the most important thing in life is to be in harmony with oneself. that is, a feeling of not only respect for my colleagues and friends and loved ones. well, self-respect is very important. i would probably compare it with a rose , because where necessary, it can show thorns and when necessary, if you take a garden, uh, where many, many flowers are located, probably the first flower that we immediately pay attention to is the rose is the one that emphasizes the beauty of the whole garden , so is the center, if we compare the center with such a garden, then, of course, the director of the center and taro idea. always multifaceted, not always predictable flower beautiful there are such gerbera flowers. they look like chamomile, that is, they have

the shape of a chamomile, but as a rule, other colors are rarely white. here are red gerberas - this is my flower and simplicity and grace and luxury. what has changed in the work of your concern in such difficult conditions with sanctions rhetoric, the speed of decision-making has changed , the speed of work has become more efficient. as you said to rebuild supply chains, supply chains, equipment components, so, of course, our speed has increased.

the work has become more because the demand for our products has grown, not in such a difficult time. it would seem conditions. we very quickly redirected our deliveries from unfriendly countries and supply everything needed by friendly countries. this applies mainly to raw materials of chemistry. uh, and there were some problems with spare parts for the equipment. but we will also solve these issues. well, we managed to close some positions with with the help of their minds their hands. i am not talking about cotton now, but maybe some semi-raw material items such as fabrics , accessories, we increased production volume and increased, let's say, the consumption of our own product. well, i can give an example that last year belarusian light industry goods were exported from 97 countries of the world, so we did not narrow our export geography at the same time. uh, increased the volume of deliveries to the russian market. a new country,

as i open it, of course, asia , asian countries, even this year we have already opened for ourselves, tajikistan, for example, we have never exported products there, we only bought raw materials, that is, we are mainly increasing supplies to asian countries. how difficult it is to win trust in the market first you need to take your place there. here, and then win the trust, so the process is quite long, but we are succeeding. it is with us or for our quality it has been preserved. it never went away. and now it has intensified even more. that's why the belarusian jersey. belorussian textile in the russian federation is always something very good, so we are expanding , there is still potential, for example, we have chosen a new way for ourselves to advance in the russian federation market - this is the opening of multi-brand stores. previously, in our country , each enterprise, let's say, by itself , survived by itself advanced. here. last year, we began to open

multi-brand stores, where the products of various enterprises are presented. it's very cramped. we work with our russian partners with russian promotion. let's say so. we have similar problems similar similar lack of some product. yes, but uh, in principle, we have all this production in the territory of two countries. here we are simply strengthening , deepening, looking for those niches, where we can simply strengthen our interaction too. we have historically cooperated. these fabrics are used for sewing and drinking clothes in the russian federation . we also buy chemical materials in the russian federation, that is, we have historically developed such relationships, so everything that we can knead. basically, we already replaced, but we continue to move in this direction. if we see somewhere niches in which we have not finalized, then we get together. naturally, we make a joint decision, that is, all such speeches about cooperation are not competition, when we speak partners, only cooperation, only friendship,

only joint work. ekaterina nikolaevna general director of the national academic bolshoi theater from fish it seems to me very important today to talk about the history of the development of the big body, its glorious anniversary and the trends that i seems to be very important in his later life. hello on the air program, say, do not be silent in the studio svetlana smolonskaya and tatyana shcherbina and today our guest ekaterina dulova good afternoon. good afternoon. hello

ekaterina nikolaevna is very glad to see you in our studio. thank you so much for taking the time out of your busy schedule to visit us. we are very pleased. thank you, the bolshoi theater in belarus is celebrating its 90th anniversary , the president congratulated the team on the anniversary, and on the nineteenth of may the grand evening took place, a let's look at a fragment of the plot of our colleagues from the tv news agency. it is not a matter of one act of such a concentration of folk and honored artists not to boast of a single stage, the majority of the performance and those favored by gost awards cannot be heard here, not a single random note. for nine decades of great art, the theater delicately unraveled all these spectators the finale of the 2nd act. aida scene of a peasant wedding from the ballet gilles and even from don quixote today the jeweler allows himself variations dictates his plot twist virtuoso quote the most seductive of the repertoire

under the icons. well, really full house, er, it was impossible to get tickets. well, on may 25, actually, directly on the birthday of the theater, carmen will be given on stage, this is the very production with which the history of the bolshoi theater actually began, it was rus , this is the same performance, the production, of course, is different and, as far as i remember, the historical facts are that the performance withstood, in my opinion, nine productions, that is, we are talking about director's concepts. and what is such the tradition is preserved. it's wonderful, and you know, there are posters in the theatre's archive, it's very modest. i would say even quite small by today's standards. uh, where is it indicated that the bolshoi drama theater will take place? this is how the show opens. ah, the opera house. this is

