you know, from the very first day of our meeting, i immediately realized that this is a very kind and very strong person, but you understand, you can run into some kind of scumbag or even get into it, you just offer to drop everything and leave those to whom i could be in trouble to help and there are some options to do. it's more legal. you know, i've been thinking, if you don't mind, of course, but i can help you seriously. i thought this was our last conversation ever. if you need my help, call me anytime. thanks it looks like this is the beginning of a great female friendship, and this happens. who knows who knows?

new country labor sing lightning in the snow, street my address soviet union my lesbian spiritual world, street my address soviet union the building of the church of the intercession of the virgin filiakh in 1979 looked almost the same as today the church was closed for worship back in 1930, but not blown up and the temple was not destroyed , lucky it ended up on one of the tourist routes of the 80 olympics, the building was inspired, painted

and opened a branch of the andrey rublev museum however the events that took place in it on december 9, 1979 had nothing to do with museum life, what was being prepared in the church could turn into a grandiose anti-soviet provocation, speakers were installed on both sides of the altar, and in the center there was a tape recorder, composer alexei rybnikov, without any natures, permission arranged for an audition of his new opera juno and avos, the poems of andrei voznesensky began to sound diplomats. here were people who were never invited. they drove up on black volga and police zhiguli to this day, eyewitnesses of those events are surprised. why none of the officials forced to stop listening. why didn't any of the policemen simply

unplug the cord of the tape recorder? people were standing in coats? in the cold room of the temples for an hour and a half and they did not disperse, as if hypnotized by everything that was happening, and for the only time electronic music sounded and the voice of gennady trofimov, then unknown to anyone, i will never tell you dit, i will never tell you. not for december 9, 1979, can be considered the premiere of the opera

juno and avos and the premiere performance of the romance of the officers, exactly as it is called correct, how alexei rybnikov managed to arrange this audition and why everything went off that day there was a special conversation without scandal, and we will find out about it, but everything could have ended on the same day that it began on the day of the premier if mark zakharov had not decided to stage a production at the leninsky theater komsomol is a one-of-a-kind performance. we have drawn a red line beyond which we will not retreat. and things were for those times. there are not just some bold reckless ones, for example, the raising of the tsarist naval flag of the russian empire and the appearance of our lady of our lady of kazan and churches. singing, which was generally unacceptable and e was alleluia final final

hallelujah - it was also such a thing, so to speak, beyond the censorship requirements, the premiere of the performance was scheduled for october 20th. 1981. all theatrical moscow seethed at stake were the fate of the director mark zakharov, the fate of the composer alexei rybnikov, the fate of the poet andrei voznesensky and the future of the whole theater. this artistic dissent is not so much political , not so much ideological artistic dissimilarity. well, now we have a full palette, and it doesn’t look like it then. of course it had to be very bright. andrei voznesensky probably understood better than anyone else and the co-authors of the new theatrical production . his poems were called ideological scum, and khrushchev shouted to the applause of the hall. get

out of the country, mr. voznesensky, they will issue you a passport. that's all, these are the exahodians that happened in public at the 1st hall, when a young man of 29 years old, shames his head with his own, invites him to get out, and he later, when asked what they would do. if you were expelled, as you are no longer there, after the cry, andrey said, i would have shot myself at the border. also not the best, after all, the author is the first soviet, rock opera star. the death of hakim murieta in 1976 called him an avant-garde proponent of aliens . the genre was saved by everyone's favorite merry pinocchio in

1979, after organizing unauthorized listening to rock music in the rybnikov church, it was in the zone of increased attention from both the soviet authorities and foreign media . such awe was around this foreign journalists in moscow, knowledge of this story from our special services also knew about this story. and in in general, it was such a heat, when in the lenkom, suddenly it was staged, that is, it was legalized, they decided to go, not a ban, on the contrary, legalization, please, do the premiere grew absolutely fantastically juno and avos immediately became a cult performance, tickets from the hands cost

