the production designer creates sketches of the costumes and sends them to us. we study these in detail . we draw up a technical description and purchase fabrics, the necessary decor fabrics, then the fabric flies and the cutter goes to work. they cut out the costumes and make the first fittings for the artists. everything is customized to make them comfortable. it was very beautiful. the artist creates decor according to sketches. and we have these applications that create such drawings in full size. this is for example a drawing for a pack, then cut out like this fabric details. and glued to tulle.

after that, it is then embroidered on this tire. we also additionally make decor. a feature of our workshops at the bolshoi theater is the preservation of traditions that have probably not remained anywhere else, except in our theater this is an appliqué technique, because we call stencils, embroidery, beads sequins, they are sewn, of course, by hand embodiment. here are the beauties. this is the work of an artist specifically of our artists, who, to count all, who implement all this. it would seem comfortable suit. this is the one where nothing gets in the way. and the first thing that comes to mind. it's a suit that eva is practically non-existent. it's just a tress jumpsuit that wraps you around, but it's not always a favorite, because, for example, sometimes you want to have lunch. oh, and in the evening to think about how

to draw in the stomach so that the audience does not see that she had dinner, that is, no, it is not the most convenient. our lousy workshop is working very hard and the ballet dancer comes to the fitting, of which not one or two, but as many as five cutters in the sewing workshops are trying make it as convenient as possible for us. that's why we walk, for example, so that nothing interferes with us. rskoe workshop here we make all the hard scenery and all the props. with

dimensions, after which patterns are usually made in size. it is thought out from what materials from what it will be that you mostly do it by hand , with the exception of stitching the fins on a typewriter, so it's all handmade. i envy myself, because the work is difficult, but this creative process, when all the time you need to think about how to gotta do it, well, very inspiring. we do these

tasks for each performance, the availability of the props of the scenery that needs to be made. in this case, it is, that is, it will be such a prop that will hang. here you need to consider that they are light, so that there is nothing. in terms of the fact that this will not be work for ourselves, it’s a pleasure to apply a large-scale grid, the sketches are small, so we break it down on the cage initially, then we do underpainting. our day dries up, we

look at what happened. 47 years old it's interesting for me to work harder more comfortably painting a large number of people, sometimes even more than the number of people who appear sometimes. every morning begins with the fact that the maintenance service comes, the scenes, depending on the opera, are a performance or a ballet. but if the ballet stage is set up by ballet,

shock-absorbing floor stage assemblers, they take the scenery onto the stage, lay them out and hang them in their places. everything is in accordance with the schemes with maps, and all this work must be done before 11 o'clock in the morning, because we give this stage to the artists. new technologies and opportunities today already, let's say, make artists think, do we have a substrate or not, that is, it is a kind of sandwich panel that cushions your jumps in my childhood. i remember very well. now it is difficult, probably, to imagine when there is no linonium, when, for example, the tradition was to water the crawl spaces, since it was wooden. and if in the theater i don't know how there was a lot of school here. everyone went with his sprinkler, watered his place. now we're dancing on floor with underlay, necessarily linoleum linoleum. not just kitchenware of a certain quality, which we also test. we test that it is not very slippery not

very viscous not very dense and so on and so on and so on. our stage has a slope, which we call traditional theaters, such as the mariinsky theater, the bolshoi theater for the time being, it was always in our theater, it appeared only after reconstruction. but if a person has never danced to sweat. it goes on for now, especially since it is so quite tangible. some kind of just a shock, because the vestibular apparatus cannot tune in for a very long time. and when we start moving in a circle in complex movements, then from top to bottom. you go easily, but to climb from the bottom up, it's already more difficult, but on the other hand. you already know this, exclusive which is found in few places. i think that in europe. this is my memory of his only one old, old theater, very beautiful from the napoleonic times, built in france where he was shown. for example, i did not know the possibilities of the stage, which are unrealistic in the bolshoi theater of belarus.

i'm afraid of this word, because it seems to me that at the roman theater there were not so many used hidden reserves that could not be opened for this performance . people there, yes, down there, people above us are even higher. this is where the soffits are, six levels, six soffits, and there is the soffit bridge of the seventh rise. there are 54 engines here that drive the barbell, which are involved in working when lifting in machine, on which they hang both soft and hard decorations. we are in the pump

room. i call it the heart of the ship. well, here is called the heart of the theater, because everything starts from here, there is a reservoir of 20 tons with hydraulic fluid , there are pumps that supply hydraulic fluid to the working mechanisms. and here is the lower mechanization, which adopted ours for the movement of platforms, depending on which platform needs to be moved, the assistant director gives a command to the operator, the operator stands in the way of the control, activates on the remote control controls that row of platforms or an individual platform that needs to be moved and movement occurs. i remember after one of the performances my friends were. they told nina how they watched a feature film, it is very valuable and for

