Titel biography
Moreover, the good third of all these seasons on the account of Alexander Titel, the permanent artistic director and the main director of the opera troupe of the theater.
It is simply impossible to overestimate the meaning and role of Titel in the life of the Moscow Academic Musical Theater named after Stanislavsky and Nemirovich-Danchenko, since he himself is both a living history of the theater and today. The name of Alexander Borisovich Titel is associated with many victories “Stasik”, which today has become one of the leading opera theaters in Europe.
Your first fee in the opera is the ruble received for work in the Mimans. Alexander Titel: Yes, for sure. Dmitry Kirillov: Your father is a violinist, a student of the Great Storyaarsky. He is a front -line soldier, played Marshal Govorov himself. Is your great -grandfather a forester from Belgium? Alexander Titel: Yes, he was a specialist in forestry. Dmitry Kirillov: And you are from Uzbekistan.
Alexander Titel: I was born in Tashkent, yes. Dmitry Kirillov: Belcome Tashkent? Alexander Titel: Yes, very much. Dmitry Kirillov: You have a physical and mathematical school behind your shoulders, Polytechnic. And you took and went to the opera. Alexander Titel: You see, it happens. This has all the power of the attractiveness of the opera. Dmitry Kirillov: Opera is a game.
Football is a game. And you are a member of the youth team of the Tashkent Pakhtakora. Has the football past help you as a artistic director, as a director? Alexander Titel: It seems to me that you have seized some foundation. I really like to play everything - in football, basketball, volleyball, in a hand ball, in opera, in the theater, in tennis. I like to play. Dmitry Kirillov: And it was such that the Americans wrote: "If there was an opera Oscar, we would give him to the Titel for Bohemia." Alexander Titel: As far as I remember, they did not say Titel.
There was such an article that if there was an opera Oscar, then this “bohemia” should have received it. Can you hope that you will not stop there? Alexander Titel: Who knows? This is only external tsatski. They are pleasant. They are actually good like some kind of melons, that the theater works still interesting. Dmitry Kirillov: Many of your soloists leave west.
There they are accepted with open arms. Not scary that they will leave and not return? Alexander Titel: Very sorry. But I always taught them and I would like them to know that here their house, that they can go anywhere, but they have their own country, they have their own Moscow and they have their own theater of Stanislavsky and Nemirovich-Danchenko.
Dmitry Kirillov: Year. At the invitation of the Bolshoi Theater, Alexander Titel, the famous director of the Sverdlovsk Opera and Ballet Theater, has come to work, by that time the laureate of the USSR State Prize. A group of famous Moscow musicians comes to the hotel room with a request to lead the opera troupe of the Stanislavsky and Nemirovich-Danchenko Theater.
They warn of the imminent split of the theater, and this is happening. Almost all youth leaves Evgeny Kolobov to the New opera. The Stanislavsky Theater was destroyed before our eyes. And Titel, after 11 triumphal seasons in Sverdlovsk, returns to Moscow and, drown the sleeve, takes on business. Alexander Titel: It was very difficult. There was practically no choir or orchestra. In the choir and in the orchestra, in my opinion, the person and there and there remained.
The soloist workshop was less affected. About a third left. But there were no performances. It was impossible to play them. Plus, before that, a year or a couple of years before, there was a fire in a warehouse, where some scenery also burned down, including the scenery of the “peak lady”, the famous Mikhailovsky performance. And I could not even understand who in what form, who sings, what to put the next.
In order to understand what to put, you need to know what voices. Dmitry Kirillov: Call the people's artist and say “well, sing”. Alexander Titel: I had to see this in real life, in a real performance. I would come, quietly sat, listened and understood: “Yeah, this one is great. Here you have to work out. It may be too late here. And here it is necessary ... "But I could not.
Therefore, the first 1. And only at the end of the second season I staged my first performance “Ruslan and Lyudmila” Glinka. Dmitry Kirillov: And you slowly began to gather these people, these voices. Alexander Titel: Yes. Dmitry Kirillov: The phenomenon of the success of the Stanislavsky Theater is also the fact that such a team of like -minded people probably developed: Titel, Urin, Arefiev.
This is such a team of people who went to make a new theater, in general. Alexander Titel: Three of us would not be enough. Of course, we were one in this sense. But at first there was provators with us, then Wolf Mikhailovich Gorelik, a wonderful conductor, who was simply given to work with all his soul. He was a passionate musician. Evgenia Mikhailovna Arefyeva, who was our host of the concertmaster, while a professor at the Moscow Conservatory.
And she just delivered young votes here. Dmitry Kirillov: Did she bring Hiblu? Therefore, this is so.Hybla Gerzmava: Alexander Borisovich Titel is such a separate block in my life, in my career, because I am absolutely convinced that every singer should have her own director. Here is my director - this is Titel. He knows how to grow, he knows how to see, he knows how to love and he is generally very different.
He is a chef for me. And I am very happy that fate brought me to this person and that I have been serving in this theater for 25 years under the leadership of Alexander Borisovich Titel. Dmitry Kirillov: Over the years, Alexander Titel created not just a creative laboratory, but a real factory of opera stars. Today they shine around the world. And most of them, by the way, must return home, serve in their native theater.
How can it be otherwise? After all, they are all from one Tielevsky nest. Alexander Titel: We immediately separated six places for interns from the staffing table. This was called an internship group for youth. Then it expanded to 10 seats. This is within the staffing table. No one added anything to us - neither financially nor organizational. All within the full -time.
Everyone gradually grew from this internship group into a person. Someone did not pass. Someone chose to leave or go to another theater. Someone did not suit us. But all our current stars from there. Dmitry Ulyanov: I decided to go to this theater. And really I had no recommendations, there was nothing. A full -fledged official listening throughout Moscow was announced. It was stated.