apparently, stalin built the conversation like that. and besides, it was very unexpected for bulgakov. he did not expect this call. and bulgakov uttered a phrase. well, such a beautiful adriatic pathetic, who will argue with her, but the meaning of the phrase was such that i thought a lot about him to myself as a competitor, i realized that the place of a russian writer in russia is mine? there is nowhere to work. and where would you like to work, comrade bulgakov but at the moscow art theater, but they don’t take me there. and you call there again, comrade. bulgakov bulgakov the next day the moscow art theater calls you and they tell him, where do you go there? come soon there is an agreement passport data snils tin everything means we sign and draw up so since 1930. and mikhail bulgakov, who had previously been such a freelance freelance artist , speaks modern language. he becomes an employee of this state corporation, which was called the moscow art theater, and his life is very, but bulgakov continues to change dramatically, and

plays and and in particular, he writes, uh, a play about pushkin, an absolutely wonderful play called the last days. then he writes a completely wonderful play, which everyone, of course, knows, it is called ivan vasilyevich, and with this ivan vasilyevich it is very interesting. initially, bulgakov’s play was called bliss and it has the same story, as it were, a story, which means that the inventor of the time machine work, who took it nearby, is present, but if in the famous film they go back in time to the time of ivan the terrible, then bulgakov they make a journey first to the past then into the future, they end up in communism. but the fact is that when bulgakov brought this bliss to one of the theaters , even the members of the party told him. i don't know what communism will be like. and you are trying to reason there, and then bulgakov cut it halfway, only the historical part remained, which he gave to the satire theater and in 1935, in my opinion, rehearsals for this

performance began. and finally, although they unexpectedly allowed the marrier thanks to gorky, gorky here interceded for bulgakov and such thus, 1936 was supposed to be such a grandiose return to the soviet stage for the rich. what our hero is incredibly strong, but a dream. we continue. this is a podcast life of the wonderful, and i'm alexei varlamov with you, and we're talking about mikhail bulgakov, and the premiere of molière took place. and the performance didn't fail, but it turned out that there were several performances. then there was an article in the newspaper. the truth, which was called external brilliance and false content in this article, if bulgakov was criticized as plays without an ideological idea in the soviet audience

, such a play is not needed. and it is incomprehensible that it is, like, like a beautiful spectacular costumes , scenery, and the content of molière is shown. like some kind of philistine, somehow entangled in his own, but petty passions of a person. in general, i did not understand. bulgakov's mariera, the meaning of uh, was such and immediately removed this play, it must be said that when this happened, bulgakov was to say that he was angry, which means. to say nothing, he simply did not understand anything. in bulgakov did not take into account a simple thing. please, it's true. not just an article, an editorial was published, expressing the opinion of all the editorial boards and, again, in the newspaper. true, it is more powerful than 500 articles written in the twenties. yes, this is a verdict and, uh, smart people, stanislavsky nemrovich-danchenko. bulgakov perfectly understood this, but did not want to accept it. and soon, he himself had a row with a hut, but at the same time ivan vasilyevich was filmed in the satire theater in the vakhtangov theater they filmed

the last days bulgakov became toxic with him it was simply dangerous to deal with. and that's when bulgakov returned to writing novel the master and margarita in my opinion. book well, how to tell the ears of the master and margarita it's clear everyone has their own idea is stupid to impose their own. but i think it's very sad. the book is a very sad book. because if the white guard is a novel about christmas, then the master and margarita is this book. about easter that did not come, that is , bulgakov is actually very honest, it seems to me, this is the power of evil a and the weakness of good that he saw around him. this became the basis, uh, the basis of this novel, but bulgakov's latest work this is not a novel by the master margarita, although he finished writing it almost until his death. the most

recent work. bulgakov is a trampoline play. a play dedicated to the young stalin, and very often biographers of bulgakov, historians and literature, they write about this plot with some kind of regret. well, that's what bulgakov lived a worthy life of a free independent. as far as it was possible in those conditions for a person, but in the end he stumbled, made some kind of compromise and wrote. here is a play by prostalin. why why here, from my point of view, to argue, so this means absolutely not taking into account bulgakov's psychology. here is bulgakov indeed, he was a man. let's compare him with akhmatova, let's say. he andreevna's life was much more difficult than bulgakov 's. well, not to mention the fact that she had a son held hostage, not to mention the fact that she did not have a comfortable apartment, not to mention the fact that her family life was far from well-being, like bulgakov's, what about her, well, as if he were a fairly wealthy person, all these fairy tales that he

