Outstanding Russian choral conductors. Famous conductors of the world Famous symphony conductors

Cycle of concert programs(Russia, 2010). 10 issues.

There are no more authoritative figures in modern musical culture than representatives of the world conducting elite. The creators of the series chose ten significant names - Simon Rattle, Lorin Maazel, Daniel Barenboim, Maris Jansons, as well as their famous Russian colleagues. Today they are universally recognized masters and directors of major orchestras.

Each program is based on the performance of one of the named maestros with his orchestra.

Soloists: violinists Vadim Repin and Sergei Krylov, oboist Alexey Utkin, pianist Denis Matsuev and others.

The program is very diverse - from I.S. Bach to A. Schoenberg and A. Pärt. All works are among the masterpieces of world music.

The host of the cycle is pianist Denis Matsuev.

1st issue. .
Soloist Vadim Repin.
Program: I. Stravinsky. Symphony in three movements; M. Bruch. Concerto for violin and orchestra No. 1 in G minor; L. Beethoven. Symphony No. 7.

2nd issue. Vladimir Fedoseev and the Bolshoi Symphony Orchestra. P.I. Tchaikovsky.
Program: L. Beethoven. Symphony No. 4.
Recording in the Golden Hall of the Musikverein in Vienna.

3rd edition. "Maris Jansons and the Bavarian Radio Symphony Orchestra."
Program: R. Wagner. Introduction and "Death of Isolde" from the opera "Tristan and Isolde"; R. Strauss. Suite of waltzes from the opera "Der Rosenkavalier".

4th issue. "Daniel Barenboim and the West-Eastern Divan Orchestra."
In the program: V.A. Mozart. Concerto No. 7 in F major for three pianos and orchestra. Soloists: Daniel Barenboim, Yael Karet, Karim Said. A. Schoenberg. Variations for orchestra. G. Verdi. Overture to the opera "Force of Destiny".

5th issue. "Vladimir Spivakov and the National Philharmonic Orchestra of Russia.
Sergei Prokofiev. Concerto No. 3 for piano and orchestra. Symphony No. 1 "Classical". Soloist Denis Matsuev. Recording in the Great Hall of the Moscow Conservatory in 2008.

6th issue. "Lorin Maazel and the Arturo Toscanini Symphony Orchestra"
Program: Giacchino Rossini. Overture to the opera "Italian in Algiers"; Johannes Brahms. Symphony No. 2.
Recording in the Great Hall of the Moscow Conservatory.

7th issue. Yuri Temirkanov and the Academic Symphony Orchestra of the St. Petersburg Philharmonic. D.D. Shostakovich.

8th issue. Yuri Bashmet and the chamber ensemble "Moscow Soloists".
Program: Joseph Haydn - Concerto for cello and orchestra. Soloist Stephen Isserlis (Great Britain), Niccolo Paganini - 5 caprices (arranged by E. Denisov for violin and chamber orchestra). Soloist Sergei Krylov (Italy); V.A. Mozart - Divertimento No. 1.
Registration in the BZK.

9th issue. Mikhail Pletnev and the Russian National Orchestra
The Russian National Orchestra will perform a suite from the ballet by P.I. Tchaikovsky's "Swan Lake", composed by Mikhail Pletnev. Recording at the Bolshoi Theater of Russia as part of the Great RNO Festival, 2009.

10th issue. Valery Gergiev and the Mariinsky Theater Symphony Orchestra
The Mariinsky Theater Symphony Orchestra conducted by Valery Gergiev will perform orchestral hits - overtures from operas by Rossini, Verdi, Wagner, waltzes from Tchaikovsky's ballets, fragments from Prokofiev's ballet Romeo and Juliet.

It would be unheard of arrogance on my part to talk about famous conductors of all times and peoples. On this score, I can only provide you with a link to the opinion of more authoritative experts than me :). But my own opinion also has some value, like any independent opinion of a thinking person, right? Therefore, I proceed as follows: I will try to highlight the main stages in the development of the art of directing and the names of famous conductors associated with these stages. This will be fair on all sides :)

• One of the early stages of conducting

associated with a very bulky object called a battuta. A kind of baton with which the main musical director hit the floor, measuring the beat. And this very trampoline, in turn, is associated with the most ridiculous tragic incident in the music world. Composer, musician and conductor Jean-Baptiste Lully died of gangrene in 1687. And the reason was a leg injury while conducting using a trampoline...