10 -20 times more expensive than at the box office. the length of the waiting list was determined by the day, an attendant was appointed they kept lists, when they left for work or for lectures at the institute, the next ones came and so on in a chain until the cash desks opened and in hand a frozen theatergoer did not fall, coveted a few dozen tickets. i remember in moscow everything was just about this and they said it was impossible to get tickets, as well as in the next 225 years. everyone who came to moscow definitely had to get there, and for good reason. if someone got in, either through happy people there, because it was ours natively not chicago they were there uh cats. this was our musical. and this is our history russian someone walked, because it was fashionable most walked. on karachentsi countries were in are in love with him. at dawn, you wake up to spend the

unshod. i'm going out. you never forget me and never me. i looked at lenkom and it was impossible to get in, but i got in because i studied at the conservatory. and when i heard this song, of course, everyone hid each other, but everyone was in tears, because on the stage we saw karachentsov karachentsov himself, there were rehearsals for more than a year. mark zakharov forced me. prices rewrite words and music elena shanina nikolai

karachentsov and alexander abdulov went to vocal lessons and to the choreographic class of the soloist of the bolshoi theater of vladimir vasiliev, the roles in the play were written especially for them. i wrote the opera for dramatic actors. this was clearly written specifically for the lenkom for specific performers. karachentsov, of course, there was no second composition of the performer at all; there was abdulov shanina karachentsov , here are the three main characters. they have never changed me for several decades, the garden temple, the white branch of the ions, the lover of the brotherly wife of the colonel of passion, but no one laughed. and the window sill on the floor of the

fallen before the public premiere of the performance should was to accept a special commission. it was called passing, as passing an exam or a test, it was this preliminary show that decided to be a performance or not to be some kind. in general, such a mood, very bold and open, and i would say that it is contagious, which made an impression on the censorship apparatus. and here is our first task. you know, our officials were somehow at a loss. the love story of the main characters of the suffering of the unfortunate count ryazanov and the genuine tears on the cheeks of conchita so impressed the members of the commission that, after viewing, no one who did not have the courage to criticize the performance, normal human emotions turned out to be higher than the ideological attitudes for the authors. it was a victory in which it was hard to believe this

remark means from the commission of the main board of culture that, of course, you especially succeeded in the role of kazan bogomiya. this is the role of kazansky to break the censorship apparatus. well, in short, after that andrei told me that this, of course, was the intervention of higher powers . what? did not do. he did it with with greater sincerity in the yelokhov cathedral, then three candles were lit, and from the cathedral they brought a small illuminated icon and put it in make-up. the restroom of nikolai karachentsov since then, everyone believes that the performance of juno and avos is helped by higher powers, the fact remains that at that moment there were absolutely no believers among those who controlled our thick antivirus, so rybnikov

had one of the most the protest motives of the rock opera and avos were difficult to find fault with, also because there was nothing to compare it with. a few years before the same mark zakharov staged this on the stage of the lenkom, the rock opera zvezda and the death of khaakin-murieta. it was classic american rock rybnikov was then accused of even imitating the famous enveloyd wober musical jesus christ superstar to juno. and avos could not be classified as either an opera or a musical, there all the elements are in general, everything is hierog and electronics and symphonic music of romance and religious music. therefore, i think how it was so appreciated at the beginning as some kind of unique phenomenon. so, in general, it is, in my opinion, romance remains such a phenomenon. i will never forget you has long been considered as unique as the whole performance for the first time from the stage.

it sounds at the end of the first act four officers, setting off on a long voyage, say goodbye to their native petersburg and sing this romance. russia you will never forget me, you will never forget me. you will not see this compare to a simple director 's undertaking, which, nevertheless, suddenly brought him into some special row, we are, in general, at elevated decibels. pretty loud. here i am

asked to take it all off and only sing on an acoustic guitar, but how would the people in the room sing. i will never be able to play music at elevated decibels - is this another directorial, mark zakharov's idea, what is he called it himself? he tried this trick in a rock opera, star and the death of khaakin murieta, on the one hand. it was a forced step. the performance was played not only in the theater, but also in the stadiums on the other hand. it was a psychological calculation - loud music attracts attention and does not allow the romance to be distracted. i will never forget you sounded from the stage unexpectedly, quietly and took

the viewer by surprise some distance, a sound energetic warm human message, he sunk. acoustic guitar, then a little electronics is connected. i 'll think, god all the above i'll never forget you, and never again. i do not see. he seems to be a simple