me the most difficult quick dressing, perhaps, probably all of this, because here in turandot, a quick dressing is lowered into the hatch and there in a small cabin the make-up artist and dresser take off the crown and you are literally changed there, i don't know how long there is a minute, maximum two, and this one lived in you raises. up. you you keep singing. that is, there was a moment when , right in the hatch, the singer began to sing, because the orchestra was already playing material there, already fashionable. this is not a drama theater where you can pause. we have two opera ballet furies that drive trucks onto the stage. this is not a 15-by-16 platform machine that tends to move due to the gear drive, the stage becomes flat, please, if you want to dance, dance, if you want to hold the opera. a samson removed

suggests a temple vertical decoration in our theater is not so often used. i really wanted to place the choir in tiers. they told me right away, no. it's impossible. do something different, but different. we somehow did not see and, of course, looked for compromises. something was facilitated, in my opinion, today i am on 9m. but i can be wrong. there it was 11, and we were biting and biting off a meter all the time, so to speak, but we mount this decoration from top to bottom, the roof is assembled completely all and suspended. well, as if due to the mechanisms. she hangs and hangs further than her already, starting to build from below several floors are being built is being built. then, as a result , the roof is put on top.

the magic of light for example, if you bring the viewer to the theater and open the curtain without giving artistic light, then the audience may get the impression that some not very beautiful scenery is dark, crumpled in blots, but this is the magic of the theater when the stage light is turned on. this is the great work of the lighting artist, when the picturesque scenery appears in their volume. price - this is what place you need to be a seagull all the time, because it is both height and somewhere you avoid, you sing somewhere. being distracted by the conductor , you can stumble on your partner, that is, the concentration of attention during the performance is colossal. we don’t run very fast, i immediately say that breathing doesn’t stray so much, that is, everything is distributed during rehearsals in order to bake and walk and sit down and get up and lie down. now when i say, let's

go there, i'll invite you to an opera performance. come on, it's worth it, uncle's aunt i say, no one is worth it now. now we have stuntmen. now we have invited karatekas. here we are tumbling in somersault. let's go jumping. we have a movie crawling there. the opera world has now jumped by leaps and bounds and is closer to hollywood when i say that i am an opera singer. i always get such a surprise, oh, this is for humans , well, like an alien, probably, do you eat ice cream? and how do we keep our voice healthy, we drink, we are chicken eggs, as in the famous movie. come back tomorrow. where are

your microphones? it was at the performance without a microphone, so far, that is, the acoustic hall allows and it is not in vain that such a characteristic exists in the first place. turn to fill the hall, so that the voice flew through the orchestra. the lord is on the stage he alone must sing louder with his thin cords than the whole orchestra plays. just like a ballet dancer has a barre,

so does an opera artist. uh, always. here is this support of one's own form, because the voice is a thing, fragile two little bundles, and they are given alone for life. no, my friends , this will not happen, you will never learn all your life, and i am still learning . i am still learning. like a boy , like a human voice intonations and state of mind you don't hear it anywhere else only in the opera you can

say it in a whisper, but it will be a snake's whisper terrible yes. and you can shout at you, no one is afraid, because inside it is some kind of kindness even in a cry, there is a person. something good happened in life. he doesn't have enough words to express himself wonderfully. he starts eating. he does not begin to read the elements. he starts drinking. this is the highest emotion. that's what i'm talking about than in the morning. some opponents of the opera yes, that's what you put here the records there records listen, what with pleasure there qualities they are wrong you need to go. here is every performance, well, there are no two identical performances . it's alive. entering the stage is here,

we don’t have that surge of a second chance. we went out and must do everything at once, and the body is already adjusting, not only the body. here the entire internal system of the inner world is already aimed at the fact that when we go out on stage, we should captivate a person and show not ourselves. but so that the viewer believes that this one a person who impersonates some character, that he is, uh. conductors, for example, he has a score

in front of his eyes; the musicians of the orchestra have the same notes, that is, they play according to the notes. we only sing a three-hour play by heart if it's the main part. imagine a clavier of more than 300 pages. and if this is the main part of almost 80% of the clavier - this is your material. two weeks remain before the difficult performance. it needs to be settled. here at my house and see how i like my family suffers from me. i lock myself up at night wake up, because here is a terrible dream, when you forget the words you wake up. so i don't remember. here, not only the words are called open, but architecturally begins to look, that is, with words, work goes on around the clock.

