alex, now, shut up , people, i have real power, i performed this ritual in front of millions, from

you are beautiful, if you cross this line, the curse will remain on them forever, this is it, fuck it, i see it. curse you dead.

no comments, let you win today, you know, i can’t be stopped, i will get my power not with these, but with others, hello? weak, it's just a matter

of time, i believe in them, a long look, a whole city, how can i believe again? in this silence, forget and just hide it in a ball inside, like a hidden dream, where only you and i remained, but we were silent about how everything burned from the inside. and i know now

i’m close, look, this is the last time, you can save us, dear friends, the creative industry podcast is on air on channel one, today with you is elena kiper, composer, producer, video maker, and roman karmanov, general director of the presidential fund for cultural initiatives and mediaman our guest today is the people's artist of the russian federation, the brilliant ballerina ilza lepa. ilsa, hello, hello, hello. i have it right away

to be honest, the question is about ballet, ballet is very strong. how to behave, how to maintain your diet, how to generally maintain your inner core in ballet and tell me, please, i think that ballet is a very closed art, few people can understand it , feel it without being there, you are trying to find some kind of dramaturgy for this to talk about ballet in a way that, roughly speaking, would be interesting, it’s very difficult, i understand very well those people who take up the topic of ballet and look for this very dramaturgy in it, because the viewer we need to look after something, but with us, i think

that maybe even ivan aleksandrovich will support me, in our art dramaturgy is within our very work, because this is a huge overcoming, but this is huge... oneself, like to connect the audience to this, you probably need to be fat, lvomovich, and do those same monologues from anna karenina or andrei bolkonsky, in order to understand, yes, what is happening inside you when you have to overcome it yourself, and i, for example, was playing a play, my father, and going through this history, the same one with my father, and for this performance we used my father’s diaries, and we diaries... just this preparation for the premiere of the ballet spartacus, that is, strictly speaking, this is the very dramaturgy when the artist goes to its olympic feature, it must be said that for a ballet artist there is the difficulty of being an olympian, he has several olympic games in his life, yes, and he

must overcome this several times in his life, but for a ballet artist every performance is an olympic games, but a ballet artist does not cease to be a husband, a simple person, a person who wants to have friends, children, but this burden is not removed from him, every time before a performance, like someone like spartak, for example, yes, the artist must be an olympian, he must live a secluded life , he cannot afford to go, go on a visit, drink beer, excuse me, please, in the evening, or or eat, the fact that he does not need it the next day for his work, and this already requires him in fact, it is his own organization. a very important topic and an important aspect, in fact, people of art do not always like to talk about what they feel, what they feel, how they themselves understand art, ballet probably cannot

exist without music, that’s why we are here together today, as if complementing each other, but here is the feeling, first of all, i am attached to the idea voiced that overcoming complexity, overcoming physical complexity, overcoming some physical laws, that is , in fact, a person, be it a musician or a dancer, must soar above and only soaring, overcoming everything that hinders us, uh, in order to rise from complexity to art, from simple execution, to real art. then we get an impression, then we understand what this composition is about, what this dance is about, i can’t say that since childhood i gravitated towards ballet or understood it, no, perhaps not, but the older i stop and see

some... then examples, i see some performances that tell me how expressive dance can be, maybe ballet, that is, the impression of what i saw a ballet can be no less than from some, they say a blockbuster, well, it really is a work of art, and of course, the same can be said about music, well, in principle, rachmaninoff can be played on stage endlessly with an orchestra, with a conductor, well, in general the old fashioned way, and it happens again again again, but they appear. who begin to experiment in order to what? if you are talking about akhmaninov, then we really experimented, took the neural network as a tool in order to make rachmaninov part of the