romance, but in fact, this music is quite complex. i really want to bake it for you, but i did not risk the problem of performing romances, even before the performance was staged, a voice was required in the linkom such a voice with simple non-opera intonations and a large operatic range. found, as always, happens in such cases, quite unexpectedly thanks to a person who has nothing to do with the opera, who has no poet yuri. he is even visually impaired, almost blind. here he sits a man in a restaurant sings close to hold the text. for 15 days

they put some kind of head there with this head. and this cheap shir came to me and sang so alexei rybnikov got acquainted with gennady trofimov, the first performer of the main parts in rock opera star and death of khakin murita, and then in juno, and avos, yuri intin introduced us, and he said that there is such a composer rybnikov who wrote. now here is such a rock opera, the star and death with which moriah are you, which will go in linkom, and he says that now just voices like yours. that's not enough no, we are such voices, and having arrived in moscow, it means that i met lyosha from rybnikov and e. hmm, he listened to me, invited me to, uh, so that i hmm worked with lenkom actors as, how would say vocal teacher specific vocals gennady trofimov still? he sings in the theater, he is

the main composer in the play and, until recently, the only ryazanov off the stage, because the actor's retirement is an actor's stump - it's good when from the stage, when they move, and so on, but on the record, when there is no video e, all the flaws are local, as if noticeable for a very long time, no one dared to compete with trofimov in the search for another singer for the main vocal part in juno, some people came and even known they will name names now. well, in this case, it just happened. there is such and such a problem with us as a selvovich. this silence is temporary. at least they were good friends, well, there are such things among people, which means that someone advised them to say, here, listen to some other person there. suddenly the bell rings and alexei rybnikov we met, i'm happy. grab the notes. i thank him, i run home, inspired, i sit down at the piano, starting to sing me music. just bewitched. i'm in

her soul sang, but her voice did not, because there the range was unthinkably large, no matter how i puffed up, no matter how i didn’t push, nothing happens. it so happened that a few years later leonid serebrennikov met nikolai karachentsov and received an invitation from him to the play. i was just crushed. just crushed. this is the music of this performance, the acting of kolya with a frenzied , inconceivable temperament. and i listened, i watched the performance, and all the time i have some kind of bitterness inside me that i once didn’t it turned out delight that i had something to do with him, if there is some mysticism around the performance and the romance of officers, then it is more likely not in relationships, as it were, or bad organs, but in human destinies, who at least once somehow came into contact with this work, he cannot be forgotten after more than 30 years in our program. leonid

serebrennikov performs a romance. i will never forget you. you make me dawn. wake me up and never forget me. you will never see me. to know the whole story and all the mysteries of this romance one must go even further back to the year 1970 from what was the poet voznesensky in san francisco he was shown in the cemetery of the san francisco governor buried his daughter daughter, who loved the russian man travel diplomat rezanov. it can

be treated in different ways. space history, when a woman went out for 35 years to the seashore and waited for a ship from russia with which she was engaged. no, what are you opposite? she says, i know, the sooner you leave, the sooner we will be together forever count nikolai petrovich ryazanov after death beloved wife decided to retire. but then he accepted the offer of emperor alexander i to go on a round-the-world voyage. it wasn't a walk. it was business and the fulfillment of the royal

will. nikolai ryazanov began to prepare for the whip, august 1803. the beginning of this story and the first part of the opera juno and avos, the first part is russia where ryazanov is trying to negotiate with the count when he says that if there is a financial difficulty. i'm ready at my own expense then finally he gets the go-ahead after that tragic romance of naval officers with this one with all the hopelessness, there and so on and so on. yes, they get the go-ahead, maybe they sailed. the final destination of this expedition was the spanish colony on the coast of america here. nikolai ryazanov sailed already on the ship juno, bought from an american merchant in alaska, the purpose of his arrival was trade relations with the spaniards and it was here that the chamberlain. ryazanov met the commandant, san francisco, his daughter donna maria del concepción marsela