• In the 17th century, the role of the conductor

very often performed by the leading musicians of the orchestra. Sometimes they were organists or harpsichordists, but more often they were violinists. Probably, the expression “first violin” came from this tradition? And here I would like to name the following, quite modern name: Willie Boskowski. A violinist and conductor, he served as concertmaster of the famous Vienna Philharmonic Orchestra for several decades of the 20th century. And this orchestra, by tradition, has never had a chief conductor. Boskowski often conducted in the manner of Strauss himself - with a violin in hand.

• At the end of the 18th, in the 19th century, musical works

became so complicated that the next logical step was the formation of the profession of a “liberated” conductor. Now they perform works not only of their own compositions, but also of other colleagues in the workshop. And over time, there is a clear division between types of activities: a conductor is no longer necessarily a composer! One of the first professional conductors who managed to gain an international reputation were Hans von Bulow And Herman Levi.

• One cannot fail to mention such an event – ​​the appearance of the conductor’s baton.

This happened in the 19th century and the form of this important instrument that was determined at that time remains traditional today. And the inventor is considered to be a German composer and conductor Louis Spohr.

• There is a truly revolutionary moment in the history of conducting.

Namely: the conductor turns to face the orchestra and back to the public! Honestly: I have no idea, but what was it like before this? The maestro couldn’t conduct while facing the audience, but with his back to the musicians?! Well, be that as it may, this event is celebrated as special. And in this regard, I remember the most heartfelt, heart-tugging fragment: the completely deaf Beethoven conducts the premiere of his symphony No. 9. Execution completed. The composer is unable to hear any sounds. With his back to the audience, he cannot see the audience's reaction. And then the musicians turn him around to face the audience and Beethoven sees the triumph his new work has caused.

• Finally, let me voice my personal affection :).

How unexpectedly I found out for myself: it is difficult for me to judge a conductor’s professionalism, so in my assessments I “add” such qualities as artistry and a sense of humor. This is probably why, among the conductors of the 20th century, I single out two: Gennady Rozhdestvensky And Daniel Barenboim. I end this post with a recording of the latter’s speech:

G. Lomakin(1811-1885). The fame of a talented singing teacher came to Lomakin early and quickly spread throughout the northern capital. He was invited to teach at many educational institutions: cadet, naval and page corps, lyceum, theater school, and law school (where P.I. Tchaikovsky studied at that time). It was at this school that G.Ya met. Lomakin with art critic V.V. Stasov. The outstanding Russian critic more than once noted the “excellent school”, “the right path of learning”, “innate talent”, “importance and skill in conducting a choir” inherent in Lomakin, which played a noticeable role in the career of our fellow countryman. In 1862, together with the famous composer M.A. Balakirev Lomakin organized a free music school for the enlightenment and education of the people. At school G.Ya. Lomakin not only created a new wonderful choir, but also managed to organize the education of future music teachers. Many of his students became famous musicians: singers, choral conductors, teachers. Gavriil Yakimovich devoted the last years of his life to composing work: before that, he could only write music in fits and starts, during the short hours of breaks between classes with choirs. During that period, he created a number of works for the choir and wrote several romances. And in 1883, when M.A. became the manager of the Court Chapel. Balakirev, Lomakin also received a rare opportunity to publish his works. He devoted the last days of his life to finalizing them and editing proof sheets.

A. Arkhangelsky (1846-1924)

Court Chapel.

Independent Choir (1880).

Chapel of Count Sheremetyev.

S.V. Smolensky (1848-1909)

Director of the Synodal School (1889-1901).

Director of the court singing chapel (1901-1903).

Director of private regency courses (St. Petersburg)

V.S. Orlov (1856-1907).

Choir of the Russian Choral Society (1878-1886).

Chapel of the Russian Choral Society (1882-1888).

Regent of the Synodal Choir (1886-1907).

Alexander Dmitrievich Kastalsky (1856-1926).

Synodal Choir (regent since 1901).

Pavel Grigorievich Chesnokov (1877-1944).

Private spiritual choir A.P. Kayutova.

Choir of the Russian Choral Society (1916-1917).

Regent of Moscow churches.

Nikolai Mikhailovich Danilin (1856-1945).

Synodal Choir (1910-1918).

Kayutov private choir (1915-1917).

Leningrad Academic Chapel.

USSR State Choir.

Sveshnikov Alexander Vasilievich(1890-1980), choral conductor, People's Artist of the USSR (1956), Hero of Socialist Labor (1970). In 1936-37, artistic director of the USSR State Choir, organized on the basis of the All-Union Radio vocal ensemble he created in 1928; in 1937-1941 - Leningrad. chapels; from 1941 - State Russian Song Choir (later State Academic Russian Choir of the USSR). Organizer (1944) and director of the Moscow. Choir School (since 1991 Academy of Choral Art named after S.). Professor (since 1946), rector (1948-74) Moscow. conservatory. USSR State Prize (1946).