amazing. uh, the big dramatic connection, that is, now - this is the yanka kupala theater, that's where we started together. yes , that is, the venue was single, and then, of course, we moved to our own building, so these performances are somehow a talisman, and he is always with it is very much in demand by us, but why and how, but if it is interesting, i can tell you more about this longevity of this performance. in what you know it, it is akin to the concept that is a bestseller in literature, that is, what is in demand most of all for one simple reason, it means you like it, but this does not mean that it is a bad product or something. eh, here. uh, you know such a general need for nothing like a deal. it's just that there is a special format for the availability of brightness. there is real passion here. u here with real love life stories and besides,

initially, uh, meringue conceived to write this composition as uh, a french lyric opera. that is, this is an opera that went with dialogues. this is what we know today, like operettas. hmm. and only later appeared thanks to the composition of the rake-maker, gro, connections appeared that turned it, deprived it of dialogue and made it such a performance, so it definitely carries in itself. here is the connection. you understand the prosperous dramas embedded in it. and, of course, the brightest completely memorable literally from the first bars of georges meringue music. but you are very beautiful. they said that this is a theatrical bestseller with a little bit of history. during the great patriotic war , the auditorium of the theater was destroyed by an air bomb, the german invaders turned the dilapidated building into a stable, which, of course, was very impressive. growls, and the decoration was plundered and taken to germany. nevertheless, the theater survived, it

was renewed, it rose from the ruins and ashes. have you ever wondered why art has been like this forever? yes, you can argue completely different positions, because not only the theater survived, historians talk about it, i will not delve into it, because i am not an expert in architecture ; eh, i generally work with ylang. bordeaux also resisted , this is some kind of e special sign. if we talk about the theater, then there is even more. ah, dramatic plot. uh, because not only the bomb inside , uh, which did not explode, but also 250 shells that were discovered after the liberation of minsk, which came to wear and clear mines, so to speak, and so on. that is, by essence of the matter. everything testified to the fact that e was such an ardent desire to destroy e, and now the destruction of the monument is the destruction of culture, because this is a trend

that look how it is today in general, so to speak, but is absolutely reflected e we understand what kind of verse we are talking about , you see , today the emphasis was made exactly like this and you are looking at the frames of these photographs. uh, the exhibition is taking place today at the bolshoi theatre. we specially showed, uh, unique materials from the collection of vladimir likhodov. uh, where you can just watch how they are made attempts, you know, such efforts, e incredible, but which lead to nothing, therefore, of course, we can conclude that god bless my country, art, culture and traditions that do not touch, because it is was, restored, large-scale reconstruction was carried out in 2009. we remember how the state invested in everything, this is a considerable means. you remember very well the support provided by the state. uh, the academy

of music to other institutions of the philharmonic was also global overhaul. kupalovsky theatre, let's remember again, and that's why it was really enough. it's strange when in the twentieth year , e, individual artists opposed the state, that is, they don't know how to appreciate. uh, again, after they were actually washed away from the cultural space with this foam. some of them are trying to make their way onto the stage again. that is , they did not appreciate what they have, you know, there is always such a nuance, in and in the artistic environment. yes, that everything is created for you alone, so that you landed on stage. you were your talent, sparkled and so on such an inner feeling, therefore, this one, if you want hmm , is not even called artistic, but such, uh, theatrical egoism. yes, when everything should spin and belong to you. if something is wrong, then, uh, accordingly, uh, i have to

destroy it. so it seems to me that if you lie with this idea, not creative, but destructive, then what happened will happen. are you what took place? it seems to me that this is such a profound short-sightedness, first of all, er and misunderstanding of what was behind all these processes. uh, what's more, i'm being. in general, as if in the depths of events, because at that time too. in general, passed such. m-m stages, i will be the director of the conservatory. e, i understood perfectly how many of us, and above all cultural figures, lack elementary education, in general, an understanding of the history of knowledge of history. e some such real feeling hmm patriotism in the best sense of the word. in the deepest sense of the word, behind which is well feeling the value of something you possess is not the repeatability of what surrounds you. take care

of it i remember very well in our first meeting. here is your phrase. i was so deeply struck and hooked, and i remember her very often. passing by the academy of music, what did you say, and after the war the city was destroyed, everything was in ruins and the state was building. temple of music absolutely. and today the theater makes a mesmerizing impression in this sense, you know, it literally performs the most important function, not only the one that we directly we are engaged as a theatrical entertainment institution, but also, uh, such a grandiose educational one, he tells absolutely all of us and our guests to our children , he talks about our country, because it’s enough just to think. why is it so? why are such materials used? why is the building like this? why are such funds being invested here? why is it today?