was poor is a fairy tale. he received a lot for you at home, then he found it. in the bolshoi theater, but nonetheless . so she did not consider herself the most unfortunate, but he believed, that's why , because from my point of view, akhmatova had already lived for eternity. she knew that she was akhmatova and no matter how they spread rot on her, no matter how hard it was, sooner or later everything would fall into place and a monument would be put up and she would be published and she would be honored, and she lived up to these times. but bulgakov could not do that. he would not be at all surprised that i was talking about him and millions of people. he is known and loved to be read. eh, they put on films, performances, write dissertations , translate them into foreign languages. this is a huge glory that fell on him after his death. it wouldn't surprise him at all. she would anger him. she would piss him off. and that's not even my guess. and there is bulgakov's correspondence with his young friend. uh,

sergei ermolinsky, where bulgakov just becomes black and white, they write that unctuous voices are heard around me, don't worry, after your death. everything will be printed. he was furious with these words. he wanted to get here and now here in bulgator a very important detail, a very important psychological detail that must be taken into account just when we say why he had such an unfortunate life. in a sense, he himself made it unsuccessful for himself, as it seems to me, the story of bulgakov is in many ways such an ancient tragedy. why, how in an ancient tragedy the hero enters into a duel with fate, and then loses. here is the story of bulgakov. this is the story of such a lifetime loss. fate is, in fact. here is the same master's novel margaret here. why did he start writing it? it is quite clear that you will do something with this roman in the fifth sixth year, where are you going to take him? it is clear to ksyusha that this novel is such a testament to you and me, but in the broadest

sense of the word, but what does he care about our adoration with you? he wanted now, he wanted now to receive recognition. glory, he was poisoned. this is the thirst for applause, and she really was very characteristic of him. and she really poisoned his life and why am i talking about it, because that was the motive for writing the play trampoline, because he wanted to break from this play to the modern audience. he did not care , they would not accuse him of stalinism. it's all secondary. he wanted to get his here and now, and i must say that elena sergeevna that's why she doesn't love her. some bloggers when he wrote a play with a trampoline. here she encouraged him, here she said at every step, misha well done. misha write. misha, come on, the play was written and the play was brought to you by the moscow art theater. and the moscow art theater is already splashing everything. role in distributed and or sergeevna she

anticipates that this is going to be a huge success. she's already distributing. you can see it in her diary. uh, there are counterfeit tickets, which of the guests, where will they sit at the premiere. but bulgakov is more wary of some premonitions. well, it can be assumed that he knows one more very important thing. the play was being prepared for the anniversary, stalin's thirty-ninth year. i understood bulgakov, when there will be a premiere, stalin will come, and they will meet. here is his dream of his wishes. here is such an idea fixed to talk, stalin to talk with steel to us yes, this will happen. well, further. i say, unfortunately it went or fortunately, because it's hard to say, but in any case, what happened next everything went far wrong, which means august 14, 1939. bulgakov, several other mukhav theater artists went to batum, and in order to see some things on the spot necessary for a-a, scenery for costumes, uh , and so on, but at the same time it was such

a fun trip and everyone was in a good mood. but when the train reached the station, serpukhov, came in, the postwoman and said, who is your accountant here ? come back , the telegram was from the theater, what happened stalin read the play and, according to legend, said everything was wrong and, in general, did not bless. and in general, this play was banned. again, historians, commentators. biographers argue that stalin did not like this play. uh, they see some secrets and see some figs in their pockets in it. uh, there is a version that unost stalin was such a rather dubious one and he did not want to be converted. by this period of his life there are other versions, no matter how it makes no sense to discuss them, the fact remains that the play was

banned. and this was the blow that bulgakov could no longer withstand. well, he just couldn't. after that, he, a, became seriously ill, and a few months later, in march 1940, more precisely on march 10, 1940, mikhailov afanasyevich died, and he died on sunday. but it wasn't just a sunday. it was a forgiveness sunday. and for everyone who likes to criticize bulgakov sometimes from christian church positions. it seems to me that this fact, and it is necessary to take into account, and also take into account. what a huge price a truly brilliant person pays for his gift for his talent, with what blood all these lines and all these books and performances and