YURLOV Alexander Alexandrovich (1927-73), choral conductor, People's Artist of the RSFSR (1970), Azerbaijan. SSR (1972). Student A.V. Sveshnikova. Since 1958, artistic director and chief conductor of the Republic. rus. choir chapel (since 1973 named after him). Professor Musical Pedagogist. Institute named after Gnessins (since 1970). USSR State Prize (1967).

Tevlin Boris Grigorievich choral conductor, professor (1981), head of the department of choral conducting of the Moscow State Conservatory named after P. I. Tchaikovsky (1993-2007). People's Artist of the Russian Federation (1995).

Kazachkov Semyon Abramovich (1909-2005) – teacher, professor, head of the department of choral conducting of the Kazan State Conservatory.

Minin Vladimir Nikolaevich (b. 1929), choral conductor, People's Artist of the USSR (1988). Student V.G. Sokolova, A.V. Sveshnikova. Since 1972 hands. Moscow founded by him. chamber choir, since 1987 (simultaneous) artistic director of the State. rus. choir. Since 1978 professor (in 1971-79 rector) Musical pedagogy. Institute named after Gnesins. USSR State Prize (1982).

Dmitryak Gennady Aleksandrovich - choral and opera-symphony conductor, Honored Artist of Russia, artistic director and chief conductor of the State Academic Choir of Russia named after A.A. Yurlov and the Moscow Kremlin Chapel, Associate Professor of the Department of Choral Conducting of the Russian Academy of Music. Gnessin.

Requirements for a choral conductor

Excellent command of conducting technique;

Be able to correctly place choir members into parts in accordance with their singing voice and range;

Easily navigate the diversity of musical works of different styles, eras, movements, know the theoretical foundations of recording and reading choral scores;

Have a keen ear for music, a sense of rhythm, and a developed artistic taste.

Genres of choral music

VILLANELLA(Italian village song) - Italian song of the 15th-16th centuries, mostly 3-voice, with pair al. movement of voices, lively character, lyrical or humorous content.

CANON(Greek norm, rule) - polyphonic. musical. form based. on a strict continuous imitation, in which. the voices repeat the melody of the leading voice, entering before the previous one ends. The Canon is distinguished by the number of voices, the intervals between them (Canon in prima, fifth, octave, etc.), the number of themes imitated simultaneously (Canon simple; double, for example in No. 4 of Mozart’s Requiem, etc.), the form of imitation (Canon in increase, decrease). In the so-called endless canon, the end of the melody passes into its beginning, so the voices can re-enter any number of times. In the canon with a “variable indicator” (Vl. Protopopov), during imitation, the melodic pattern and rhythm are preserved, but the intervals change. Canonical imitation, in one form or another, is often used in choirs. op.; There are plays written in the form of K. (“Echo” by O. Lasso, “Song of the Lark” by F. Mendelssohn, arrangement by N.A. Rimsky-Korsakov “I Walk with the Loaches”, etc.).

KANT(from Latin, cantus - singing, song) - a type of ancient choral or ensemble song a cap. Originated in the 16th century. in Poland, later - in Ukraine, from the 2nd floor. 17th century - in Russia, becoming widespread as an early type of city song; to the beginning 18th century - a favorite genre of home, everyday music. At first the cant is a song-hymn of religious content, later it is imbued with secular themes; edges appear. lyrical, pastoral, table, comic, camp, etc. In the era of Peter the Great, panegyric cants, the so-called. viva; performed by choirs of singers during festivals and triumphal processions, accompanied by cannon fire, fanfare and bell ringing. Stylistic features of cant: couplet form, subordination of musical rhythm to poetic rhythm; rhythmic clarity and smoothness of the melody; predominantly 3-voice structure with parallel movement of the 2 upper voices, bass is often melodically developed; imitation also occurs. In the cant there is a natural relationship between melody and harmony, balance of harmonic functions - subdominants, dominants, tonics. B. Asafiev points out that “in the evolution of music in the second half of the 18th and early 19th centuries. Kant becomes a kind of short encyclopedia of the triumphant homophonic style” (“Musical Form as a Process”, Leningrad, 1963, p. 288). Cants were distributed in handwritten collections, without indicating the authors of the text and music, although poems by modern poets Trediakovsky, Lomonosov, Sumarokov and others were often used. The first images were made according to the type of cant. adv. songs. Gradually the cant became more complex, acquiring the features of a romance. Later (in the 19th century), soldiers', drinking, student, and partly revolutionary songs were created on the basis of cant. The influence of Kant is also found in Russian. classical music, Glinka (“Glory” from the opera “Ivan Susanin”), etc.

