazda 2 pieces, and of course, one of the main goal of the bull. sure, as of industry, if it is not easy i'm, it's a life unit. so we have to produce something new and we have to be getting in the sense and we have to move it forward. and when, as people speak about sedition, they tend to forget that one of the main condition on this house is to produce near things, new music and new productions, and to find new stars in them, ball in the field. now the classical stage is behind us. it is fantastic to see, well, i think this whole is

a very how to say southcourt was like very special whole for the russian soul. also because numbers of absolutely outstanding actors were coming on that stage mainly and trying to send you that you feel like pretty c at scale along the law, offline of, out of here for a restful use done. or you just said to me was i can push these and the oh where she is and we were, we were thinking so, oh, so as all of the energy and all of the odd was on the stage and this was never taken away. we all feel we uh, on the different section on a full, she is our main leader. she leads us. so over the difficult times and as to the energy. i don't know how everyone feels. he also in these books to which we were looking, if you was in 20 century, $114.00 leaders of different countries were sitting in these books watching performances in the walls. i saw you name like the guard or candidate or guys the,

they all was eating g as well from that stage of their announced the verse of soviet union or the death of william. because this was also done on that stage. so this whole itself is very special. the opposite is also very particular. first of all, it's very, very, very beautiful and full of history. and sometimes we feel that it's affects people who come to work on that stage as in new directions, let's say, because they come with the very daring guys use them. they don't want this page, they look into this whole and all of a sudden, sometimes they really feel the heavy pressure. all this history and re themes. this page them give you much chance to do the stakes and what they are doing on that stage. ok, so i have to ask, you've been here for many years. this is kind of a home for you. has the audience changed over the years? i mean, why do people come to the ball? so what do they get from coming here? i would think that's more than 70 percent of our what is has a tool of doors of his art manuals,

people who come to the most golf courses and wants to come. so they will short list of the ones in this house. but i think big number of our organs are the 2 lovers of this form of art. and those are the people who attend several times through the years. but very often people have particular fashion, either to visual voices, to the alterra as an art, or towards the by way. i'm lucky, i'm one of the people who love both opera and by the way. now, earlier we're talking about the balance between the old and classic and new works. what about set designs? the boss really has a big norma, sets amazing costing. and it's all part actually. is there ever a desire or an idea to move to a virtual sense or use technology to kind of enhance the performance or is it all traditional? it's, it's sort of depend on the creators. in real theater, you don't have sort of stage design it just it i'll spending shouldn't be one stage

. but of course one audience comfortable showing it. don't expect this closer to for theater. this is something they would not like to stay in the boss or if audience comes here, they expect songs thing absolutely expect fact. so i don't. so maybe in the future of staging something new production of some fee or a ball is we would use new technology is possible, but there's new technology and never can replace outstanding showing things on stage and then they work. so pete, of course, of course, what about the costumes? um they are in an in themselves just great ornamental pieces of art. i understand they're all made right here. oh, well sure. it has the traditions that have its own workshop, susan, so for many years uh, i think also this is through have our own workshops and the very advanced and our in custom department is really outstanding. i've been, if you will look on numbers of our different productions, you will see absolutely outstanding costumes. and we'll see from the number of this

cost it was, this is impressive for example, now for the medical over 200 customers. one made. and of course they can do more than costumes, and they can the old questions and they can do questions for the ultra. and they can do to choose for the buyer or different kind of shapes of scouts as it's, as it's needed. now, a little bit of trivia for those who might not know the costume department is actually really easy to locate. if you're looking at the boss or theater. if you see both or from the front back to the apple or quadrant, you see the windows, which i gets to our custom departments, the a lot of people associated with also with ballet. but also opera is incredibly important, as we've been discussing, what makes an opera an opera. what makes it different from just being

a people singing on a stage and costume unless you go to the call center. so what you're still, of course, can enjoy any score be performed just like this in concerts. when you come to the theater, people like him who was done with it as well. he wants to see a full scale performance. we want to see not fingers on the stage, but the characters on stage. we want to see drama. we want to see x one to feel compassion. not only because of the beauty of the music, but because of the action which takes place on stage. that's why and why one's profile author a production is really musical theater. i means the theater, where people perform. but as a performer is they have music to sing and not words to say the was there to witness one of the big oper,

