came to this when we would be, were isolated by the with you are facing. and it's essential that we could not forget that and not have a lift on that. behind. we have developed a relationship with russia, which is injunctions national interest at all. and that's the combining digital reading is with the physical weld, add in some blog, sweat, and tears, and some old fashioned competition. and you get the games all the future, also known as the physical games. but it takes place in chasm and hosting hundreds of participants, some thousands of countries. hockey was on the shuttle today. the local team, a k bozza, led through uh the game and finished with a dominating mead on the eyes. are they comes out to the team, had hobbled around computer screens and faced stuff online in that digital form. i had already secured

a 5 goal advantage over the ventral news bringing home the place over all the teams efforts rewarded for the bronze gladstone of the monthly is a very fond of the games all the time. now that's the update this hour. i'll be right back to the top of the hour he can see the the, [000:00:00;00]

the we are in moscow standing in front of one of versus most iconic symbols in bodies, greece, elegance and expressive goals. on a grandiose scale, the buffer theater, the said long as i thought about is the prima ballerina of the ball shirley,

and one of the most famous dancers of our time having graced all of the world's best stages, she chooses to make the ball for a her home, the thank you for taking the time to meet me here, and this is the imperial for a of the buffer theater in spectacular location. you've said that the bus ride doesn't actually accept everybody. what do you mean by that? who does the boss? we accept it the so the nice a special place i so it's out the stage of the bull show you is not your typical stage, any it whatever it is, steve, in tradition, it needs to emotionally is it has a rich history with a great artist downstairs and seniors whose grace said lady in the z, even on a psychological level in which crossing that line which separates the wings from

the stage is not something everyone can do within the even died. beautiful auditoriums, where people watch the shows themselves when you see it from the stage to your hard stops. there's so much anxiety, not everyone is capable of overcoming that fear. so 1st of all, there's the psychological tension that some simply can't handle. and then of course, the stage of the bolshoi is special, as i said before, not everyone has the presence to occupy it. and that's the record. when you enter it, you need to make an impression will go, but you need to own it because the stage is so big, the more to so not every artist has been successful in this regard. it's not every artist has been happy on this stage of sticks to what i'm talking about, our guest performers. for me though. as soon as i walked on, i realized it was the place for me, my theater, my stage, my audience, and i've been dancing at the bull show for 20 years now. it has seen some of my happiest performances. when you started your career,

your very young and you have said yourself that when rehearsing yourselves descent into madness, that you had to rely on the cues of your instructor. because you yourself had not experienced those emotions and didn't know exactly how to move through that. i guess, you know, to what extent does that emotion play into your dance and how do you express that emotion in your dance? a, a bonus to kind of, i remember my teacher telling me where i was supposed to be her day and there's no but how i was suppose to show my heart a with the adjuster. because i see with the good that that's not where i was supposed to look so that the motion in the magazine would read, should the audience with it know, and i definitely escalate. it wasn't just a life experience that helped me build the character if she says, has a good performance experience to was, i don't know how many times they've done. she said by now as in russian to elsewhere. but if each performance is unique, because they're all different,

i know it depends on who you're dancing with, in whose eyes you're looking, skilled to the, how your partner takes you by the hand. incredible emotions less and you can empty out on that stage in the moment. less then you move with those. that's what they may not even be there during rehearsals. but if it's something that there's a stage magic that can turn that what the language line is, the heart of a and her partner is provide entities in an algebra to make it 3 of the hideaway only in the art is, can tell you what amazing changes you or she can experience because at a moment like that or that the mit, the model when you're fully immersed in your role, every role can be danced and slightly different ways. but every story can be told with the variation. so with the different feelings and in a different flight, i've never had 2 performances in my career that were exactly the same that came loose and there's something different every time. and it makes things very interesting. but as a way of thoughts from serious, i'm kind of following along with that and nothing happens in