CANTATA(Italian cantare - sing) - a work for solo singers, choir and orchestra, of a solemn or lyrical-epic nature. Cantatas can be choral (without soloists), chamber (without choir), with or without piano accompaniment, single-movement or consist of several complete numbers. A cantata usually differs from an oratorio (which is similar in means of expression) in its smaller size, uniformity of content, and less developed plot. The cantata originated in Italy (17th century), first as a piece for singing (as opposed to a sonata). This means that the cantata takes its place in the work of J. S. Bach, who wrote cantatas on spiritual, mythological and everyday subjects. In Russia, the cantata appeared in the 18th century and reached development in the 19th and 20th centuries: solo theatrical cantata (“Black Shawl” by Verstovsky), greeting, anniversary, lyrical, lyrical-philosophical cantatas (“Farewell songs of the students of the Catherine and Smolny Institutes” by Glinka ; “Moscow”, “To Joy” by Tchaikovsky; “Svitezianka” by Rimsky-Korsakov; “John of Damascus”, “After the Reading of the Psalm” by Taneyev; “Spring”, “Bells” by Rachmaninov; “Cantata for the opening of the monument to Glinka” by Balakirev, etc. d.).

The cantata genre was developed in the works of Soviet composers, especially in works on historical, patriotic and modern themes (“Alexander Nevsky” by Prokofiev, Symphony-cantata “On the Kulikovo Field” by Shaporin, “Cantata about the Motherland” by Harutyunyan, etc.). The modern German composer K. Orff wrote stage cantatas (Carmina Burana and others).

MADRIGAL(Italian) - lyrical song in native language. (unlike chants in Latin, language), initially monophonic. In the early Renaissance (14th century) it was performed in 2-3 voices. In the late Renaissance (16th century) it occupied the center, a place in secular music, representing a single-part or multi-part vocal composition of a polyphonic composition for 4-5 voices; was also distributed outside of Italy. The madrigal genre is predominantly lyrical, closely related to the poetic text (even to the point of illustrating individual words). Having developed in aristocratic circles, the melodic madrigal (unlike frotolla, villanelle, chanson, etc.) is far from folk music and is often too sophisticated; At the same time, it also had a progressive meaning, expanding the range of images and expressive means. The English madrigal of the 16th-17th centuries is simpler, associated with folklore, and more emotional. (T. Morley, D. Dowland, D. Wilby). By the 17th century The madrigal departs from the vocal polyphonic style, emphasizing the solo voice with instrumental accompaniment. Outstanding masters of the madrigal (at different stages of its development) were Arkadelt, Willart, A. Gabrieli, Palestrina, Marenzio, Gesualdo, Monteverdi.

MOTET(from French mot - word) - vocal genre. polyphonic. music. Initially, in France (12-14 centuries), several motets were combined in a motet. (most often 3) independent melodies with different texts: in the lower voice (tenor) - church. chant on a Latin text, middle (motet) and upper (triplum) - love or comic songs in spoken French. The Catholic Church fought against such “vulgar motets”, opposing them (from the 15th century) with polyphonic chants based on a single Latin text. Madrigals were written for choir a cap. (from the end of the 16th century and with accompaniment), consisted of several (2, 3 or more) sections, in polyphonic, and often in chord structure. In the 17th century motets for soloists with instrumental accompaniment arose.

OPERA CHORUS- one of the main components of a modern opera performance. In connection with the era, genre, and personality of the composer, the chorus in the opera plays a different role from creating an everyday background, a decorative element, a participant in the prologue, interludes to chapters. acting person. In opera seria (“serious opera,” 17th–18th centuries), the chorus was almost absent; in opera buffa (“comic opera,” 18th century) it appeared sporadically (for example, in the finales). The role of the chorus as a bearer of the image of the people in the operas of Gluck and Cherubini has been strengthened, although often the chorus. the scenes in them have an oratorio-static character. Greater dramatic significance was given to the chorus in Western European operas of the first third of the 19th century, in Rossini (“William Tell”), Verdi (“Nabucco”, “Battle of Legnano”), with their images of the heroic people; in Meyerbeer's opera, the participation of the choir emphasizes the dramatic climaxes. In lyric opera of the 19th century. the choir contributes to the creation of an appropriate atmosphere, national color, mood (op. Bizet, Verdi, Gounod); in folk opera, choruses are of a genre nature, close to folk song and dance (op. Monyushko, Smetana). Rus. secular choral art was first represented by opera choirs (18th century, op. Fomin, Pashkevich, etc.); and in the future, choirs occupy a large place in Russian. operas, being “the cornerstone dogma and affirmation of nationality and democracy” (B. Asafiev). Opera and choral creativity of Russian. composers is exceptionally diverse.