lord, i thank the whole text in our head and we are like a file, as if you got it. today, this is all during la boheme, you start drinking the opera and you won't think about it. what is the next word? it is already on knurled for you and some moments on stage. and you suddenly realize that the stupor is something you don’t know the next word in general, that is. the orchestra continues to play hmm more so that you have to drink your home address, at least sing something later, well, it's stressful on stage very often you are in such a stressful situation. this is stress, that is , the situation in just a couple of seconds. suddenly , a text pops up from somewhere and then you eat. teeth still where us saura? first of

all, i look at the text of dramaturgy. i'm interested in the character. that is, i want to penetrate my own in order to convey it to the viewer. and, probably, it does not matter even how it is done by the composer, therefore, by the playwright. and most importantly, how do i convey this i like some of the emotions experienced during the performance. it's like a little life, it's not even, probably not dependent on the party. and what emotions does she give? you know, there is another good phrase that i have been repeating to me since childhood. mom, what is the courtesy of the actors and that's when you understand the scene, well, that's right.

it was very convenient for me to sing in the belarusian language in the sense that it makes the whole singing apparatus sound differently. well, most likely, this is due to the peculiarities of the language. it's so much deeper. all king you know why the theater is so valuable and in particular the art of opera, people can experience situations in which they would not have survived in life, and therefore there are often so many villains or unhappy love in operas. well, let them be better , uh, in these situations, everyone is in the theater, but in life they are happy. there should be a view from the outside,

if the end point is the conductor who manages the orchestra and controls the entire performance, then , of course, our portrait masters are engaged in the preparation of soloists. here they are just a pianist who presses on the keys. there is such a word in english, coaching trainer. yes, you know, and now, in fact, the accompanist is a coach in the opera class. uh, directing the rehearsal is always a concert venue. if they come, then the conductor. the opera soloist has forgotten how to play the part and is working on this part in the process of preparing the choir class; the concertmaster helps the armmaster with the rehearsal process, let's say on the front line when all this. it’s also absolutely ugly, because opening the notes, getting acquainted with the musical material, learning this

or that part - it doesn’t sound as presentable as it turns out later on scene. and now, hear it, see it and endure it. it is necessary to have very good good psychological preparation created by the genius of man.

take a look at the log, it is not so stretched. she acts, although it would seem. you yourself are in this music, uh, there is 3d yes, you are in the orchestra, but when there is still this video sequence, when you see the acting of actors, then, of course, it is larger and stronger than art. it is difficult to imagine her in antan. don't get bored. she can only be better. here she is, her elitist art is necessary to understand her once at 5-10 to listen. a person should be prepared to listen to different performances. here are at least some hit arias at home on the record called, but here already live.

we have soloists who work permanently, the future soloists of the bolshoi theater of belarus, they are in demand in the world's top venues. that is, it caressed. there's the bolshoi theatre, the mariinsky theatre, queengarden matt and most importantly, they're coming back, they don't want to leave? the scene is huge, one of the largest scenes in the world, at any rate in europe. that's right. and the choir is very small. our dramaturgy

is very serious, and that's why there are specials just like that, it's impossible. this is simply excluded in the opera, when the sound does not carry any chief of any content. and if a person sings his content and it's all written on his face. his eyes express what he sings about is a big problem when the choir on the stage is very far away. i can't even hear him, let's say the conductor. maybe not to hear the thieves have to lip-read incredible things to tell. i finished rehearsal no, sometimes

and he spends 12 hours in the theater, but it’s impossible for a friend to do otherwise, and this is how one’s own perceptions must be served in the army. the live sound of the orchestra will not replace anything the theater was born historical, it was born, like a word with accompaniment, the orchestras of our theater count about 140 people, two full-fledged orchestras. symphonic is such a very large organism. we are inconspicuous workers, few people know us, we are humble workers in the pit, but at the same time

, the musical theater orchestra team is the basis of everything it connects all groups in one ballet orchestra comes to the stage, opera comes to the stage or ballet and opera come and that's it. it was with us that the conductor came, waved and gave birth to sound, sound is born, emotion is born in the listener, emotions are born on stage. this is life, that is, we kind of bring the plots to life, this life needs to be adjusted so that everyone understands their function in this dialogue, even between instruments. it was clean,

it seems to me that if the instrument is clean, it will play cleanly, you can play very gently you can depict a locomotive on a flute in a human voice. i think it's very similar. musicians who are at such a great distance from each other, they simply cannot physically hear each other, and they need to play together and the same timbres with the same sound, and therefore the conductor brings it all together. if it were not for the conductor, then we would not have succeeded with a trumpet, as it would seem, probably some kind of such. uh, rude can be a tool to bet. it's pretty soft sincere, look, the third crown. everything, oh everything moves. this there is such a thing, it is called. well pieces.

