this was at the beginning of 2000, we did the play aida with dimitry chernyakov in novosibirsk, it wase was a huge large-scale scenery and so on. and so on, we worked 24 hours a day day with dimitri to create exactly this degree that we wanted for the performance, and someone handed over some video tape to mortier, and mortier, as he saw, in principle, immediately came up with an offer to me, and he invited me to support the parisian opera, yeah, and i went straight away. a few months later, after the invitation, i did don carlos, then i did a co-production of makbed, which we created a place with chernyakov novosibirs co-production with the opera bastille, and this is the first time, i remember, when the french came to novosibirs, because what decorations they made. opera theater and you are also a reformer. this spirit of reform, the fact that martier rebuilt the opera, in principle, musical theater. and at the end of the last century, with some amazing, prophetic intuition, he actually determined the path of development of opera for 25 years ahead. in relation to kmartie, quite ofte