In historical and patriotic operas (“Ivan Susanin” by Glinka, “Prince Igor” by Borodin, “The Woman of Pskov” by Rimsky-Korsakov, etc.), the chorus becomes the main character, along with the heroes. Especially (the choir acquired great importance in the folk musical dramas of Mussorgsky (“Boris Godunov”, “Khovanshchina”), where the image of the people is presented in a multifaceted way, in development. In the Russian everyday operas of Verstovsky (“Askold’s Grave”), Dargomyzhsky (“Rusalka”) , Serov (“Enemy Power”), Tchaikovsky (“Cherevichki”, “The Enchantress”), etc. there is a close connection with folk song. National originality is reflected in the choral scenes of operas related to oriental themes (“Ruslan and Lyudmila” by Glinka, “ Demon" by Rubinstein, "Prince Igor" by Borodin, etc.). Choral means are used in the depiction of fairy-tale, fantastic plots (op. Glinka, Verstovsky, Rimsky-Korsakov). The choir is also used in oratorio, usually in the prologue, epilogue (operas Glinka, Serov, Rubinstein, Borodin, etc., in the performance of hymns, etc. (“The Maid of Orleans” by Tchaikovsky, “Khovanshchina” by Mussorgsky, etc.) The traditions of the active participation of the choir in Russian classical opera are continued in Soviet musical creativity: operas by Russian Soviet composers “War and Peace”, “Semyon Kotko” by Prokofiev, “The Decembrists” by Shaporin, “Katerina Izmailova” by Shostakovich, “Emelyan Pugachev” by Koval, “Quiet Don” and “Virgin Soil Upturned” by Dzerzhinsky, “October” by Muradeli, “ Virineya" by Slonimsky and others, many national operas contain separate choruses and developed choral scenes. An opera choir has its own specific performance characteristics: first of all, great brightness, prominent nuances (similar to decorative design), emphatic text, its ability to “fly through the orchestra” into the auditorium. Since the opera chorus is often on the move, special confidence and independence are required for each member. To develop these qualities, in some groups singers learn timing when studying their parts. The presence of mise-en-scenes, in which the choir does not see the conductor, necessitates the so-called. broadcasts (conductor's tempo) conducted from behind the scenes by choirmasters; at the same time, in order to achieve synchronicity of performance, some advance is made to the conductor’s “points” (more or less, depending on the depth of the choir).

ORATORIO(from Latin, wow - I say, I pray) - a large musical work for choir, soloists, orchestra; comp. from vocal ensembles, arias, recitatives, complete orchestral numbers., the oratorio arose in Italy at the turn of the 16th-17th centuries, almost simultaneously with the cantata and opera and is close in structure to them. It differs from the cantata in its larger size, developed plot, epic-dramatic character, and from the opera in the predominance of the narrative element over the dramatic development. The oratorio developed from dramatized laudas (spiritual hymns of praise) performed in special rooms at the church - oratorios. A special type of oratorio is the Passion; in structure and type, the oratorio also includes the mass, requiem, “Stabat Mater”, etc. The oratorio genre reaches its peak in the works of Bach and especially Handel, who created the type of heroic-epic oratorio; Haydn's oratorios are marked by genre-everyday and lyrical-philosophical features. In the 19th century prod. The oratorio genre was created by Mendelssohn, Schumann, Berlioz, Brahms, Dvorak, Liszt, Verdi and others in the 20th century. - Honegger, Britten and others. The first means the Russian oratorio “Minin and Pozharsky” by Degtyarev; A. Rubinstein created a number of oratorios (“Babylonian Pandemonium”, “Paradise Lost”, etc.). The operas of Russian classics widely use oratorio style techniques in the form of large choral scenes (“Ivan Susanin”, “Ruslan and Lyudmila” by Glinka, “Judith” by Serov, “Prince Igor” by Borodin, “Sadko” by Rimsky-Korsakov, etc.). The oratorio genre is widely used by Soviet composers when embodying historical and modern themes (“Emelyan Pugachev” by Koval, “The Tale of the Battle for the Russian Land” by Shaporin, “Song of the Forests” by Shostakovich, “On Guard of the World” by Prokofiev, “Requiem” by Kabalevsky, “ Mahogany" Zarina et al.).

