i came to the famous trumpet of the satire theater valentina nikolaevich when i was received, i camee a palette, i have such paint , such such each one. take your place. you, too, you, too, will occupy him with lenochka. he always said that i made the theater of the classics out of the sketch theater, because the classics and the classics, because a lot of it remains infinitely important to this day. for our entire society, alexander anatolyevich in general with his arrival. he changed a lot, firstly, the time is different people, others went through the nineties atmosphere of the theater, maybe she became more like that, you know, even to some extent , maybe free, he didn’t hold such tight reins, what, maybe and not very well? he is more silent for the leader. it seems to me so, it seems to me that the leader should stomp his feet and shout to build everyone, he will simply shut up and already want to do something so that oh oh oh. oh, i want to like it, i want everything, i 'll do everything. i will do everything to alexander, but at this time he does not say anything. i look at yo

and valentina nikolaevich zarif of ours, the outstanding biographer. of course, uh, creative corpses theater. this is the corpse of the opera, the ballet, the orchestra, the choir, and the memans. here they actually form this whole, but of course, there are also conductors and directors, but the nuance is that at the moment when this whole should be embodied, it is being considered, a production team is being created. we hear the stage designers and artists who tell us about what the performance will look like. uh, what new ideas are there, directorial principles and so on, but at this moment , the action comes into play. eh, leader. i enter here into the wonderful world of which, on the one hand, i can artistically appreciate. it's because after all i'm a musician testament and uh, a person who is in general the history of music. e, studied since childhood, but on the other hand. of course, i'm trying to look at all this, listen carefully and understand, what it will all result in, how we will do it. impressive how much it will cost, we will keep with

and today it is people's artist valentina nikolaevich zarif of our outstanding ribs. of course, uh, the creative corpses of the theatre. this is the corpse of the opera, the ballet, the orchestra, and the chorus and milans. here they actually form this whole, but of course, there are also conductors and directors, but the nuance is in the fact that at the moment when this whole should be embodied, it is being considered , a production team is being created e we are listening to the set designers and artists who tell us how the performance will look like. uh, what new ideas are there, directorial principles and so on, but at this moment, the action comes into play. eh, leader. i am entering here into the wonderful world of what, on the one hand, i can appreciate artistically. it's because after all i'm a musician, a musician and a person who, in general, is the history of music. e, studied with childhood, on the other hand. of course, i'm trying to look at all this, listen carefully and understand, what it will all result in, how we will do it. impressive how much it w

well, at one time he insisted, uh, the director at that time of the valentina theater nikolaevich elizarievave, uh, a very precise stage plane so that the audience, uh, this performance. here it turned out like this. yes, so that everything was insulting, as in the palm of your hand. first you me something. it would seem to be some kind of disaster, because the most difficult thing turned out to be not even dancing. the most difficult thing turned out to be one, not even standing still , the state expanded inside, but this did not affect the external appearance of the temple of art. it has additional rehearsal and technical rooms and improved acoustics. the stage was equipped with modern silent mechanisms, the national treasure of the bolshoi theater. belarus played with new colors. we are near the control panel for raising the fire curtain, intended for separation. scenes from the auditorium now i turn it on there is testing. now i can lift. not only the theater was transformed, but also the famous square around it, the fountain. in front of the main passage, it became a favorite resting p

terekhova's mother lydia sergey, 1950 i am looking for birth in my brothers ermakov eduard nikolaevich and ermakov valentinaantonina nikolaevna uga were very small. sorry date of birth. and here's the month when they were born, i can't say for sure. we were an ordinary family. i have an older brother. terekhov sergei mikhailovich , born in 70 may 1, lived with his father and mother, like everyone else, then it means that the mother found another man. she secretly took us from our father, and why to ermakov nikolai nikolayevich, how old were you about me, probably at that time was three and a half years old, my father sued and on the basis of a lawsuit . i was sentenced to my father and raised by grandmother, and you yourself remember something, being in such a small one. yes, four and a half years. i remember that there was a court in the tver region, the village of pena, my mother came, my brother, and that is, i was in court. i asked someone to stay with. i said i'll sleep and from then on. i lived with my father, grew up and studied. i understand correctly that your brother stayed with mom. are you and d

valentina told alsana, and i got married. she says who do i speak for, alexey nikolaevich pokrovsky, what did she tell me? well, in vain. me. well , she says in vain, she probably just somehow from her age from experience. she understood that it was somehow such a hobby for a long time. which then we are so not a schlander, or as it happens now? therefore, oh yes, oh, i fell in love. oh, singing. oh let's propose. oh, she got married, and she, apparently, understood that m-m different different things. she really was right, because we are very fast. uh, pretty fast. eh, they broke up. well, there were other things. in the sense that i did not have a relationship with my mother-in-law. she was uh, alyosha was with them they were doctors kremlevsky e he was late, we had a difference in age, and he was such a late child, and therefore. my appearance i was too young and they especially mother-in-law she. that's how she looked at me. well, somehow not but not accepted. and so i had all the time. it feels like i'm not needed there. and even when they were on tour, i thought with horror that i needed to return to this house. i

valentina matvienko colleagues. eh, the draft resolution is in your mind, all of you. you can still read it yourself if you have questions for viktor nikolaevicho, thank you, have a seat. the floor is given to andrey alexandrovich cliché, chairman of the committee on constitutional legislation and state building. please draw dear colleagues, in accordance with the regulations of the federation council, the conclusion of the committee of the federation council on constitutional legislation and state building by decree of the president of the russian federation of october 19, 22, number 756 on the introduction of martial law on the territory of the donetsk people's republic of the luhansk people's republic of zaporozhye, kherson region in order to implement the constitutionally significant goals of protecting the life and health of citizens of the sovereignty of the russian federation by the president within the framework of his constitutional powers provided for part two of article 87 of the constitution, as well as in accordance with the generally recognized principles and decree no. 7506 was signed by the norms of international law. the decre