companies that still delight us and delight us, how they will delight and delight our descendants. thank you, i was with you and alexey varlamov is a wonderful podcast of life. hello dear friends. we as you can imagine, i welcome you as part of the podcastlap project on channel one. anthropology. as you probably guess, we are dealing with sacred music, which you will never hear anywhere else but here. and it is extremely important for us that we show people who have not yet been treated with glory by this internet television attention, and therefore, how they

deserve it, but today the lord heard our prayers and did so that literally for 3 days in moscow was the most eminent on today the vocalist of russia dear friends, well, it's all from the oscars of the opera to the grammys caressed and covengardn. well, the mariinsky is also dear friends. a maybe i should have started with it. well, big theater, of course, well, dear eldara boy. let's show our viewers. for what today they give world titles. for which ovations are received today on all continents, and here in all corners here are our vast planets. show us something like that. well, let's have a little.

maybe we can talk at your discretion, but it seems to me that , first of all, these are the awards for great work, great work, everyday work and work on the works that the singer performs, when you have already passed some stage of restoration of the voice apparatus. then you, if someone manages to get into the opera house, and manages to work with excellent conductors with excellent directors, then you carry all this baggage , you save it for yourself. and if you are suddenly invited, caressed, it suddenly yes, it usually happens. yes? well, you are doing an audition somewhere, maybe you win some kind of competition and the director of the theater will hear you from i invite you to audition, and to the metropolitan or caressed or well, you have a big mari theater there, they hear you. and suddenly

there is a miracle you crave. you when suddenly and others what is suddenly? i do not invite, please tell me how many of those very hours that you spent when no results are yet visible. how much is there that golevin's murtazina, and who taught at one time, this is in ufa and at the institute of art. i studied with her every day for several hours and sometimes even on sunday how old were you i was 16 years old when your voice broke down you passed your voice at 14. i was still at school in high school. here, but i don't care i went to her and worked out about once a week. here's a little fun. we controlled the voice for half an hour and listened to how what how the mutation occurs. that's when it all went away. we have already begun to work. so, then the dense process had already begun, we were preparing

for one show jumping. forty-second to third -fourth competition for the exam, yes, because it was necessary to set some kind of goal. come on, after all, we will remind our viewers. uh, uh, that fascination that they certainly experience when they listen to your voice. before starting work. i would like to introduce my pianist evgeny sergeev hello evgeniy sergeev is an amazing accompanist. i first noticed him at a competition in tver, the lemeshev competition, where he accompanied a wonderful contestant. and today he is a fucking teacher at the gnessin institute. well, he also works at the conservatory. here, and the first work that we will sing, probably, we will sing an elegy.

we are all mine

well, here. uh, just hi. good to start our conversation, because here are the notes that are forte that are loud. well of course, this is easter as it is, then everything still vibrates, otherwise these emotional accents are like that. this is how this ending is, when you sing forever, these are not bass. this is a completely

different voice paint, then what to call it? e your no, look, and there are different gradations in the voice, that is, there is a baritone. dramatic lyric. yes, there is bass. as they say, we have bass, profunda, which is quite low. bass is medium bass is high bass, and there is contabel bass. this is also a high bass, but implies a repertoire of more kontelny ligaments allow you to give out and such thin high ones. here, yes, let's say, yes, low bass, it will be difficult for him to sing such a song, it is also difficult for the average. here but here is a high bass yes to a drunken drunkard to do. here are the nuances. yes, it is easier for us , and composers wrote more for such a voice than for low

basses, there is a party for low basses. yes, but they are not the main parts firstly, that is, it doesn’t matter, do you sing konchak or igor i sang igor here, well, in the future, when both high and bass contabels sing and low baritones also sing boris godunov is also sung, like low baritones, such high basses. that's why there's some here. well, the gradation of the voice , how will your voice lead you, how will your timbre sound, because one voice is only material, of course, here, and there it is already for him to work on subtleties. and then, here's what we heard. and in general, everything you do, it's a whole performance, since your voice allows you to find any colors. which are necessary for magic, but let the performance

suspect the figure of the director, in addition to everything other things. and who is the director, and with whom are you , dear ledara. find where which one to take ah? what timbre what color to take it you build this performance? or do you have a director, yes, who gives the task. it may be, for example, a performance, if we take boris godunov, who we recently performed in a caress. but it was a modern production. and in a modern production, it was necessary to find a modern one , not even that modern sound, but a modern approach precisely as dramatic as an actor and also sound, so that it’s all like it was, but in one whole, you can either cut through, although, although some passage from this, what i’m talking about, well, let’s say, if

you take it as they sang, that’s in the days of fyodor van chaliapin yes, i’ll now a little depict how it would be fyodor ivan chaliapin’s business with you. the soul will burn, the heart will pour with poison, you will become hard, the eyes will be hard, boys, yes boys. yes, that is, this is this, taking chaliapin, and the time when it was today is a little wild. that is, today we have a different theater. today is another opera. today we want to do more. uh, let's say, as

the composer wrote, we will take the composer's line more then. and boris godunov simply has another version, and there are several different versions, in my opinion, four. and the mother-in-law went down. how's the fear?

