I got a very small role in this play. There are only four words in it: we will break through, my king. You are unlikely to know him - but he sang in Russia, perhaps, more than any other British countertenor. William Towers is involved in Handel's Rodelinda, which will soon be performed on the New Stage of the Bolshoi Theater for the last time, although only a year has passed since the premiere of the play.

Antagonists by birth, punk and fashion have long found common ground - freedom and the sexuality of rebellion. TEXT: IRINA KULIK COURTESY OF THE METROPOLITAN MUSEUM OF ART, PHOTOGRAPH © DENNIS MORRIS, BY CATWALKING © ROBERTA BAYLEY, © NATHALIE SANCHEZ FOR MAISON MARTIN MARGIELA A series of publications from back issues of Numero magazine.

Oksana Fandera rehearses for Kirill Serebrennikov's play based on the film by Lars von Trier. A good reason to meet! TEXT: MARINA FEDOROVSKAYA, PHOTO: JESSE FROHMAN A series of publications from back issues of Numero magazine. This material was published in the magazine Numéro N 03 (May 2013) Oksana Fandera rarely gives interviews; the drawn-out “nnet” is the actress’s favorite word. She is not so much an actress as a person, not so much a star as a woman, not so much a person as a personality.

Perfectionists in everything from their sound to the shine of their helmets, Daft Punk is back in the spotlight with their new album. TEXT: ARMAS VIKSTROM A series of publications from back issues of Numero magazine. This material was published in the magazine Numéro N 03 (May 2013) They have only three full-length albums to their credit, the last of which was released eight years ago, and yet this couple, with the obligatory helmets on their heads, bears the status of living legends.

What associations arise first when it comes to the director's opera house? — The director’s concept deals with serious social, psychological or philosophical issues (Martin Kuszej, Andrea Bret, Krzysztof Warlikowski, Dmitry Chernyakov, etc.) or — The viewer is provided with a wide space of abstractions (Robert Wilson).

Plato knew that astronomy has its own music; Hesse, in his novel The Glass Bead Game, relied on the fact that science and harmonious sound reflect each other. Musical intertextuality is nothing more than sujet en procès (French “plot in motion”, a concept used in the theory of intertextuality), because music exists as a separate text that reproduces itself, leaving behind the scenes those who wrote it.

Modern composers are tired of the noise and the lack of melody in their own and other people’s compositions; they decided to move away from the mainstream, abandon abstract sounds and experiments that are incomprehensible to many in favor of the practices of the 19th century. Composers Andrei Baturin, Tikhon Khrennikov Jr., Yaroslav Sudzilovsky and musicologist Evgeniy Drozd took aim at the “Mighty Handful” model. And they missed.

EDUARD BAGRITSKY “SPRING” In the alleys of pillars, Along the roads of the platforms - frog green Country carriages; Already dipped Up to your elbows in oil The lever starts Shoot and stomp... And the smoke settles On the edge of the slope, And the rails are rushing Under the wheels... Glued to glass Couples in love - Rosewood rings Country guitar: - Ah! Don't you want Walk hand in hand?... - My dear. Certainly. I want to!

The walls of the new studio of the architect and artist Alexander Brodsky are still in complete disarray. It is with this eternal theme that the author will work as part of his large-scale exhibition in Manege. TEXT: KONSTANTIN AGUNOVICH, PHOTO: IGOR STARKOV A series of publications from back issues of Numero magazine.

Another cultural Friday brought me to the theater. This time I attended the production of A Midsummer Night's Dream. I hoped that this performance would be no worse than “The Two Gentlemen of Verona.” My expectations were met. But first things first. I'll start quite unexpectedly - with the scenery. They were simply great. The facade of the theater on Spasskaya, the beautiful mysterious forest and, finally, the Globus Theater.

90 Russian artists from more than 25 Russian and European galleries presented at the Grand Palais in Paris. “Russian Focus” was initiated by Art Paris director Guillaume Piens. TEXT: EKATERINA IRAGI, PHOTO: SLAVA FILIPOV. Published in the magazine Numéro N 02 (April 2013).

15 years ago she came to the laryngologist complaining of slight discomfort in her throat. She was told it was ligament polyps and she would probably never be able to sing again. It’s not enough to say that she was upset and devastated, she was crushed. Should a successful opera singer shut up? “I started crying, I thought it was all over. It was September 11, 2001. I turned on the radio and, hearing that terrible news from New York, immediately stopped crying.

Modern classical music goes beyond just the symphony orchestra, proving to both itself and society that it is capable of much more. The stereotype of classical music as a phenomenon and a genre that has exhausted itself, exists as background music for special occasions, and is firmly entrenched in the minds of society. And only a small percentage of people think differently: neoclassical composers and musicians.

Modern ballet is elitist not only and not so much because it has a very narrow circle of conscious admirers (and spectators). Rather, because it does not contain light plots, densely processed and furnished with choreographic language, and not effective choreography, indicating characters with figurative plastic movements. Modern dance grabs an idea from a kind of energy field, out of thin air, and this idea serves as an impulse for a future production.

“I solved the riddle of the Sphinx, I will solve this one too,” Oedipus boasts, not suspecting that the solution promises his death. Just as quickly, unlocking lock after lock, Judith, Bluebeard’s last wife, goes towards death. The secret hiding behind the last door, the fate that orders it to be opened, served as the thematic outline of two performances staged on the same evening at the Stanislavsky and Nemirovich-Danchenko Theater.