Translated material
VOICE AGAINST MALAKHOV
TELEVISION
On September 13, Channel One premiered Andrei Malakhov's new show Five Evenings. The announcements of the premiere were sung by a female voice so insinuating and sexy that the subject of the show began to arouse a healthy physiological interest. Referring to...
On September 13, Channel One premiered Andrei Malakhov's new show Five Evenings. The announcements of the premiere were sung by a female voice so insinuating and sexy that the subject of the show began to arouse a healthy physiological interest. Referring to the "Big Wash".
The production decisions of The Big Wash were precisely adjusted to the main idea of the show - soap bubbles, light optional chatter without pretensions to finding solutions and forming judgments.
The three promises of "Five Evenings" - the announcement, the name and the address time - are confused in the scenery by the heads of the tipsy Gorynych. Strict red sofas. Twilight. Behind translucent draperies on giant screens one can guess the erotic-dance movements of half-naked bodies. Either the reception of the VTsSPS, or the video bar of the late eighties. Under the spicy cocktail of Soviet dreams of a luxurious brothel.
A long wide aisle - and: either a catwalk from a fashion show, or a star track of a film festival beats the space into two hostile zones vis-a€€€-vis. This is how Labor and Conservatives sit in the English House of Commons - and it makes sense. In Five Evenings, people sit like this, not united by a common opinion, but who are participants in the program: experts, "accusers", "lawyers" and precedent-makers. And it doesn't make sense. If there is a barrier between the participants in the action, it should work.
... A young man, dressed in a suit and tightly tied with a tie, is standing on the dividing strip.
The young man, as I understand it, personifies the people. There are no other people in the studio. There is a full-time fan of the "golden voice", the "golden voice" himself, music and ballet critics of leading newspapers and artistic director of the Bolshoi Alexander Vedernikov. He is also the chief conductor. He is also the main blasphemer, who expelled from the main temple of art the main shrines of art - the golden legs of Anastasia Volochkova and the “golden voice” of Nikolai Baskov. I am not being ironic. This I present in a brief retelling of the host's accusatory speech.
In whose advanced head the grandiose idea came to put on the poor (from such generosity) and completely untalented Andrei Malakhov the mask of a guardian for the rights of the people, an accuser and an accuser, who is the innovative director, they didn’t answer me in the credits.
At the third minute, I was stunned to realize: they want to seriously discuss whether art belongs to the people!
So yes. There is a criterion for true art. This is the occupancy of the hall - and only it. A lot of aunts and girls come to the young man Baskov, no matter what he sings. All of them, in the person of the young man Baskov, joined the opera. And they will continue to partake - exclusively in the same person. The above applies also to the girl Volochkova. Therefore, the Bolshoi should not deal with squabbles, but give the young man and girl life-long titles of soloists of the Bolshoi. And it will be in it that real great art will reign.
... Fifteen years ago I was at the first Moscow concert of Dmitri Hvorostovsky. At the Bolshoi Theatre. He was quite young, still light Russian, and by that time he had been shown on TV only a couple of times, in reports from Krasnoyarsk. Therefore, they were not allowed to take complete possession of Big Dima - a singer participated in the concert, “promoted” much more than Hvorostovsky. The singer remained in my memory with a painful grin and a painfully tense throat.
Arguing about "real" and "fake" art is a stupider occupation and it is impossible to think of ... A man stepped onto the stage and opened his mouth. And there was a voice. There were two verbally formulated thoughts: “nothing is impossible for him” and “if only it would not end.”
Fifteen years ago, the day after the concert, I took my first interview in my life. And it was a complete, crushing, deafening and - thank God - the only failure in my life. I interviewed Dmitri Hvorostovsky.
No, I didn’t “swim” in the material: I have been listening to opera and academic music since I was eight, so I was a completely “heard” girl.
Dima drank beer and smoked. And I already considered his voice as my own (and world, of course) property. Dima only wanted to talk about music, but I wanted to talk about what books he reads and why these bastards don't call him to the Bolshoi. And why was he not allowed to sing a solo album, because this singer is against his background ... And Dima did not want to discuss his stage partners. We quarreled. Spray Without direct insults, but with the transition to the individual.
...What is "good singing" and "good dancing"? Ballet is a strict and precise art. If you do not hold the position, if your body is deprived of the opportunity to establish the desired angle between the body and the raised leg, you are not a classical ballet soloist, but a popular dancer. There is nothing to be offended. The gift of God is measured differently for everyone.
But for the viewer, whose only ballet impression was the flashing of little swans on the TV screen, a luxurious clip with a luxurious girl raising her beautiful leg beautifully can become a symbol of Ballet. For a person who has never listened to anything but modern Russian “popular music” in his life, any conservatively processed voice is already golden. He is unlikely to ever understand why this is not ballet. And not an opera.
No, the clever and ironic Vedernikov, artistic director and chief conductor, did not say: "Nikolai, you are too mediocre a singer to sing at the Bolshoi." On the contrary, he politely remarked that such a sought-after singer would now have many more opportunities to perform on the best opera stages in the world. I understand why: Big is fed up with the squabble started by the nice girl Volochkova.
I also understand why pop artists need regalia, indicating their belonging to the academic art. This is not only a matter of ambition and positioning exclusivity. This is also a sober commercial calculation. While you are soloing at the Bolshoi, the viewer thinks that he loves opera or ballet, and swells with pride in his own cultural level - he did not expect anything like this from himself.
Hundreds of people consider Nikolai Baskov a golden voice, and Anastasia Volochkova a genius of classical dance. There is no tragedy in this. The tragedy begins when these hundreds (maybe thousands) decide that it is their opinion that is the measure of the “correctness” of art.
The mechanism of “ignition” of pop stars is fundamentally different from the mechanism of sunrise in high art.
Oleg Menshikov is crazy popular not because he often flashed on the TV screen. And because his Caligula and Nijinsky are still legendary. Because a unique talent paves its own way.
The opera and ballet world already knows its potential geniuses. They do not need to appear every week in the national concerts of Channel One. They are invited by the Metropolitan Opera. They are recognized and accepted by the world of professionals and connoisseurs - and released into the big world.
The ignition mechanism of a pop star is exhaustively described by the well-known passage about the butt of a monkey. There is no pop artist without persistent television broadcasts.
... Why turn a peaceful layman into a militant boor, instilling in him the idea that truth is in quantity and the opinion of the majority is the only correct opinion on all issues - from the death penalty to opera and ballet? Why turn the artistic director of the Bolshoi Theater into a scarecrow "in glasses and a hat" genetically hated by the masses, blocking the people's path to art?
... Fifteen years ago, he still caught up with me at the elevator. And I kind of proudly accepted the apology. And at home I listened to the cassette and shed tears.
Hvorostovsky no longer swears with journalists. He is wise and forgiving. He still only wants to talk about music and doesn't want to discuss stage partners.
Thanks Dim...