SONG- the simplest and most widespread form of vocal music, combining a poetic image with a musical one. Characteristic of a song is the presence of a complete, independent, melodious melody, simplicity of structure (usually a period or 2-, 3-part form). The music of the song corresponds to the general content of the text, without detailing it (for example, in a very common verse song). There are folk and professional (produced by composers) songs, differing in genres, origin, composition, etc. The common genre of choral song is: folk song (peasant and urban), Soviet mass song, department. choirs of Russian and Soviet composers. In Western European music, choral song was cultivated by romantic composers (Weber, Schubert, Mendelssohn, Schumann, Brahms). In a figurative sense, the term is a song. or song (to emphasize the epic, solemnity, poetic sublimity of the work) are used in the titles of major musical works, cantatas (for example, “Song of Fate”, “Triumphal Song” by Brahms).

CHORAL- religious chant in the Catholic and Protestant churches. The Protestant polyphonic chant (introduced in the 16th century by the leaders of the Reformation) was performed by the entire community in German (contrasted with the unison Gregorian chant, which was sung in Latin by special male singers). The melodies of the chorale are characterized by a sedentary rhythm. The chorale (or simply chorale) is usually called. chord presentation of uniform durations in slow motion.

1. Hello! I am an educator additional education, teacher of choir class, voice and piano. I work in the children's creativity center of the Avtozavodsky district of Nizhny Novgorodbased on school No. 63with in-depth study of music.
2. Let me present to your attention a computer presentation “Russian conductors of our time”
3. First I will tell you who a conductor is.
   "Conductor" is a French word and it means "to lead." Accordingly, a conductor is the leader of an orchestral, operatic, and also choral group.Conducting is one of the most difficult types of musical performance. The conductor owns the artistic interpretation of the work. The choral conductor needs to monitor the formation of the choir, the correct and simultaneous pronunciation of the text, the correct start and entry. Conducting as an independent profession appeared in the second half of the 19th century. The conductor is the soul of the ensemble!
4. A conductor can lead a choral group, as well as an opera and symphony group. Another name for a choir conductor is a choirmaster.
5. I would like to introduce you to some Russian conductors of our time.
6. Pavel Kogan is one of the most famous conductors in our country. His creative career began more than 40 years ago. Kogan was born into a musical family. His parents, Leonid Kogan and Elizavet Gilels, are violinists. Kogan's debut as a conductor took place in 1972 with the USSR State Symphony Orchestra. Since 1989 he has been the artistic director and chief conductor of the Moscow State Symphony Orchestra (MGSO). Kogan also works with the best orchestras in the world. The conductor is a laureate of the State Prize of Russia and bears the title “People’s Artist of Russia.” In addition to the prize, Kogan has many Russian and international awards.
7. Gergiev Valery Abisalovich was born on May 2, 1953 in Moscow. He grew up in North Ossetia. At the age of twelve he entered the Leningrad Conservatory to study conducting. As a student he took part in the Herberg von Karajan international conducting competition in Berlin. There he took an honorable second place. After graduating from the conservatory, Gergiev was accepted as an assistant at the Kirov Theater. In 1978 he conducted Prokofiev's opera War and Peace. Gergiev later led the State Symphony Orchestra of Armenia. In 1988 he took the place of chief conductor of the Kirov Theater. Gergiev organized his own festival dedicated to Mussorgsky’s operas, and subsequently thematic festivals under the direction of the conductor became a tradition. Gergiev is also the chief conductor of the London Symphony Orchestra. He is the winner of international and Russian awards.
8. Spivakov Vladimir Teodorovich was born in 1944 in the city of Ufa. His mother, Ekaterina Osipovna Weintraub, graduated from the Moscow Conservatory in piano. In 1955, Spivakov studied at the music school at the Moscow Conservatory. In 1968 he graduated from the conservatory, and in 1970 he graduated from graduate school under the guidance of Yuri Yankelevich. In 1979 he founded the Moscow Virtuosi chamber orchestra and continues to direct it to this day. Spivakov is also the director of the music festival in Colmar. In 2001, Vladimir Teodorovich organized the Moscow International Festival in Moscow. He has worked with many American and European orchestras. In 1994 he foundedVladimir Spivakov International Charitable Foundation . He is an Honored Artist of the RSFSR, People's Artist of the USSR, People's Artist of Ukraine, etc.
9. Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. He studied at the Lviv Special Music School. He graduated from the Moscow Conservatory in 1976. He is the founder of the Moscow Soloists chamber orchestra. Yuri Bashmet is also a violist. Since 1996 he has been a professor at the Moscow Conservatory. In 1996creates and heads the “Experimental Viola Department” at the Moscow Conservatory. Since 2002 he has directed and conducted the State Symphony Orchestra “New Russia”. He has worked with the Berlin, New York Philharmonic, Chicago and London Symphony Orchestras. He is a People's Artist of the USSR and a laureate of four State Prizes of the Russian Federation.
10. I would like to end my methodological report with a quote from Valery Filatov: “If a choir does not have a conductor, everyone tries to “outshout” the other.”
    The conductor, it’s like a hint, it’s like a magic wand that with gestures says where and who needs to enter, where to pause, it’s like he helps the orchestra (choir), inspires it and gives it his positive energy.
11. Thank you for your attention!