argueli, all this is a true story that once unearthed by the poet andrei andreevich voznesensky, somewhere in 1977 he was once again in america and he falls ill with a book that he accidentally falls into the hands of where a lot of material was collected about this first trip. the traveler of the russian ryazanov, as the legend says , an instant passion flared up between a russian officer and a beautiful spaniard, but the facts prove the opposite. sixteen-year-old conchita could not at first sight fall in love with an already dumb cut; in real life, the chamberlain was almost bald and always wore a wig for a reason, gout limped and leaned on a cane because of scurvy. his gums were constantly bleeding. it is unlikely that such could be prince charming in the representation of a young death, and

yet the book found by voznesensky speaks of love and the second part of the play called america only about love, no business. and then california begins - in general, the whole montage is an emotional state. there is a montage of numbers of attractions, everything is wonderful, in fact , a montage of emotional states in order to to finish california it was meaningful to have something under movka, yes, everything is already hmm, i never see you. i will never forget you, the engagement took place, it was decided that the groom would return to st. petersburg to ask for his emperor's petition for marriage with a catholic before the pope , nikolai petrovich ryazanov promised. finish that will return in 2 years. but as you know, he did not return, and under the text there is a lot. this is why i will never see you. and they will never see this in a repeat, i will not forget, i will not see, i will not forget,

i won't forget i won't see, i won't forget, i won't see. here in this hurdy-gurdy, there is more than about the relationship between a man and a woman. he is there about the admiralty and the stock exchange, and he understands that all this is good, it will not end, that it seems like a young lady . why did he do all this? maybe you shouldn't have done it. well, this is a terrible torment on march 1, 1807 on the road to krasnoyarsk. he fell off his horse hard, hit his head and soon died. conchita didn't know about it for 35 years. she was waiting for her lover, not believing the messages. about his death. then she took the veil as a nun and lived out her life as a monastery. many believe that this is just a beautiful myth about beautiful love. this is not a myth, this is reality. this is documented by voznesensky very carefully. it has been studied for 35 years. i say it was the kind of feat that we, uh, attempt in our play. at first, be treated, it seems, somewhat

ironically. well, how does it feel to spend your whole life waiting for a loved one, but this is probably a great mission. this is how to illuminate love, fantastic amazing sacrificial. i will think andrey voznesensky, inspired by the desire to open a new page in russian history, wrote a poem not

about love at all. he was more interested in relations with america by russian travelers, the noble court was not imposed by historical material so captured the poet that he was like. conchite patiently waited for the starry hour for his poem, however, not 35 years, but nine, but it's still a long time. such a written poem mark zakharov calls with the idea to write a script. uh, the word about igor's regiment andrey runs from the phone and tells me. well, it seemed to me that he is some kind of suggestion to make out of my poetry. and why am i going to make a word about the regiment to igor and therefore i told him that i have a poem. just recently written, in fact, recently written, because the poem was published to friendship, the peoples of the seven to seventies, the publication in the magazine of the poem avos did not have a loud resonance, but fate would have it

that the mystical yuri entin appeared and introduced marko zakharov to the composer rybnik poet yuri antennas. i would whisper there is another very capable person. very interesting composer alexei rybnikov, i met him. he turned to voznesensky, you know, because, well, our great poet sovremennik and then just received a state award, and we are very torn by the fight against censorship, an eternal struggle, a difficult terrible one that can be told for a long time. so, they thought that this would be some kind of protection and guarantee for us. so the work began and ahead, there was, of course, alexey lvovich rybnikov, who, well, read all of voznesensky. i even have a suspicion that he read his children's poems romance, and i never i will forget it appeared precisely because the composer rybnikov was not too lazy to read the verses of the words of the

romance - this is the poem saga written by voznesensky in 1977 and it could not have done without mark zakharov. he appeared in this case as a guiding and guiding force. that there should be something very close to the people, so to speak, like that. probably something like that can sing at the table and so on. further, well, and rybnikov took the same, so to speak, played enough. he says, this one here is the very thing, that very thing at first it was difficult to compose operas. rock operas are also something complicated, and then everything came down to such simplicity and this romance was composed in the presence of mark zakharov almost like a floor of improvisation. as