our concert, part of our symphonic performance, talk to him , with the help of the neural network, find out what he would answer to certain... questions, so that he would answer this or that composer, that is, we make rachmaninoff, return him to for us, and we make him one of us, it is very important for people to feel a person. the author, who is behind this music, and modern technologies help us, communicate, show composers of the past, this is how living people, talented people, you can revive basically anyone, but in general, i was sitting like this, now i was thinking whether everyone is generally suitable to be treated like this, i would say so, that’s what you think, it seems to me that now is the time, and maybe i’m just continuing... in aleksandrovich’s sense, it seems to me that now is a time when, alas, the viewer

is needed, you need to really achieve it somehow, and you need to achieve it in order to sell tickets to make money, and you need to achieve it in order to save it, you know, to heal, to heal, so the search for these ways in order to catch the viewer, it seems to me that in this sense, we are probably, but these our searches are united. are all methods good at finding a viewer? first of all, they must be sincere, come from the heart, truly from love for art, from love for the music or the idea that you are currently working on, if your thoughts are pure, then in any case, people, people are somehow they feel, this exchange, the exchange of energies that happens during any concert, it really exists, because in an empty hall, like we played in a pandemic, it is completely special, perhaps difficult

feeling, i can’t imagine how to dance in an empty hall, it could also be, probably, if we touch on the mystical side of the issue, it seems to me that artificial intelligence now, or all this technology, simply makes it possible for the mass audience to understand what language , people of art actually talk to eternity, because it seems to me that this is a contact with eternity, there is some kind of divine, divine yes, and maybe divine no, maybe so, you know, as for music, i it seems that despite the absence of any really signs of a musical court, however, i think that everyone is truly a musician, real musicians, people who truly understand music, feel, know music, we can say what the composer would

agree with, i wouldn’t agree with anything, and we understand and know perfectly well that, yes, even if people lived a very long time ago, they are gone, nevertheless, i will tell you that yagan sebastian bach, who invested huge amounts of money , could also be considered among the creative industries in the development of ordering new tools, according to his order, there is a lot to do, but for... you can call alomosov a representative of the creative, you can call him, that is, that is , that such a creative industry is creative, creative people, people who do not invent, because today from 12: 15 to 12:30 i come up with something, it doesn’t happen that way, but on the other hand, you remember this joke, i really like it when two composers met and one asks the other how you are doing, he says, well, something like this , he says, well, i’m coming around... in the evening i mean i’m doing how, but where’s

the inspiration? well, i’ve somehow gotten used to this over the years, it ’s approaching about this time, i may have said it poorly, sorry, but the meaning is this, well, i’ll still introduce an element into this, in general , quite cynical, because if we talk about creativity - this is creativity, of course , the creative industry is still what earns money, so this year rachmaninov is talking, next year people are already waiting for what will happen. anything else here do you want or not from 9 to 18 please and first of all, these people are invented by us marisovnas ourselves, here i am, ilza marisovna, we come up with ours so that we can live interestingly ourselves , probably ilza and ivan, they are here not only because they are wonderful people together, but because recently, on the site, in fact, there was an event that the ilzas are involved in, the russian project ballet forever, this also unites people

who come together on one platform within the framework of the implementation of the same projects, and it seems to me that this is important, that there is more to come, there are some joint plans, well, i have to tell raman that this is our project, because this project was created with the support of the presidential fund for cultural initiatives and the greatest gratitude to our president for these opportunities. yes, and this is simply incredible, you know, our project was born when the words were first heard that there was a ban on russian... culture, now somehow all this has gone away, we somehow already discussed this topic we’re even being ironic, naturally, yes, but then it was very, very alive, and so this project was born, russian ballet forever, first of all, so that to support the same ballet dancers who , so that they do not feel discriminated against , that they cannot dance on the stages of the grand opera and coven garden, yes, so that they understand that

we have many wonderful opera houses and that it is possible, somehow, for an artist ...with whom he serves in the corpse of some even large theater and even occupies a good position, he always lacks some kind of this freedom, where he could come to dance some kind of i don’t know, his own repertoire besides the theater, yes , where he could somehow express himself and even your own theatrical repertoire in the concert program, sometimes you dance somehow differently, and then you return something - even more to your theater, and so this project was born, but it seems to me that the most valuable one was this kind of laboratory , which existed throughout the year, when we selected 12 personnel through a competitive selection, the premier-premier, wow, the prime-premier, who just took place on the stage, and in the laboratory, this laboratory was headed by elena bogdanovich, an amazing