co-create and encourage the creation of 100 deluxe supplies. well, this is the answer to a very simple question. so the state needs it and we must understand. what is this mission and how difficult it is, so i treat it with great piety. here's to such a position of the state, believe me. i'm already being, uh, ceo now. i traveled, including in the countries of the former soviet union, i looked. what is the state of the theaters exactly theaters, and where do thousands of people go, because people come to our theater. uh, hmm, to get an incredible, uh, feeling of direct contact with the beauty of not only the stage, but also the external one at the entrance to the theater. worth it magnificent halls. uh, so uh hmm understand? i even think about the fact that, well, this is a brand, a component of a big one.

theater today it is very high and i appreciate it very much, for example, uh, prominent international politicians who meet with our president in the mandatory morning meeting. in the evening. they often visit the bolshoi theater, because it means that something is happening here and there is. uh, that component of value that you want to show, but you are talking about the theater and your eyes are burning. you headed the theater a year and a half ago, the general director has already become it is a second home for you, a native home, or is it still getting used to. you know, in general, here is such a domestication, uh, one's own activity. it seems to me that this way is not very correct. eh why? because really, there comes a state when you can afford, uh, slippers and pajamas, you know those moments when you

have to be as focused and concentrated as possible, so i, in general, always perceive. e his position and the rector's and in general a stay at the conservatory, to which it was exactly 33 years old. here i am, anyway, i always perceived it as a service, and the same applies to today's stay. uh, in the theatre. first of all, i think about people so that they do as much as possible what god has given them, so that, uh, we benefit absolutely everyone, who needs us and, uh, so today, of course, i have a certain comfort zone and i see among. those people are an overwhelming number of familiar faces, that is, these are my students, my former students of absolutely different generations, therefore even have my very first students. we talked about them once with you. and so, therefore, uh, of course, in this sense, i am somewhere, so

to speak, joyfully and comfortably. but there are, of course, uh, some new u positions that i just get used to and do my thing. since you have already said about students and say that these are your former students, but now they are already established artists and is it difficult for you to find a language with them at all? the great happiness of the theater and so we tried on the anniversary days and especially in the gala concert, of course, to show meeting of generations, that is, to show, ah, absolutely all the steps that the theater is taking, to meet the artists, that is, we have young specialists who are already soloists, firstly, and are already entering the big stage, then there are mastering serious. uh, operatic ballet repertoire. of course, we already have such a generation. e, mature, but, so to speak, experiences, they can still borrow about e others, and we have e, completely outstanding. uh, you know,

like in the conservatories of universities, everywhere in the world. there is such a thing as a professor amerikatus, that is, you are, as it were, the status of a pensioner, but you are active and you always turn to you for your help. if you are able to work for you, of course. imagine such an opportunity, and often in the theatrical environment, that is, we have a soloist who is 78 years old. you see, vasily vasilyevich kovalchuk, who appears in the performance in the most difficult roles and in longrini, for example, that is, but since there is a voice and there is this charge of energy and professionalism, which he simply will not go anywhere, then, of course, for young people. this is uh this is not just an example, this is your future life. that's the slime to be. although, of course, this is an exception. we are all fine. we understand this ekaterina nikolaevna but the administrative work of you is scheduled to the minute for a lot of the day. and for creativity, for mentoring. don't miss some part of being. maybe, yes, well, i haven't completely left my job, but

, of course, today it is already of such a scientific nature. that is, i supervise, er, doctoral dissertations and already communicate with accomplished scientists. uh, you see, there is also uh reason for uh, i mean in theater and talk with both artists and e. hmm , for those who come to the theater, i am very pleased with the excursions, which, uh, are very numerous in the theater and schoolchildren from uh, in general, small children, schoolchildren-students. so, when i see them, i, in general, try to come up somewhere to ask, what exactly e led why it was so and in some e, in a sense, i think it's in me. eh, there is still this can not be avoided. but of course, i try to communicate with adults already, of course, on professional topics. and here's an idea mentorship. she generally hmm is in the theater. it's just that we've been talking to

the creative trumpet executives about making it much more alive. what we are talking about when a student comes to the theater does not matter, this is an artistarkestra. this is a dancer, this is a vocalist. ah, you need a little of it, or it’s a choir that you got into it. you, well, you don’t know how to do anything yet. and at this moment, uh, so that the person does not get confused, so that he does not lose faith in himself. yes, how important, very subtly, very competently, but of course, i’m already talking to him like an adult. a person with a professional who has to do a certain job, but in parallel. here, all your, in fact , teachers work. here is one of those creative specialties, about which i said next to you among the dancers. the same story, you know , ballerinas and our uh, wonderful uh, ballet dancers. uh, the male dancers there are over 40 years old. yes