premiers of the season that the ball. sure. the renowned oper senior socialist of the partially theater aboard the client is going to help us understand more about this enigmatic ard for the . 2 the, the hello, hello. do you mind if i ask you a few questions? of course. so i guess my 1st question is,

does one have to understand opera and classical music in order to enjoy it? or can you just listen from your heart? you have the more store you this, i don't think it's enough to just close your eyes and enjoy the music. there's not certainly you need to be able to understand. opera harsh in the opera is almost like a truck. you get addicted to it. you're either totally addicted or you give up on it completely, or that's why or audiences aren't as large as other genres, more accessible to everyone around the world. yes. so i believe understanding opera is important to, to because them, it will find its way into your soul. now, kind of a weird question, maybe, but do you ever think for fun or for therapy, or is it just strictly work for you live in this way? it's a difficult question for me to answer. probably because i was born into the opera theater into it's not in the sphere i was the essentially raised backstage to me. it's impossible to live outside off from outside use. your voice must be very

important to you. what happens if you're going through a difficult time in life, or if you're just even sick? how does that affect your voice mall as being an offer seem or is more than just being a professional? will you have to be able to sing whatever condition you're in that they didn't put once i had to perform 5 days after my brother died and flores and if we were performing car man at autism. and it was one of the most challenging experiences of my life because of 2 and a person is in a state of grief. they don't have full command of their body, then use them. but the power of art is so many that when i go on stage, i forget every single going back to your previous question, it's a form of therapy, because only on stage i truly forget about my problem. so

the, so when you're thinking, what do you want the audience to feel beautiful, which is near cause and above all, i think the viewer has to be able to understand the character i'm playing. my will get to the words that we say or rather sing. if i do not tell the full story, a singer always tries to present the character and an opera through the sound, through intonation, to act as sing ours, we always try to reach out to our audiences and makes them feel a whole range of emotions. and that includes sadness and melancholy, and it gives me great pleasure to see if you can crying in the audience, because it means we did a good job on stage presenting a tragic story or a sad one,

or an emotionally intense one. it means we've been able to make people reach an emotional climax if you will. and i believe it means your real professional. if you can make people cry, a system that you are a human, which means you're small compared to the big stage. everything has to be bigger than life. is a difficult to express emotions when you're just a tiny person on a big stage in the audience a so far away background use not. oh yes, definitely. and do you need to develop certain skills to be able to do it? i'm not, it's not enough just to be able to go deep into different emotions. because as you mentioned, the stage is huge. the 1st row was about 35 or 40 meters away. i can't say exactly, but it's really far away. and as to the back seats, we can't even see them from where we're standing. so it certainly involves

exaggerated movements and facial expressions. you have to be very expressive, so everyone in the audience can see our emotions. we also use heavy makeup duty and when we sing, we're mindful of voice projection with because our voice has, has to reach far and wide out. so the, the trickle performance is always about, exaggerating, pretty much everything on stage one last big to back in the time of varying audiences used to sing along and they would cheer on the stars on stage. now that would be considered really taboo if you're here at the mostly do you kind of ever wish for that to happen in opera? or you're anymore because it's does happen, which is particularly with famous arias like cub, on your or delilah, to should some more common in concert in an office. i don't think it's really in the style of offer for the audience to sing along. although i think it's couldn't be nice to have this choir, the audience choir, or join in on pieces like the domain name will be it,

or even the hub on euro. but i don't think it works within an actual performance some more. they think it was more than i knew music. uh, there's a lot of computers involved uh, guitars, different things. a lot of people say that the quality of music is going down. do you think that this will affect the opera and if so, how so? yeah, thank you sir. i'm one of those people who believe that very little genuinely talented music history and created today all these except move into our for centuries. but it also may be that we do not appreciate contemporary music deeply enough. he was wanting to be a 100 years from now. there will be operas by some of today's lecture known composers. on the long side, mozart verity and tchaikovsky can you speak? so i think only time can tell me,

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