master, choreographer , as a matter of fact, these 12 rooms, this was what was created inside ours. it was important for us to show not that this is what they staged, that it’s like some kind of stamp, yes, it was important for me that their thoughts were clear, how they listen to music, how they broadcast their own author’s choreographic style, that’s it. in fact, elena bogdanovich and i have been working on this for this year, what will happen to the project next, we want to develop it, we are already negotiating with theaters so that, because it has become clear that the choreographer, there was really not enough internal communication, they said, oh, now, now, when we saw each other, when we already understood the meaning of why, why, in fact, we suffered so much, you tormented us so much all this year, now we would like, yes, some more internal communication, and we realized that this communication should exist, will it be in moscow, will it be somewhere, we are now looking for a platform, it became clear to us that we

do not need to experiment only, how to let them into the experiment, not only modern ho but also think in classical images, because there is also great interest in reviving the classics and there is a need for this, you know, it would seem, well, the classics, it’s so, it’s so simple, well, what could be simpler, yes, the same movements, the same the same seven notes, the same ones, yes, speaking, tamarasque, fi, glesad assembly, you see, here’s dora, mytha suck, yes, but do it musically, do it in such a way that when you look, for example, traffic rules from sleeping beauty , this is exactly what, for example, well, really pitipa, yes he stayed, then you you see, well, my god, it’s so simple, but it’s so musical, there’s syncopation here , there’s a little bit here, well, it’s so expressive, you need to try, and you need to do this too, and young people need to be taught this, we’re in kazan, here where you can have fun and play at a wedding, this is a family

heirloom nanobone made of silver, called chulpa , they say this ringing drives away evil spirits, a girl without a goose cannot be married off, why? two geese, two pillows so that the soft ones sleep, don’t swear, and we prepare the dough for chakchak, put these pieces of ours, similar for noodles in hot oil, fried potatoes in chuck-chuck style, look, look, which girl you like best, choose her, both, yes, this is our saida, farid, this is your bride, how do you like it? beauty imetor. our premiere, we are having a wedding, is on sunday on the first. why such torment, it’s been 3 hours under the spotlights, it’s plus 40 here, no less , it’s itching, you shouldn’t have put it on your naked body, we’re royal or imperial, attention

to the question, don’t be rude, collegidor, camera, gone to the masses. let's have more fun holding a penguin gait, attention, the praguns got ready , they started, finally, they drove, the extraordinary adventures of experts in the winter series of games, on sunday on the first, on the air creative industry podcast and in the studio roman karmanov, keeper, well, i can’t help but ask the question that i have we are constantly hanging in the air, here in front of us are two absolutely creative, many times realized people, in general, and who... could remain, in general, continue to be creative people, but you have to be managers, in general, of this process. why this one?

an administrative role has appeared in your life, tell me, in fact , administering creative projects, i started in my first year at the moscow conservatory, when my festival appeared, which is 23 years old this year, in fact, this is administration for the sake of creativity, for the sake of what you know , what, what do you want to do , this process, no one can build it better than you, in principle, what i do at zaryadya, it ’s true, we all processes are subordinated to a creative task, a creative concept, zaryadya has an important function, this is one of the leading concert venues, not just moscow, the country, we must provide the opportunity to come into contact with high art every day. with culture on the one hand, with various projects, we have a grandiose festival ahead in december, the second winter music festival zaryadiya, and we

made one of the central themes just dance, and for me dance, i want to get to know it better myself , then, what ilza marisovna said about petipa’s choreography is absolutely accurate, because everything that seems simple is not so, how simple mozart, and what could be simpler than pushkin , you don’t want anything, that means, about roofs, about pipes, about preparing the object for the survey, no, really, all these processes are for the sake of making the visiting artists feel comfortable, comfortable, and the first thing i started with when i came to the hall was to create conditions, comfortable conditions for the artists to be there, so that everything that happens inside the hall would contribute. achieving the highest creative result, so that nothing interferes with this separation from the ground from which i began. ivan, please tell me, can only classical