, it is clear that there are thirty and twenty and eighteen-year-olds nearby. here they all know each other very well. and in a number of cases. it seems to me that it is very important to emphasize. here with so that a person stays in the profession, so that he does not get disappointed, so that he does not leave, therefore. well, to some extent there may be this line. so i try to endure all the cases i think about it, but it’s also very difficult for you, on the one hand, you have mentors and on the other, students. and you are in the middle, and i, as it were, over this situation and, uh, i try. eh, you know not to interfere. er, the creative process in no way anywhere, of course, er, because i'm a musician. i can't help but see and hear what uh hmm makes me question somewhere. i can correct and hmm i think it's right and important. yes, today we certainly have an artistic leadership in the theater, as in any theater. there is an artistic director. nikolaevich there are chief specialists, that is, the chief

harpmaster, the chief cheerleader, the chief director. here we are waiting for the chief conductor. there is, of course, this community that makes the final decision. but uh, i'm including myself, of course, and i think that not only i can, but i should. pull on this from many different positions because i have their own information about the professionalism of certain figures who are involved. i have my own idea of ​​what the repertoire should be. i do not say that i am his god to fall, i dictate there and so on, but my word. i, of course, find it necessary to say, e, because, well, let's put it this way. simply, i will be responsible for this later. usually. if i see something to jesus or see something that, it seems to me, contradicts some artistic tasks. well, of course, i 'm talking directly to uh, the heads of the creative corpses. it's about the orchestra opera and ballet somewhere they are mansa. well, a number of such questions. we discuss, of course, artistic advice. you have already mentioned that

there is the main thing, the director is the main choreographer, the main choirmaster, but the main conductor e was still not our guest. uh, yuri karaev and that's when we also asked a question about the chief conductor. he says that i am not ready to take it on yet, because i think that i have little experience. that is, really, it’s like we really have e on it. it's difficult, because the profession is absolutely exclusive. in the part that it has a special kind of requirements. you know there's a so-called qualification requirement out there, what kind of position is that? yes, that's all that concerns the chief conductor, in addition to the fact that these are usually people with two educations, two higher educations. well, that was the tradition of the soviet school of conducting, and we basically inherited it. that is, this is the so -called profession of the second half of life. that is, uh, while you master something like a pianist or, uh, like a choir player or, as a violinist , you get such a higher musical

education in a special area. everything related to conducting is already a special world associated with the development of a number of musical prostitutes. symphonies of ballet operas, where so many components are combined and you have to show a different kind of skill, including a special kind, uh, intellectual human qualities, so it was decided at one time to train in conservatories in soviet conservatories, and at the level of a second higher education for free four specialties. and so they were treated precisely operatic symphony conductors. it’s not just the specialization that students have, and today everyone can come for a certain number of hours to get a little education and then talk about what i have. here is a record that i took a course there, uh, and conducted something. and this is a completely special profession. because there

should be an incredible authority charisma. you must already own with hundreds of people to manage them to be convincing and wealthy, therefore, yuri alexandrovich is absolutely right the part that he is gaining experience. he is very talented for sure. in general, the belarusian school speaks for itself, but it so happened that at the moment, yes, we, uh hmm uh, use the experience and, above all, our russian colleagues. uh, in principle, this is absolutely normal uh, the situation for all theaters in the world, and we know how uh hmm long short ones. uh, all the outstanding conductors had contracts and the same levine or er. valera gergiev e. hmm in various theaters of the world, sometimes even in several theaters, therefore. uh, you know, here uh, approach uh there must be, uh, the high professionalism of a person and the benefit for hmm

a our theater, that’s why it’s so difficult, yes, at first we looked at the young conductors who came to us from the bolshoi theater from the mariinsky theater, not only from theaters uh, our uh, republics of the commonwealth of independent states. and now the competition has been announced and the results have been summed up. right now we are working with them, because we have, well, some disagreements, but i hope that they can be eliminated. here and uh, it seems to me that in soon e we will get just such a creative unit. it is absolutely essential. uh, because this specialist performs not only the functions of a conductor, but in a number of theaters he is also called the musical director of the dash, the chief conductor. why because in his field of view the corpse of the opera is the corpse of orchestras and the corpse of the choir, that is, three creative corpses. now, if the main illness is the minister, after all, he works mainly with ballet trumpets, and

the main stage director. thor works with the opera and the choir, then the conductor. here it absorbs significantly more complex this format of duties, and therefore it is so difficult, we will wait for this moment, because when you listed these high requirements for this person. i even thought about whether it exists at all in nature. well, i hope that there is and those who wish to eat just, uh, agree that the opinion of the orchestra is also important, and in many countries of the world, uh, european countries, the conductor generally chooses the arches of the orchestra. here is today. we also have such an uh, the choice is allowed. well, not definitively, but in any case, we deserve musicians and for me, this is, by the way, very important. eh, such a moment. e hmm to see if i'm making a mistake? a fair approach in the meantime, we will take a short pause, i remind you of our telegram channel, say, do not be silent.