soon as the opera juno and avos was ready and the notes were printed, the question arose of where to perform it and how to record it, the only organization that could do this was the firm for melodies, so to speak, it was legally taken up by the courage of such evgeny losinskaya, who then worked as an editor on melodies officially recorded voznesensky's poem perhaps she has already received was a state award. what is called the entry was able to get permission. rybnikov's music passed through the documents as a musical accompaniment, but very soon it became obvious that those musical fragments that were necessary for a literary record. they have been recorded for a long time and everyone understands that further work begins there more and much more. seriously and in order to hide the volume of this work. ah. we worked

at night and negotiated with security. that is, they came closed on the hook. there is no one there. we stayed there to work. we worked on weekends. uh, climbing over the fence. literally. there, someone distracted the guards, and we rebooted over the fence and spent the night. there they transported food and drink with them there, and, uh, they recorded, and this work was mixed. that is, it was such an underground sabotage work, absolutely at the first stage of the recording, the sveshnikov choir worked. it was impossible to hide such a number of people, then gennady trofimov, who was checked with alisa, remained in the role of ryazanov and rybnikov’s daughter anya the very first conchita musicians, a rock band was not there at all all parties. uh electronics played. i myself had no other musicians there. and it

was a very unusual recording about the combination of electronics with symphonic choral music, uh, the religious russian orthodox russian romance of european culture, that is, uh, it was such an explosive mixture in sound. and completely unusual for that time, this first record was an explosive mixture, not only in sound, all the participants in this adventure greatly risked tapes with music and texts were state property and had serial numbers. everyone was afraid that, uh, the kgb would intervene, so to speak, and so on, because there were things and then they were very good, sounding in the ear of the then russian empire powder, prison and so on there, so to speak, there were muscovites. there are such hints as if now the tasks and in his pocket received his copy of the recording rybnikov realized that he could not submit his opera to any artistic council, there was

nowhere to move further, and for the illegal invasion of the complex too under the heads will not pat the presentation of the new album in the church covered filiakh was the only way. this means the support of world public opinion. which was carried out through foreign journalists through the embassy, ​​that is, it was necessary to go through a scandal. and i was invited by the restorers to make a creative evening in the church of the intercession on fili, and then an idea came to mind. let's get it over there and make the premiere. although the room was not heated, it was cold in winter, but nevertheless they took it and took advantage of it. formally complete in order to build a premiere there, and there was such a creative elite of ours, including gennady khazanov ilya cutters. well , there were many famous people, everything went peacefully and

did not entail any terrible consequences, for a long time this story was one of the mystical pages of the epic called juno and avos, but there was no mysticism. the fact is that on december 9, 1979, on the day when the composer alexei rybnikov went to the bank and arranged a listening in the church, by decision of the police, 18 officers kgb foreign intelligence special units taina arrived in afghanistan 2 days before that, 500 fighters in uniforms that did not reveal their belonging to the ussr armed forces landed on the territory of afghanistan. operas, then it seemed like a miracle, then they all went to my house to celebrate this premiere, but it was somehow

scary. what will follow this, and then there was a lull rybnikov no one was interested in you. it was good, but no one didn't hear. it was bad then rybnikov bought audio cassettes and at home began to distill studio recordings of the cassette onto them. he distributed to everyone. who could give to friends and neighbors all the time it is clear that this will destroy. he made a lot of copies of everything, now i don’t have a single one left to get such a copy. it would be amazing zakharov at that time was rehearsing in the theater. he saw in the history of the first. ru. circumnavigation is not at all what voznesensky and rybnikov saw a fantastic love story and built around it the whole performance. the premiere went off with a bang, the performance was included in the repertoire. it seemed that all the difficulties and fears were behind us and everything would be fine. you know, if one german magazine, the magazine spiegel, in my opinion, i remember this quote verbatim. i always

remember why they did it very understand. what was the intent. eh, it’s easy to open such ones in quotation marks, since religion in the soviet union is completely destroyed, the only religious food for young people is now provided by the twice decorated theater and i have an all-union the sounds of the lenin communist youth union are hot, the lessons of which are carried all the way to the kremlin, since it is located in the center of the city. after that, we started having difficulties, troubles, everything went to the fact that the performance was banned, but then unexpectedly help came in history, another mystical figure appeared pierre cardin, he was brought by andrei voznesensky, who was friends with him, he brought him to an exit performance. he looked there at the exit. he was not too lazy to go there, the cardin was not