music, classical authors, or interpretations be heard on the charging stage, or are there new ones, maybe authors who create, are there new authors who create ballet? i haven’t worked with modern composers, which means no, well, if you read torterian, the company is finished with modern ones. well, yes, this is just a question of terminology, on the one hand, on the other hand, we just had literally three concerts of modern music, uh, modern academic music, naturally, in this case i’m not talking about show business, just the other day there were premieres, we constantly have musical premieres as part of the same winter festival, we will have a premiere by the wonderful composer sergei akhunov, together, by the way, with ballet, this will be a composition which is called. we try to give opportunities to new composers in particular to perform. our teacher -mentor year is coming to an end, here it is, well, naturally, it

ends purely, so to speak, calendar-wise, but naturally, our mentors are those who put a lot of good things in us , about your mentors, maybe, who influenced your life, well, you see, here we are... this is, of course, a creative family that we have behind us, this is a huge baggage, but also a huge responsibility, i think that ivan aleksandrovich also absolutely feels this, our father, when we were little with my brother andr, often told us, remember that you are the children of liepa, and what is forgiven to someone will not be forgiven to you, he in this situation i meant precisely... the same burden of responsibility that my brother and i we certainly do and still do. ivan , i studied with wonderful teachers, first of all , they, they taught me a lot, of course,

i agree about some kind of genetic cultural code of luggage that exists, well , of course, without teachers the luggage could have remained at the station, so i i am very grateful to my teachers from tatyana zelikman , at the time when i studied, i think that she was one of the best teachers and is now in the world, then at the moscow conservatory, then i studied abroad, also with the wonderful musician evgeniy korolev in germany, graduated from the st. petersburg conservatory, as a conductor, symphonist , to all these people who... are simply also in a single person, but also representatives of some kind of cultural baggage, knowledge, experience, skill, then we are somehow all

all this is passed on... we pass from one to another, and so, in principle, you can trace a line, for example, pianistic, right up to beethoven, it seems to me, in fact, as a fundamental science, not a single subsequent discovery or law destroys everything that has been done before that, also actually in art, each next step, in a good sense, stands on the shoulders, continues to develop the experience of previous generations, to which we are certainly grateful, whether parents should, i don’t know, maybe the mother should push, not that push, but the mother can see the child closer , what is in him, what abilities does he have, and my father, to support, in

principle, in my life it was that my father did not study with me on any instrument, yes, he did not study with me on the piano, he did not study conducting, however less always somehow invisibly, of course, i learned a lot from him at concerts, first of all, that ’s why my one, the person who took me to nesnesk school, who brought me to the teacher, and naturally was my mother, but i ’m like... i knew for sure that i would not want my children to be musicians, because this profession is very difficult, very difficult, in it, the risk of failure, as i think in ballet, is huge, how rational and reasonable it is, i think, that it is possible today in the current world to choose some safer professions, because this profession requires

self-sacrifice without a guarantee of any success, there is nothing, yes, my children studied at a simple children’s music school, at the royal, and they definitely didn’t become musicians anymore, so, but i don’t feel any kind of then it’s a pity, on the contrary, i’m glad for them that they know what music is, but go their own way, that is, you seemed to motivate in the opposite direction more than, uh, in the direction. ilsa, what do you think, children need to be pushed, so to speak, well, it’s so simple, if, now, we abstract ourselves from what we are talking about is pushing our personal, our own children into our profession, this is of course one question, but the fact that children need to be pushed, forced to do the right, good