The film industry cannot exist without directors, the literary and publishing industry cannot exist without editors, and fashion projects cannot exist without designers. The orchestra leader ensures the organic interaction of all instruments during the performance. The conductor is the main character on the stage of a philharmonic society, concert hall or any other musical venue.

Virtuosos

The coherence of a symphony orchestra and the harmonious sound of numerous musical instruments is achieved through the skill of the conductor. It is not for nothing that the most talented of them are awarded various high ranks and titles, and are popularly called “virtuosos.” Indeed, impeccable control of the conductor’s baton allows each musician sitting in the orchestra pit to convey all the nuances of the creative impulse. A huge symphony orchestra suddenly begins to sound like a single whole, and the musical composition is revealed in all its splendor.

Famous conductors are united on the basis of skill; they all went through the school of high art; popularity and recognition of the general public did not immediately come to them. It has gained popularity over the years. For the most part, well-known conductors, in addition to their concert activities, teach, conduct training courses for young musicians, as well as master classes.

Self-sacrifice

The art of conducting an orchestra requires many years of practice, continuous improvement, which results in endless rehearsals. Some famous conductors are distinguished by their special creative tenacity, bordering on self-sacrifice, when personal life is relegated to the background and only music remains. However, this situation is good for art.

The most famous conductors are bound by contracts with certain musical groups, and this gives them the opportunity to achieve a high level of performance. At the same time, general mutual understanding is necessary, which will subsequently serve as the key to successful concert activities.

Famous opera conductors

In the world music hierarchy there are names that everyone knows. The names of famous opera conductors can be found on posters, billboards, and cruise ships are named after them. This popularity is well deserved, since few people are still able to devote their entire lives, without a trace, to music. The most famous conductors travel around the world, touring with various musical groups or leading orchestras in major music centers. Opera performances require special coordination of the orchestra when accompanying vocal parts, arias and cavatinas. In all music agencies you can find out the names of famous opera conductors who can be invited for a season or a series of performances. Experienced impresarios know the working style and character traits of each person. This helps them make the right choice.

Famous conductors of Russia

Music, especially opera, has many components. There is also an orchestra, which includes a variety of instruments: winds, strings, bows, percussion. Soloists, vocal performers, choir and other participants in the performance. The disparate fragments of the opera performance are united into one whole by the director of the performance and the conductor of the orchestra. Moreover, the latter actively participates in the action from beginning to end. In Russia there are conductors who, with their music, direct opera along the only true path that leads the viewer to real art.

Famous conductors of Russia (list):

• Alexandrov Alexander Vasilievich.
• Bashmet Yuri Abramovich.
• Borisovna.
• Vladimirovich.
• Bronevitsky Alexander Alexandrovich.
• Vasilenko Sergey Nikiforovich.
• Garanyan Georgy Abramovich.
• Gergiev Valery Abisalovich.
• Gorenshtein Mark Borisovich.
• Aleksandrovich.
• Evtushenko Alexey Mikhailovich.
• Ermakova Lyudmila Vladimirovna.
• Kabalevsky Dmitry Borisovich.
• Kazhlaev Murad Magomedovich.
• Kogan Pavel Leonidovich.
• Lundstrem Oleg Leonidovich
• Mravinsky Evgeniy Alexandrovich.
• Svetlanov Evgeny Fedorovich.
• Spivakov Vladimir Teodorovich.

Every famous Russian conductor can successfully lead any foreign symphony orchestra; a few rehearsals are enough for this. The professionalism of musicians helps to overcome the differences in styles.

World celebrities

Famous conductors in the world are talented musicians recognized by the general public.

Pavel Kogan

The most famous Russian conductor, who has been giving the world his art for more than forty years. His popularity is unprecedented. The maestro's name is on the list of the ten greatest modern conductors. The musician was born into a family of famous violinists, Leonid Kogan and Elizaveta Gilels. Since 1989, he has been the permanent artistic director, as well as the Chief Conductor of the Moscow State Symphony Orchestra (Moscow State Symphony Orchestra). At the same time, he represents Russia in major music centers in America.

Pavel Kogan performs all over the world with the best symphony orchestras, his art is considered unsurpassed. The maestro is from Russia and bears the title “People’s Artist of Russia”. Pavel Kogan also has many awards, including the Order of Merit for the Fatherland and the Order of the Arts.