these accidentally call like i do my steam shower. i'm more like a neighbor. goes to circle in the eyes. it sways and grows like that. well, this grandiose

recitation menu was more in the time of fyodor ivanovich chaliapin. and today we need to find something between, let's say, the last scene. crimes are blessed by the light at night hated by the meek

pure heavenly ones, that is, here already here already some kind of aura is being created. yes, yes, this is the meaning of live singing of live art. still , the theater, first of all, you need to understand that this is how your work is built. first, you, apparently, sketch a sketch of the length of the party, and then, together with the director, it is necessary, because the conductors are the ear and the hall, which should listen to everything, which should remove the orchestra so that your voice. was heard in the hall for sure

there should be such a subtle approach to this, everything is scrupulous, right every note, so that it is subtracted, and in the orchestra everyone was done in such a way that every instrument that sits in the orchestra every musician hears what he sings from the pit and we cast it so that with alice is very important if he does not hear, as they say, he overlaps the singer. this is an anthropology podcast on our first guest , ildar abdrazakov here. let me try now on your ears, and come to the wording, what is talent, talent is i'll now quote john mclaughlin flywheel, who, in my opinion, is the best guitarist in the world. and my

friend is also interlocutors. here, he says talent. it's when a kind of mystical act occurs, someone hears what is so far completely silent, and then makes it heard by the rest. well, depending, of course, on how much art he is. can interpret it. so someone hears something that is completely silent so far, which means that someone sends a role drawing for whom. yep, he hears this is who sends. but i don't know from there. why don't you send others? maybe the channel is closed, but how to open it? it depends already on myself, at one time i was lucky that i was born in the soviet union , we had free education, when i was in italy , they asked me, if you were born in italy, would you sing, i said it’s unlikely, because i don’t have i had money to do vocals, but here i was lucky. i studied here as much as i wanted,

when i wanted, well, thank god that i had such a teacher, such a mentor somehow shamurtazin. what is the name of your first teacher or shagolevna? murtha yes and she's alive, yes. yes, there is health for a thousand years of health, this is what a boy walks there, but she believes that no matter who goes to her class, she has done her job for humanity. yes, she did otrazakova, right? or at least not trampled his talent, no-no. well, you didn’t trample, she controlled me very much at first, she spoke directly. what parts to sing? which do not bake that fit here neatly here. here think about it, and style and so further. she moved me very carefully, let's say, along the rails, so that i would not go down the middle, so that i would sing my repertoire, so as not to harm the local apparatus. this is very important at 16:00. yes, at 16, well, at 16:00 i only started making the first sounds, huh? well, let's say at 18:19.

yes, even then competitions went and so on to concerts and met at arkhipova, who invited me to her concerts , can you imagine, what is it like you are in charge of an exemplary, yes academy, st. petersburg, yes, yes, how does it still not affect a person , so you know such a degree of glory, than there is no valor to preserve virtue, which no one encroaches on. and if you every second before goats beards, the road between. and if it’s already 30 years old, you can’t take a step without the fact that you are eldar omarych, you are the most talented i have ever seen, seen and will see you know and remain such a light person like elena vasilyevna and like our dimulya eternal friend and good memory. i'm in the process of breaking up now. he is, of course, well, amazing, dear friends, what is it? yes a

what, it was for a duet, when these two people towered on the stage, this brunette, and that blonde, like a gray-haired, how did they sing? maybe i’ll remember something or he, we really don’t have these notes, but we sang and the bullfighter sang, yes , and drank. we are a duet from don carlos philip and rodrigo and before the duet, in general, we sang a lot of concerts together with him, but, unfortunately, unfortunately, we did not sing a single opera with him. well, anyway, dear friends, it’s generally accepted, of course, to drag the blanket over yourself and pour it. uh, as far as i know, broken glass to rival at the price of the bolshoi theater i think it used to be like that, well, they used to close it. dimka could be just as jealous of you, no, but no. i will never forget the words. dima and i didn’t. but i somehow looked at the program