things, is undeniable. uh , a child can’t, he shouldn’t be allowed into this in the sea of ​​life, when he doesn’t yet understand what is good, what is bad, that there is a moment of overcoming, what you don’t like today, and tomorrow you will overcome yourself, suddenly you will fall in love with it, fall in love again, not in order to perhaps become a musician or dancer, but in order to so that it just becomes a part of your life, and so that you understand both music and art, but to guide or force it, wait, at what age do children go to ballet at nine , no, i started studying at about six, at the age of 10 i went and really enjoyed it right away, no, not right away, well, for me it was 13 years old, and when suddenly i realized that i madly love this, that i already love this job, i love this

work, but it wasn’t at 10 and it wasn’t at six, of course, but success also didn’t come immediately, as far as i’m concerned, you know, well, i, this very interesting question, i am eternally grateful to my father and mother for the fact that in our family, despite the fact that there was such an outstanding artist-father, it never sounded like you had to be the first, that you had to be a star, but in this profession, this is amazing, i am eternally grateful to them for this, we heard, try, pour yourself, be patient, work, my father endlessly told us that in order to jump you have to jump, in order to spin you have to spin, in order to dance you have to dance, that is, what you , if you want, overcome yourself, but he never said us, be the first, so when we even had small steps, because you don’t immediately make some huge achievements, and there was a feeling that he was so happy about this, these small steps of ours, that it’s not like he there, well, what did you dance there, some

small one, well, then, come on, show me, this faun, ostrovinsky in general, after all, this is all, the same dyagenev, who actually brought russian ballet to france, and who raised and returned ballet to something incredible, how great the music was created for the ballet, the effects, how amazing ballet, well, i don’t know, i say this carefully, park, ballet, it’s all done to the music of mozart, but in a completely revised presentation, it makes a huge impression, a huge impression, so the music can be a special effect, classical music, in my opinion look, this is the effect of beethovin’s fifth symphony or... than in a movie some kind of jump from plane to plane, or maybe more if all the musicians are really like one, they believe in it themselves and want to play it sincerely, we unfortunately we have to finish already, in

the creative industry podcast was broadcast on channel one, with you were elena kiper, producer and composer, video maker, and roman karmanov, general director of the presidential fund for cultural initiatives and a top manager in the city, we had a guest today, a brilliant ballerina, people's artist of the russian federation ilza liepa and ivan rudin, conductor, director of the zaryadiya concert hall, pianist, wonderful, completely honored artist of the russian federation, thank you for coming to share, thank you, black waves, night sea, falling star, either now we will be with you, or never, the waves touch the stones, as if

for the first time, the tenderness of your lips, i really need it, right now, the first kiss , the first seal, the first, forgive, the first, goodbye. the first kiss, the first thunderstorm, the first, i want, the first, i can’t,

hello friends, this podcast is not a format of a place of power for young artists and a walk of fame for artists whom the whole country knows and loves. today in the studio, as always, my charming co-host karina cross, vali carnival behind me is a magnificent group gip, and i'm anton lavrentyev. and you know, anton, that we have an extraordinary program today, actually. like everyone else, but today she is special, because our guest is the charming, incredible, simply magical natasha koroleva, hello everyone, and today our guest is a super popular

and talented artist, gazan, nice to meet you, hello, hello, everyone hi, i’ll just drop a seed now so you understand, ghazan has a total of 500 million streams. tracks, you just imagine this number 500 million. i honestly envied the white one. what kind of lion is this tiger? what kind of lion is it a tiger? here he is sitting here now, hello everyone, hello everyone. natasha, i have a question for you right away, i know that you started your creative path at the age of 16, that you came to audition for igor nikolaev, i immediately want to know, there was a moment about a sandwich, tell me about it, is it true or are these just some made-up internet stories? no, these are not far-fetched. this is true, but when my mother and i arrived, yes, i was 16 years old, such a cold november moscow, igor listened to me - a studio at some music studio, i don’t remember which one, even where, and then he had a concert in ruzhniki, the man had already wasted

time all day, they were fiddling around from studio to studio, and of course, it was clear that he was hungry, and we had just come from the train, mom naturally had everything with her, and not only sandwiches, not only, and of course, mom quickly scooped up some bread, salsa, and what else there was probably , thus,