a vacuum. the motions actually affect an artist on stage. the plasticity of an artist on stage outside of motions is something this something that you cannot control when you're on stage technical here there's, i need to be able to control my to keep on stage talking about emotions. it's true that sometimes they can alter your plasticity and movement and they can be hard to control of the let's say i feel like turning my head not like this with a duck like this. today. most of the, of the it makes a different of those of the world and it's a reflection of how i'm feeling at that moment. the deal is bad or maybe i feel like offering my hand not like this, like this, but it creates a different mood. the valet dancers tell stories with their bodies of so i you, story is salem packages, caustically speaking in the soil, and you can see our face as well. if you're sitting behind ro, 5 or 600 subject,

which means that we can only express our emotions with our souls before, which is how russians dance. and our bodies movement applies to good to the you bring up a good point in some ways that the way it gives a form to the intangible, something that we cannot grasp. it gives meaning in a lot of ways. in this sense is belly understandable by everybody? is it for everybody, or do you have to have that special unique quality to understand as

a form of our there's this stereotype that valet is an art form for the chosen few . what on the i strongly disagree. just as long as viewers do a little bit of homework to understand what the ballet is about to ask them what the artist are dancing about and what's happening on stage, then they'll get everything. the viewers will even think the success simple. after all, it actually makes perfect sense. why was afraid of going to evaluate before and whatever made me think i wouldn't be able to understand it. that's because body language is simple and easily accessible and modern technology these days give us a greater range of tools or technology as well. modern dancers are like a top fleets and have great are cap ability to stand on the stool. everything has evolved to a stage of higher do more turn,

perform crazy live in the right. it's all very impressive. should we cherish our solutions for sure. but we also try to build on them and try something new that. and so we like to showcase new possibilities to move dancers today even look different compared to 40 or 50 years ago. and if it's all very impressive, is messed up by the move. sure thought chip that by the way i have to point out the echo in this room is pretty intense. it's fun to play with. one of the interesting facts about the ball. so i guess classical ballet is often confined if you will. maybe that's not the right word by the idea of the choreographer. um, have you yourself ever thought about going into modern ballet or trying something a different so that you can have more freedom as an artist? the question that's a pro straight question. you can look there are many new answers to consider here. classical abilities have been around for centuries. at one point i realized there

was no need to invent anything else. some of this valley is genius. as it is. all you need to do is perform it as brilliantly as it was choreographed. it helped me at the time because that was when i was in a spiral, young valerie knowledge that i used to think i should go like this or like just this up. i can explain it daily as this sits in here, i thought i should give this look or place my foot in a different position to do is i keep thinking of how to do everything my way back was staying within the boundaries of the initial choreography. because the just the, when you call it, every artist is unique. so we all have a certain disease wasn't certain physical limits and technique or so. so i stopped obsessing about all those relevant things and just done with the right mood and with souls to him. it's always a great pleasure when the emotion you've been trying to channel throughout the show . lots that comes back to you from the audience. that was that i said, so that's the most important thing for me as an artist of just

the, the most iconic part of the bulk of a theater is it's a historic stage category. and another call that has been with it's a culturally for over 2 decades. and she's the white person to help us get a better understanding of what this theater is all about. the so it seems here we are in the big stage of the traditional hall. so it is said that no other theater in the entire world can do with the bulk of a theater does. what does that mean to my video? it's very difficult to judge and the most so is definitely unique festival, by outstanding beauty of this whole, where we're staying with you. i was historical. and secondly, by the great size of both story by all means will show it was always able to stage something to a big. there's lots of sets and awful instead design and course choose and numbers

of outstanding arches and in the bali field as well. not many companies can perform classical ball and on such a level as we can do because we don't have only just some outstanding condenser score. doing meeting 5, we have a whole chord of all a which is trained in the best possible way. so that's why when you look on the old heavy page such as swan lake or by a there, or some other titles where you need, if huge, quoted, by a united way is the same views here. then you definitely have to look after only very few companies and as well, such as the bolshoi marine skin that made it very slow to allow us call him to come and gun. but not many people story. a lot of efforts must be done. so be, is the idea of such kind of level, what is the mission of the culture prime mission, these, of course, to promote trash and origin, russian culture. and in that sense, when we build our repertoire on both sides of a printer theater,