lucky in those days on which he flew to moscow the performance of juno and avos did not go to the theater. in general, he was played dishonestly, strictly monitored so that on the poster he stood away from official holidays and dates, the so-called visiting performances were also a rarity. i say mark likes it, but it's paris. well, somehow i didn't take it enough. seriously for me too, and they trusted even there the frenchman looked and wow, i find it in kurchatov. palace of culture that's all interesting. and i bring the facts to them there cardin and we sit side by side when the guys are still there karachentsev

from here, i will never see you. never forget, at the invitation of pierre cardin, the linkom theater went on tour to paris for that time and taking into account the whole history. it was an extraordinary event that the french newspapers competed in the sophistication of praises. karachentsov was called bass-baritone. they said they brought it. here is an amazing strange baritone base from moscow, he came with his to the ballet. he was very proud of her word cardabale, because it was a dramatic artist, the tour took place on the champs-elysees in the premises of the cardin theater

the performance went on every day and every day the actor left the stage to serve and to the moved public the success in paris was so great. that for the first time cardin asked the ministry of culture to extend foreign tours, that it didn’t happen at all, not only tours didn’t happen, except for the bolshoi ballet theater in furts color, and here such prizes are almost private, almost andrei, as they say today, after the second month cardin makes a decision does more. in new york, the tour he adored them, these tours removed the last barrier for the performance of juno and avos, and for the corpses of the lenkom theater , this also meant the lifting of an unspoken ban on traveling abroad. the main fear of the kgb was that one of the actors would ask for political asylum. and this scandal

scared us very much, that god, something, someone would come up in russian, there the enemies would persuade them to sell their homeland. eh, the military knew some secrets, but nevertheless, when once the blood and the musicians passed, a man in sheepskin coats was not interested in everyone , different sides fled during the tour. at no one stayed in paris triumph on the fields of lysia, no one turned their heads, at least it was enough for this. at one of the performances, at the end of the selection of spectators’ applause, pierre cardin and mireille mathieu, already a very famous world star, were so delighted with the play of elena shanina that she specially came and gave her a huge bouquet of scarlet roses, this is certainly, as long as this is a milestone in culture and enthusiasm and all. it happens

that things happen in the theater, as in sovremennik there were the first performances of taganka, beloved, when the euphoria of time and uh, the material is self-expressive to the point where it almost becomes a masterpiece. here it happened further fate brought mark zakharov and theater actors to london to edit the film performances. the tall one spoke there, but often you just don’t meet your beloved yuri petrovich there, please. here, so that it does not happen. so they told him that we are doing everything possible so that we don’t meet our beloved in london, and when karachentsov approached one window , yuri petrovich was looking at this window at the same time loved ones. that's how it remained our secret, which i now tell you with water, such an accidental coincidence happened at that time. it was a

terrible phenomenon in the country, stagnation was replaced by perestroika. and perestroika was the new capitalism in russia, but the music of rybnikov also fascinated the audience with the production. zakharova also struck with courage voznesensky's poems were filled with new meanings, and the romance performed by karachentsov also forced the most impenetrable spectators to swallow tears. this is the feeling of their biography. why he agreed to practically four very large masters? became with the authors of this. uh, in general, well, how can i say, it's still some kind of emerald in the theater hurray . i never live anymore. and you will never see

in 30 years in paris the romance of naval officers sounded again and again on the initiative. pierre cardin, they were completely different artists who performed in front of a completely different next generation of audiences in france, it was an amazing hall. it was in the quarry. that is, it is all carved into the rock, of course, there is no ceiling did not have. and when all the time i was looking at how the sun was setting red red and was afraid to look at the hall, what if i look into the hall, and the nets are people like that? well, that's all, you need to play, and i let my eyes down and see, my eyes are shining, that is, well, people are crying, it turned out that the story of love, once told from the stage by the verses of andrei voznesensky and the music of the elixir. rybnikova has been touched and touched by more than one generation of people in

different countries, and they are ready to recognize and listen to this sad story. listen without holding back tears never