subscribe suggest us guests, ask your questions. we are in touch. on the air say it again, don't be silent. and today our guest is ekaterina dulova, general director of the bolshoi opera and ballet theater of belarus , ekaterina nikolaevna. in june, we will have a ballet summer. e, the viewer will see the production of the voronezh e-e of the bashkir state opera and ballet theaters and also the famous mariinsky theater for a gala concert already a month before. uh, well, half the tickets are definitely sold out already. here, gray is marked what has already been sold out, how would you assess the level of interest of the belarusian audience. for this project , the level is consistently high. uh, because there is. uh, there is always a very important component, first of all, and hmm there are performances of entire theaters, and hmm

there are participating stars in our performances. and this is always very interesting, because he imagines to come and fit in completely different team. do you somehow find yourself in a stage situation at all , do you know this edition, this always causes such an unprecedented interest, and finally, the third is always the final gala concert. e, which always has e, invited guests, in particular guests from the mariinsky theatre. and not only will there be a program in this concert. it's not easy there, because it must be definitely incendiary and extremely interesting and such fireworks at the end of everything of the festival, everything that concerns our guests and uh the name is here too, here i am experiencing the second season and uh, always uh, we are talking about two such stable categories. the first is so far

their own premiere of the latest in ballet. therefore, there will be don quixote, this beautiful wonderful one of ours. bright and uh, of course, uh, there will be titles that are not ours, posters, and uh, a convincing request was also made to our uh guests so that these were not only new names, but that there were also performances for children, therefore this is the trend. she now it's obvious. if you notice, then under two names. yes, and carmen new er-liki must new is generally so intriguing. uh, these are the inserts that relate to the fact that well, come and see, something you think that you know everything about being sick. no, it's not. that's why i'm very glad that here are my colleagues, directors of theaters in voronezh and ufa . here they agreed to our terms. and uh, bring the bodies in here. this is a whole event, so, of course, i can only rejoice, but

how easily your colleagues agreed, let's say, to participate in this project. that is, how long are you? you are the only one negotiating with them, yes, such a visible obstacle is always one thing - finances. here, as soon as this topic is resolved, and in the russian federation, it is now supported. uh, a wonderful program, which is called the big tour, that is, in the absence of tours. uh, those countries that have decided to abolish our culture. here, uh, of course, for countries that would like to see it in their country. here is such a separate funding being undertaken. and uh, it's very important to us. of course, we are on certain conditions, let's get into financial. but as soon as this issue is resolved, then, so to speak, everything starts to play, began to play, and in october last year the bolshoi theater of belarus was on tour in moscow, how can you evaluate this experience and how did moscow sophisticated viewers

receive belarusian artists? this is such a very modest word, so to speak, because the corpse is more than 40 years old. uh, the bolshoi theater, uh, hmm, belarus was not on this historical stage. and uh. well, we can imagine that this is the stage where all the great artists of the world have performed. uh the agreements that we had with vladimir urin, the general director of the bolshoi theater of russia, er, concerned only two things. the first one is obligatory from the national opera and the second point is the original one. e, a ballet production, the author's analogues, which we suppose are not, e in on the russian stage. it was october. hmm and uh, we thought that the nutcracker was the version of

valentin nikolaevich lizarev. its absolutely, not having really analogues. she will be perfect here and uh in terms of presenting the national opera, then uh the most winning here is such a modern bright. and, of course, it did. wild hunt, king of fear, and i must tell you that how this process went, when i received information, starting in august, that tickets are being sold out and sold out very actively, and both the nutcracker and the fear were sold out completely. that's what, i realized that they really are waiting for us, that they missed us, including the unconditionally belarusian performer, and of course, it was amazing to hear the clares that, well, in vain the belarusians launched a running line. we are still they secured themselves and, of course, in the royal court they gave a russian translation, which is perfectly understandable. all clear. and in general, such beauty and melodiousness of belarusian music.