Herbert von Karajan

The world-famous Austrian-born conductor Herbert von Karajan (1908-1989) was born into a family of Greek immigrants. At the age of eight he entered the Mozarteum Conservatory in Salzburg, where he studied for 10 years and acquired basic conducting skills. At the same time, young Karayan mastered playing the piano.

The debut took place in 1929 at the Salburg Festival Theater. Herbert conducted the opera Salome. In the period from 1929 to 1934 he was the Chief Kapellmeister in the theater of the German city of Ulm. Then Karajan stood for a long time at the conductor's stand of the Vienna Philharmonic Orchestra. At the same time he performed Charles Gounod's opera "Walpurgis Night".

The conductor's finest hour came in 1938, when Richard Wagner's opera "Tristan and Isolde" in his performance was a huge success, after which Herbert began to be called "Miracle Karajan".

Leonard Bernstein

American conductor (1918-1990), born into a family of Jewish immigrants. Musical education began for Leonard as a child, he learned to play the piano. However, the boy gradually became accustomed to conducting, and in 1939 he made his debut - young Bernstein performed a composition of his own composition called The Birds with a small orchestra.

Thanks to his high professionalism, Leonard Bernstein quickly gained popularity and, already in his young years, led the New York Philharmonic Orchestra. Being a comprehensive creative person, the conductor studied literature. He has written about a dozen books dedicated to music.

Valery Gergiev

The famous conductor Valery Abisalovich Gergiev was born on May 2, 1953 in Moscow. At the age of nineteen he entered the Leningrad Conservatory. As a student he took part in the international conducting competition in Berlin, where he took second place.

After graduating from the conservatory in 1977, the young conductor was accepted as an assistant at the Kirov Theater. Valery Gergiev became his mentor and already in 1978 stood at the controls and performed Prokofiev’s opera “War and Peace”. In 1988, he replaced Yuri Temirkanov, after his departure to the Leningrad Philharmonic.

The year 1992 was marked by the return to the Kirov Theater of its historical name "Mariinsky Theatre". The theater audience in St. Petersburg, in order to attend opera performances, makes reservations in advance, months in advance. Today Valery Gergiev is the theater's chief conductor and its artistic director.

Evgeniy Svetlanov

The famous conductor, Russian and international, Evgeniy Fedorovich Svetlanov (1928-2002) left a noticeable mark on the cultural heritage of Russia. He holds the titles “Hero of Socialist Labor” and “People’s Artist of the USSR”. He is a laureate of the Lenin and State Prizes of the USSR.

Svetlanov’s creative career began immediately after graduating from the Gnessin Institute in 1951. He continued his studies at the Moscow Conservatory in the class of opera and symphony conducting and composition.

The debut took place in 1954 on the stage of the Bolshoi Theater in a production of Rimsky-Korsakov's opera "The Pskov Woman". From 1963 to 1965 he was chief conductor of the Bolshoi Theater. During his work, the level of opera performances increased noticeably.

In 1965-2000 combined work as artistic director and chief conductor of the State Symphony Orchestra of the USSR (later Russia).

Vladimir Spivakov

Russian conductor Vladimir Teodorovich Spivakov was born in 1944 in the city of Ufa. He graduated from the Moscow Conservatory in 1968 and postgraduate studies in 1970.

Vladimir Spivakov studied his craft at the Gorky Conservatory with Professor Israel Gusman. Later he took a special course in the USA, with Leonard Bernstein and Lorin Maazel.

Currently, he is the permanent director and conductor of the Moscow Virtuosi chamber symphony orchestra, which he personally organized in 1979. He has performed with European orchestras and US musical groups. He has conducted at the La Scala Theatre, the Accademia Cecilia, the Philharmonic of the German city of Cologne and the French Radio. He is the president of the International House of Music in Moscow.

Yuri Bashmet

Russian conductor Bashmet Yuri Abramovich was born on January 24, 1953 in Rostov-on-Don. People's Artist of the USSR. Winner of four State Prizes of the Russian Federation.

In 1976 he graduated from the Moscow Conservatory. In 1972, while still a student, he acquired a viola violin by the Italian master Paolo Testore, made in 1758. Bashmet still plays this unique instrument today.

He began active concert activity in 1976, and two years later received a teaching position at the Moscow Conservatory. In 1996, Yuri Bashmet created the “Experimental Viola Department”, where viola parts in symphonic, opera and chamber music are studied. At the same time he received the title of professor at the Moscow Conservatory. Currently engaged in active charitable and social activities.