where dima was talking about me, and then he said that today we had a concert and today they came to dmitry hvorostovsky, and they will leave with the name eldar abdrazakov well, how can he not such a person who so, says can't do any row. you understand well, well, i must say that we are here, like, uh, seeing this great creative team. i think, for example, at a charity concert in ufa, it’s dear. and i must say that you and dima did a lot to ensure that those who were not so kissed by the lord from birth. which would also be fair? at least get something else, too, it's extremely important , your attitude to your edge city of the nation is extremely important, you know, usually when a person, uh, succeeds, he is reluctant. it is said in the city he was born,

unless, of course, this is st. petersburg or no, this milan. because if you say this all the time, it's ufa, so you will know it later, but no, it's not finnish when i say that i'm from ufa doesn't ask. yes where is it? and yes, i start showing on the map where it is, and then i say that i was born in this city with breweries. vladimir zadorovich was not born in this city, but rudolf nureyev grew up in this city fedorovich chaliapin began his career yes, in this they were born in kazan. did he start singing in ufa? how to salt? oh how yes yes, unfortunately this theater burned to which he drank. well, from there

his such a career began, and it’s not without reason that everyone is so proud of you. it `s naturally. by the way, this is the pride of fellow countrymen, this is a comrade, by the way, an eternal recharge of energy. that's why you go to ufa all the time, of course i have relatives there. i have a mother there. i have friends there, but can you have something national bashkir? well coupletik it sounds very interesting russian ear, be healthy. on the side

in short, this is how important the bashkir tatar songs sound. they are somewhat similar because what ah. in our family, we always sang tatar songs and bashkir songs. and you know that a lot of tatars live in ufa, so there are a lot of uh, mixed and uh families. that's why i grew up with these tunes. i try to perform them with a classical voice as i would like, how it sounds, how it sounds with professionals who always sing folk songs. there are also a lot of these colors, and the voice is set in this

one, and from spiritual singing everywhere, of course, you can hear reading from swords. be healthy. which interesting vocals. uh, here are the decorations , maybe now here, apparently, by the way, i didn’t give up with such a question. this is because my parents are not musicians. no. here's a very question parents are not musicians. our mother is an artist. ah, my mother is an artist, yes, what are we talking about? i thought she worked in the accounting department of the ufa meat-packing plant. no, well, comrades, that's not our mother an artist, but my father was e, firstly, he was a dramatic actor. he then became an announcer on television. wow, you are the first announcer on bashkir

television, you have a voice from him. oh, i think that i am mom and from dad. yes, because our mother sang. they're just mom's dad, her dad, my grandfather forbade me to go to school, here. and lord, she didn't when it was time for her to ban. so, apparently, all this was passed on to me by my brother about this brother, my singer oscar abdrazakov is an opera singer, where he sings everywhere, well, now he sings, uh, both in ufa and in the mari theater, and there is jealousy for you from your brother. i think it should be asked of him should get equally. how mother's love remained. and why do you understand this? ildar comes to vienna and has dinner e yes york and he sings in ufa, and let's let this one go, please, after all. come on,

let me eat after all. yes well you do ask him i rejoice in his success. he is also a director and also represents the production, if this is the ussr my topic is the ussr, i ’ll tell you the next one, it was supposed to say that, who are you? well, i'm a singer. who do you work for? yes? yes, yes, yes, in the evenings i am a singer, and during the day you are like a well-known story. what is in what do you know? yes, there, what is going to the entrance, we go in, which means that two men are also rising towards the apartment costs. he says you will be the third. well, let's have a little, because well, they began to sing okay, they say to him, and who are you? well, i'm a composer. okay, you don't want to talk. so i need to tell you that at some point you must come when you say to yourself, i am a musician, i mean, i will earn

a living not as a mechanic, nor as a machinist. although i dreamed of being a machinist, well, not a machinist, but to be a driver of a big ah, some kind of truck , you know such a machine that shines, it says, you are driving in russia eat. songs. here i dreamed. and here, but this is rushing about in childhood, when i was there four, three, four years old, and you sang in the children's choir while still at school, the music in a voice that did not break, of course it was. it was a connection, of course. well, yes, that is, i had and in chorus i also had solfeggio. i had both musical literature and the piano. i learned to play. well, that you didn’t go somewhere at the same time, i was bored. well, yes , i had. so much energy that it was boring for me to sit and learn, and various miracles czerny and bach