here is such a brightness and modernity of the production with all sorts of new technical and computer technologies. they couldn't help but call out. so i have such a real, you know, such creative satisfaction from what was happening in moscow, and already in october of this year , the team of the bolshoi theater of russia will perform on the belarusian stage. what is interesting to you can we see and hear? you know, it so happened that this is the format? which was announced to us in general, it was also projected onto the e-e bolshoi theater of russia, therefore we are talking about the national russian opera and the original e-choreographic production. and i'll say so, well, the negotiations are almost complete, but i assure you that this will be extremely interesting, if you will, i will not reveal the secret for now. hmm, because we once

said about it and then it turned out that there are some obstacles , they are absolutely technical properties of e not related to our scene, related to e, some other phenomena that are not interesting to the audience. that's why we'll wait a bit, there's still time, but i think that this will be a real event that will take place in our lives. but after the tour in moscow, you, of course, talked, and with the general director of the bolshoi theater of russia you looked at everything from the inside, how does the russian bolshoi theater work? uh, here, if we compare the level of opportunities, let's say, yes , we are far behind the two theaters, let's say it myself equipment, probably, technical capabilities. the e of our theater are maximum, that is, it is impossible to exaggerate them. that is, what can the stage allow, yes, how can we turn it into a circle, so to speak, can open a variety of positions, levels, the

so-called plunger system. yes, this is all we have as much as possible, everything that concerns is present. uh, sound lights of some uh components, which uh, hmm are quite expensive and which uh suppose. well, the budget of the bolshoi theater, uh, and their board of trustees can afford sponsors. in a number of cases, somewhere we are still, uh, still lagging behind and well, this is objective, because uh, it’s just the budget of the bolshoi theater , so to speak, it’s different, it’s different, but uh, i must say that we just attract specialists and each specific project we try to fill. eh, after all, the content to raise the necessary funds so that in no way lost. well, have you actually been in your practice for these one and a half years, there may be a case when we invite

some guest artists. they say, we cannot come to you, because your theater does not have the technical capabilities for our production. there were such cases. no, this has never happened. uh, there were suggestions that would you let us bring yours, well, just because, for example, it's a very common trend right now. this is the format of the show. e, when instead of scenery , powerful screens are lined up on the stage, which give an incredibly bright picture. and, uh, the possibilities are absolutely incredible. yes it really so, assembling such screens takes a day, for example, but there are such proposals, as one-time they are quite acceptable, just like the show was, for example. petersburg big show of the petersburg ballet in the days of petersburg in minsk, and we went for it, because we understood that this is really such a firework, and such a conclusion. eh, these

days. uh, probably, st. petersburg sees it in such places, but if we talk about this phenomenon, and this is very expensive technical equipment. that is, i don't even know if theaters have it today? in the world like its own property or rent it every time, but it's a kind of such powerful computers, uh, that stand on stage like that. eh, you see, the theater is not a cinema after all, and we are not in a cinema hall. and we are in the theater, where there should be scenery, where there should be some kind of living life scenery that should change not a picture, but this very format of what you see, that it is done, that it is made for you for your eye not for uh. here. e. hmm such a common use of computers. can i say today use and where in huge arenas in stadiums and so on.

you try theatrical scenery there to make this format disappear immediately, therefore , of course, we allow in a number of our very bright projects, namely, we use this, but in a single, but in isolated cases, and i am not such an adherent, here, such kind of performances. and what else will please the bolshoi theater in the anniversary season, what surprises and gifts can we still expect, well, certainly from our gifts, this is our premiere of the four planned for this year premiere us held one by the end of the season will be the second sixth and seventh. on june this year, the long-awaited very much, beloved, will take place. uh, all the opera showing the opera e jackie on rossini's the barber of seville. e to the production to directing, which is related to our italian colleagues. and if we are talking about the 23rd year, as an anniversary as a whole, then these are two more premieres. this e ballet, and igor's flask of our

main, pancake maester, but called the illusion of love. e. probably it will be something original to the music of shostakovich and frederic chopin and finally, uh, we will finish the season uh, mozart's opera don giovanni that is, for now in all cases, these are our plans, but, if we talk about trends that could be returned, by the way, here are these staging ballets to music. this is also a trend of the times. here we will see. if possible. i hope that in all cases the artistic council heard and supported the concept of our main ballet dancer. that's what is missing today. a phenomenon that is gaining momentum there is to use already known, uh, music that is understandable to the listener and offer traditions from the time to act under it. ah, early 20th century. but now it's literally like this. e,

renaissance and mozarts, beethovens, tchaikovsky is especially popular and ballets that are called by names. is there rachmaninoff or is there tchaikovsky's ballet called that? yes, that is. and there are trends. well, now we are somehow now, probably, capturing this trend of our own. and tell me, please, the schedule is busy, very tight, but nonetheless less. eh, if we are talking about tours, then today these are tours only in belarus and russia, or there are some friendly countries where they are waiting for us and where we perform, no, of course. we are over the past year. in general, we visited both aman and thailand, and uh, the recent wonderful brilliant spartacus directed by valentin nikolayevich or zario was presented on stage. uh, the tashkent opera and ballet theatre, that is, in uzbekistan uh hmm further. already discussed and there are plans. uh, the so-called eastern vector.