so we have numbers of different titles every year in ball and in the order. but of course, his goal is to she wouldn't do the phone from russian classics because we think if we don't perform russian classic in the proper way, who else in the world would do this? so this is our prime mission to preserve the highest point of rushing noise, and then of course, to show the highlights of wealth culture. so our 2nd goal is to perform old mazda 2 pieces. and of course, one of the main goal of the brochure. as of industry, if it is not easy i'm, it's a life unit. so we have to produce something new and we have to be getting in the sense and we have to move it forward. and when, as people speak about tradition, they tend to forget that one of the main foundation on this house is to produce new things, new music, and new productions, and to find new stars in been ball in the fields. now the classical stage is behind us. it is fantastic to see, well, i think this whole is

a very how to say soccer or rick very special whole for the russian soul. also because numbers of absolutely outstanding actors were coming on that stage mentally and trying to st. you that you feel like police yet scale along are law, offline of out of here for a restful use done or you just said to me was, i can push these and the or where she and we were, we were thinking. so i was so as all of the energy and all of the on was on the stage and this was never taken away. we all feel we are under the protection on a full ox. she is our land leader. she leads us. so over difficult times and as to the energy, i don't know how everyone feels. he also mean there's books to which we were looking if you was in 20 century $100.00. fortunately, there is a different countries were sitting in his books watching performances in the walls . i saw your name, like the guard or candidate or guys the they all was eating g as well from that stage of their nose,

the verse of soviet union or the death of william. because this was also done on that stage. so this whole itself is very special. the opposite is also very particular festival. it's a very, very beautiful and full of history. and sometimes we feel that it's effects people who come to work on that stage as in new directions. let's say, because they come with a very daring good use and then they come with this page. they look into this whole and all of a sudden, sometimes they really feel the heavy pressure. all this history and great things. this stage them give you much chance to do the stakes and what they are doing on that stage. okay, so i have to ask you been here for many years? this is kind of a home for you. uh, has the audience changed over the years? i mean, why do people come to the boss, right? what do they get from come here? i would think that's more than 70 percent of our what is, has a to love towards these art manuals people to come to the most golf courses and

wants to come to the bookstore at least for the ones in this house. but i think big number of our organs are the 2 lovers of this form of art. and those are the people who attend several times through the years. but very often people have particular fashion, either to visual voices, to the ultra as an art board towards the bali. i'm lucky, i'm one of the people who love both opera and by the way. now earlier we talked about the balance between old and classic and new works. what about set designs? and i'm also a, has a big norman. that's amazing costing. it's all part actually. is there ever a desire or an idea to move to a virtual sense or use technology to kind of enhance that performance or is it all traditional it's, it's sort of depend on the creators. in real theater, you don't save sort of stage design. you're just an outstanding, she wouldn't be one stage, but the school one audience comfortable choice. they don't expect this closer to

for theater. this is something they would not like to see in the boss or audience comes here. they expect. sounds being absolutely expect. so i don't, so maybe in the future staging something new production of some fee or a ball is so we would use new technology is possible, but the new technology never can replace outstanding, showing things on stage. and then they also bit of course, of course, what about the costumes? they are in in themselves, just great ornamental pieces of i understand they're all made right here of both. so it has a traditional have its own workshop. susan, so for many years i think also the history. we have our own workshops and the very advanced and our custom department is really outstanding. i think if you will little call numbers of our different productions, you will see absolutely outstanding costumes. and we'll see from the number of this

cost it was, it is impressive, for example, now for the medical over 200 customers, one made. and of course they can do more than costumes, and they can do all the questions and they can do questions for the ultra. and they can do a to choose for the buyer or different kind of shapes of skits as it's, as it's needed. now, a little bit of trivia for those who might not know the costume department is actually really easy, little to locate if you're looking at the boss or theater. if you see of also from the front back to the apple or quadrant, you see the windows, which i gets to our custom departments, the a lot of people associated with belly. but also opera is incredibly important, as we've been discussing, what makes an opera an opera? what makes it different from just being

a people thinking on the stage and costume. unless you go to the closer to what are you still of course can enjoy any score be performed just like this and concepts when you come to the theater kristof like a few who i, who has done with it as well. he want to see a full scale performance. we want to see not fingers on the stage, but the characters on stage. we want to see drama. we want to see x one to feel compassion. not only because of the beauty of the music, but because of the action which takes place on stage, that's why and why one's profile or for production is really musical theater. i means the theater, where people perform, but as a performers they have music's proceedings and not words to say the was there to witness one of the big oper,