here, look what i'm just going to show you. see how ugly he knows. there was no sound. yes? necessary. definitely throat skills here, lips are all aggregates. so you can't just blow the wings. where there is no note here, not a single valve, not a little line, not a dash, absolutely nothing. well, as on the violin , after all, to develop an accurate hit of intonation and hearing

in order to hit these notes, because simply if it is said to blow and carry, then not a single note will work. in my head while he performs work, firstly, the sound picture in his head is clear, which he wants to hear. when he gives it to the beat and the musicians begin to play. the following happens, he begins to analyze the sound that comes in. he must instantly figure out what needs to be corrected from

where it comes from, for example, not the tempo, not the intonation that he would like instantly, he must understand, in general, what he must do. also must own a huge number of tools. well at least two instruments are not just for telling me not arranges. it's sounding there to do something, but to give a recipe to say what to fix in order to get the desired result. what kind of brain activity is there, so conductors often do not suffer from alzheimer's. and not only conductors, by the way, musicians are also those who make music, they are very advanced.

there are moments when someone takes the wrong note, and it turns out quite funny, because everyone knows the work and here is something new, we call such people composers. or is there a pipe sitting there, they also love will save the fourth no. we have such names, we will not name them, but he also loves the composer. of course, it happens, i sit, the conductor conducts there. and you know how i would

do it. fire you have been living in minsk for 25 years. you are such a progressive person, you have never been to the theater, i brought him to the theater. you won't believe how the humpbacked dog and he writes to me later. and what a delight he got here. i am such a charge of positive emotions so thank god come again. i think that we still need inspiration, because each of us is alive while he feels, while he inspires and while he rejoices. and so, it seems to me that the center in this sense is academic music in general. it gives exactly this wave, you can catch it and you can ride on it, breathe this amazing air, distracting from everyday life.

in the presence of e guys on the stage from the smallest funny ones who simply recreate a certain background of e, running around, playing in children's fairy tales yes, and in general in the opera performances and singing playing dancing, i must say that students of the choreographic gymnasium also participate in a number of our performances college one of the first performances. it was we who were rappers in a corsair and waltz. we thought that if we lie, there is a step to the left, a step to the right, this is all the performance will be filled up. i think that these children will not be able to continue without theater. so it's a very good experience. for parents , you also perfectly represent your child

of observation. no, this is pride, the children's audience, she is always the most sincere , the most honest and the most grateful. all who join here, who does he remain ours? well , maybe not just an amateur, uh, co-creator, because the spectators, including the spectators , form the appearance and image of the theater. this is such a mutual connection between the hall and the stage.

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hi hi do you know where this girl works? what girl, did i say hello to someone? sorry old man. and what kind of girl

especially some i did not notice? bugakov financier last tycoon stable genius fine angela yes, i'm

listening. you, but i asked you, uncle tickets for the night flight igor kirillovich on a night flight. no business class. how is that? there is no business class cabin on the plane, but there are no seats in it. so explain normally that there are simply no tickets. you understand. what are you shut up? i heard you. you would never get a job in my office. it's clear.

the minister comes to us. foreigners scientists how do you talk? in the village what you had in russian at school, but i don’t remember. you don't remember, but i know. igor kirillovich where do you go? i think you said the man

knows nothing. what kind of fantasies are you? igor kirillovich i am generally against murder, against people being imprisoned for murder. especially you. what happened? not yet. but it will happen soon. if the secretary's news, i'll just kill angela i'll kill, i'll sit down. are you doing anything in this direction? for a beauty contest

well, because she worked in this ministry during the soviet era, and what a way out. can i hire this ussr woman angela to leave to bring you coffee? excuse me . so where did we stop the last tycoon financier? tell me how you feel

about those people who steal money from the company, how to say frankly, i would like to be honest, but frankly, i don’t belong to them, otherwise they are worthy of universal condemnation and judgment. it's clear. that's serious. so, like you at all with a sense of humor. i don't have one at work, i wonder.

i wonder, well, could you be joking? please there is no money, but you hold on. excuse me, what position are you applying for as cfo? please tell me

that's all. well, not yet, and said, i heard you. i asked you never to say this phrase asked. sorry alena vladimirovna just escaped. in short. if you want to keep the place, follow the market, and this is a phrase. you didn't recommend me either. do not pronounce. it's just hear hear and understand and don't say. you understood? i hear you. oh, that is, i wanted to say, i understood you alena vladimirovna, i hope i understood. now. while i'm shielding you, i'll rest against hearing. i can't help you, please, what's his name? repeat igorevich. all i have no place to be contact numbers, please, oil is obtained. what oil? briefly googled? i ran everything.