and, of course, we build it. this, of course, is the people's republic of china, where belarusian ballet is very well known, and, in principle, opera is also in demand, because the chinese know that we have, uh, the so-called russian tradition. so they call for themselves the russian italian tradition of singing. it has historically been here, so i hope that by the fall we will have already decided, negotiations are underway, but finally. uh, of course, this is the east. in the literal sense, the east is the emirates , this is qatar, now again. uh, negotiations are underway. and here, uh, in this direction it’s a little more difficult, of course, to imagine this on oriental scenes, because our art is generally european, the nuances associated with the representation of the human body with the possibilities of what can be shown and what cannot be, but i think we will agree, and here’s what concerns the experiments that we have already touched upon. yes, some innovation. but where do you think is

the line between here innovation and bad taste. i think where the art ends. that's as soon as something applied begins and something general use that pushkin called what went to the people went, that is, it was really perceived and, uh, everyone has it, uh, as soon as it ends. here is this moment of amazement at what is done by human hands by intellect. that's it, right here, uh, it's very easy to cross this line, and it can be in a variety of things in what is sung, how it is sung, how it is designed. and how are they dressed? how it dances and professionals instantly see it , they feel it inside, so i won’t allow anything like that on our stage, it’s all about modern bright trends interesting somewhere, you can even compromise with the fact that maybe not everyone

will like it, but we will gain an audience at other performances, but there must also be a direction that is interesting for today's youth. they want to see it, they want to hear it. they understand and see, by the way, in some of our projects when we invite guests. how can you dance, what else can you sing and so on, therefore, in general , these connections. after all, they are important not only in order to invite the public and see how we live widely. and how many do we have friends, nothing like that. it's very helpful for the corpses, because they communicate with each other and the dancers and vocalists and conductors of the arch are strange, because if there are chances, they know each other. and this is such an ongoing process of communication. i think it enriches our tradition very much. let me take a short break after a short pause , let's return to this studio again, while subscribe to our telegram channel. say don't be silent. leave your comments. offer us guests, and look for all our releases on the youtube channel of belarus alone.

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the program is on the air again, say, don't be silent, and the general director of the bolshoi theater of belarus ekaterina dulova ekaterina nikolaevna is our guest, we have already talked a little about the abolition of russian culture. you said today the countries of the collective west really they are trying to ban everything in international culture in international relations, and russian russian culture, russian literature , russian art. and this also applies to those works that make up the world's world heritage today. how can we resist this? well, in addition to what you said, we are now shifting our vector a little to the east. this is probably also a kind of confrontation, how to resist this phenomenon. eh, you can say very simply there is nothing to change this first, and the second, like the upcoming human stupidity. same

absolutely. to take out of the museum, or something, we will, we will seize books from the library. uh, this is analog. this is similar to how the world heritage was burned at the stake to take away. it is for the people of the world that it is to cause damage, as it seems to me, first of all to themselves and their culture, including us , in no way and there is no even thought of canceling anything, for example, absolutely everything sounds in the theater today languages ​​and french and german and italian. when we need to perform this or that composition, they are performed in, uh, the original language. i i mean opera. there is not a second and not a thought about making any adjustments to the ballet or choir repertoire, because we are well aware that this is part of the culture we

exist in it, so there is only one way to fight, prove in every possible way that this is absolutely. and your parents, ekaterina nikolaevna, are natives of donbass, as far as we know, mother was born in mariupol, father slavyansk, but with what thoughts? with what feelings? you are now watching the events taking place there. here we see now, and what has mariupol turned into theatre of drama. this is right after the digression, that's what the journalists found out. how everything that happens is monstrous in your heart, of course, according to the power of destruction, these are not only physical, but also spiritual, of course. and so, you know, we are returning to the thought with which we started. why should museums and theaters be destroyed? yes, libraries, you understand, if strikes are made on the centers of culture, then it becomes clear that these are some