premiers of the season that the mostly the renowned oper senior. so lowest of the partially theater of buddha client is going to help us understand more about this enigmatic, artful the, doing the hello. hello. do you mind if i ask you a few questions? of course. so i guess my 1st question is does one have to understand opera and

classical music in order to enjoy it? or can you just listen from your heart? you have the more store you this. i don't think it's enough to just close your eyes and enjoy the music. there's not certainly you need to be able to understand opera harsh. and the opera is almost like a drug addicted to it. you are either totally addicted or you give up on it completely, or that's why are audiences aren't as large as others on or is more accessible to everyone around the world. yes, so i believe understanding opera is important to go to because them, it will find its way into your soul. now, kind of a weird question, maybe, but do you ever think for fun or for therapy, or is it just strictly work for you? it's a difficult question for me to answer probably because i was born into the opera theater into it's not upstairs. i was the essentially raised backstage to me. it's impossible to live outside off from outside use. your voice must be very important

to you. what happens if you're going through a difficult time in life, or if you're just even sick? how does that affect your voice mall of being an offer, simmer is more than just being a professional level. you have to be able to sing whatever condition you're in that they didn't put the once i had to perform 5 days after my brother died and floors and we were performing carmen at autism. and it was one of the most challenging experiences of my life because of 2 and a person is in a state of grief. they don't have full command of their body, then use them, but the power of art is so and then that when i go on stage, i forget a 1st thing is going back to your previous question. it's a form of therapy because only on stage i truly forget about my problems

the . so when you're thinking, what do you want the audience to feel beautiful, which is near cause above all, i think the viewer has to be able to understand the character i'm playing my. we'll get to the words that we say or rather sing. if i do not tell the full story, a singer always tries to present the character and an opera through the sound through indignation to act in a sing. of course, we always try to reach out to our audiences and makes them feel a whole range of emotions. and that includes sadness and melancholy, and it gives me great pleasure to see people crying in the audience because it means we did a good job on stage presenting a tragic story or a sad one,

or an emotionally intense one. it means we've been able to make people reach an emotional climax to see. well, that's true and i believe it means your real professional. if you can make people cry, a system that you are a human, which means you're small compared to the big stage. everything has to be bigger than life. is it difficult to express emotions when you're just a tiny person on a big stage and the audience is so far away, doc, i'm use not. oh, yes, definitely. and do you need to develop certain skills to be able to do it? i'm not, it's not enough just to be able to go deep into different emotions. because as you mentioned, the stage is huge. the 1st row is about 35 or 40 meters away, use thinking about, i can't say exactly, but it's really far away. and as to the back seats, we can't even see them from where we're standing. so it's certainly involves exaggerated movements and facial expressions. you have to be very expressive,

so everyone in the audience can see your emotions. we also use heavy makeup materials and when we things we're mindful of voice production with because our voice has, has to reach far and wide out. so the se, optical performance is always about exaggerating pretty much everything on stage boom, last big to back in the time of varying audiences used to sing along and they would share on the stars on stage. now that would be considered really taboo if you're here at the mostly, if you kind of ever wish for that to happen in opera, or you any more because coverage does happen much particularly with famous arias like cub, on your or delilah, to should some more common in concerts than in office. i don't think it's really in the style of offer for the audience to sing along. although i think it's couldn't be nice to have this choir. the audience choir joined in on pieces like pretty much the domain name will be the or even the hub on euro. but i don't think it works

within an actual performance and more they think of us more than the new music. uh, there's a lot of computers involved uh, guitars, different things, a lot of people say that the quality of music is going down. do you think that this will affect the opera? and if so, how? so? yeah, obviously i'm one of those people who believe that the very little genuinely talented music history and created today all of these except move into our for centuries. but it also may be that we do not appreciate contemporary music deeply enough. he was wanting to be a 100 years from now. there will be operas by some of today's lecture known composers, alongside mozart, verity and tchaikovsky. can you speak? so i think only time can tell me,

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