very important ideological points in the life of any country, you understand. when we lived in in the space of the great soviet union , the question of whether it was donbass or ukraine was never emphasized in the family. yes , cities were called somewhere, where they were born, they once lived. i'm just from, uh, documents and memories of my parents. i just knew that, uh, these were just those same russian families, that uh, lived, so to speak , for decades. e were in these territories. so, and then it just happened that the move was not honest to russia, and then the parents ended up in minsk, where i was born. but today, uh, you understand, right? it's so special well, as if the point of return here is my life to these events. eh, probably, this is not by chance given to realize. eh, where did hmm roots come from, and where did your ancestors grow up,

where did it happen? well, if we talk about more, then it is certainly present , because, of course, everything can be revived , we saw what our city of minsk was like when the troops entered here, and the red army, and we saw what it was turned into and not only culture, in general our whole country. but meanwhile we have been reborn. i live in hope i don’t really want to see the fact that i get to mariupol, otherwise it’s another city, but i’ll visit this theater. hmm i think it's important for me to do this for myself. but while it is difficult to explain, these affected difficult things. you do not lose hope that it is really the same as our theater many years ago. he will act rise from the ashes. it will only appear there. this is a creative environment, and i

saw an interesting interview with artists. about how they don’t tell what they saved, who saved the tools somewhere musicals, some sets, some costumes hmm , that's how much they spoke about it with such care, looking at this terrifying environment. it seemed to me that this was something impossible. now, and today you understand that i think that these people will be able to return life and return culture. hmm to this territory, so i live in such a very warm hope that everything will work out. we hope so too let's go back to our theatre. we found such interesting information on the site, plus you already said that you go out to your guests. but the fact that there are excursions from a creative meeting and a mini-concert show surprised us how much

demand there is. let's just say it's a service. it would seem that the tour is absolutely such an informational phenomenon, the children came. here we had children from the gomel region, 30 people, the maximum group was small. there was from seven years somewhere to thirteen, which is all day, which means they spent the night there on the road. then they walked around the city. they had a sightseeing tour. here, but they were brought to theater. i heard this noise and woof-wardrobe. they went upstairs and since the tour took place at the office level, i can hear perfectly. it was i who went out to see the artists standing behind the screen and preparing for the performance. and there was our and the people's artist, and irina and romkina. and our honored artist, bald sweet, probably a wonderful purge and a number of our uh, musicians the kids were sitting. after the inspection, there was a small concert for them. you stood in front of them a ballerina in front of them stood a sambistah. it

was necessary to shoot these open faces literally open. mouths of some kind of impossible delight , they even stopped communicating with each other there or something like that, yes, what will put the children, because they ended up in a special world. you see , this is for me. well, such a great happiness. now, if the theater is able to fulfill such a function, because this event is not only in the life of this child and not only in the life of his family and not only in the life of the school or the industry we work in. this is very important for the country, because these children will remember forever and will know where they experienced. these ones incredibly, high feelings are no other, so meeting with a real live artist who is in front of you and who can do something that seems to you, but absolutely magical. namely. so they accept it. it seems to me that this is worth a lot. and that's worth working for. she is in one of the interviews immediately after being appointed

ceo. they said that the buffet in the theater is also very important, uh, i will quote how wonderful it would be if we had the most delicious coffee in the city or some special chocolate appeared, especially chocolate. here you know, there was a cake. yeah, i can't say it's special. in terms of the original name. that is, this is a cake that i have taken many in the theaters of the world and are in many pastry shops. here but we still offered our absolutely our anna pavlova yeah. here are the famous such a theatrical dessert. it is associated with the image of the famous ballerina. that's all there is to chocolate. now we just made an attempt, here's to the anniversary celebrations. uh, just make chocolate bars together with the kommunarka factory. but it's traditional still chocolate. but uh, it's branded. i mean, there is, uh, an indication that this is a big theater, and our uh, wonderful partner. uh, beat because sir, the service

that became the general partner in our anniversary celebrations. that's all that concerns such a specific taste. what are you talking about? i think it's still ahead. i will definitely make this simple. well, while there is not much in the bustle, why? yes, i didn't have time. yes, there is something to strive for, it's true, but we wish you that all this will take place and i i think that we will soon try some new desserts and chocolate, in which we aspired and enjoy new productions and get to know the new chief conductor. everything will be ekaterina nikolaevna a great pleasure, as always, to communicate with you. thank you very much for coming to us through this difficult time. she is really very hot for you many anniversary events great success to the bolshoi theater, we wish and thank you personally . goodbye. goodbye a

now says ekaterina dulova it would seem that the theater in the life of each of us is something fleeting, something for relaxation. something for pastime, you don’t really want the bolshoi theater of belarus to become an unforgettable phenomenon in your life, because this building is not only incredibly beautiful. but first of all, the people are the talent of our country, which lives and thrives there. the more you communicate with talent, the richer your inner world will be. come to the bolshoi theater of belarus and be with us.

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