Helikon Opera

Helikon Opera is a Russian opera company based in Moscow, specializing in unconventional productions.[1][2] Their main performing base is the 250 seat Mayakovsky Theater, the former ballroom in the palace of the Shakhovskoi-Glebov-Streshneva family who were patrons of the arts in 19th century Moscow. The company was founded by Dmitry Bertman and gave its first performance, Stravinsky's Mavra, on April 10, 1990.

Helikon Opera gives 200 performances a year, primarily in Moscow but also abroad, performing in the UK for the first time in 1997. The company's repertoire includes both mainstream works and rarely performed operas and chamber operas. In the past they have staged Fleishman's Rothschild's Violin, Hindemith's Hin und zurück and Prokofiev's Maddalena and were the first company to revive Tchaikovsky's Undine (1994) and to stage Prokofiev's The Ugly Duckling (1992).[3] In October 2010, Helikon gave the first performance of Tchaikovsky's Mazeppa to be seen in Moscow in six years.[4]

During the restoration works on the palace, begun in 2006, the company has performed temporarily in a small theatre at 11 Novy Arbat.

Staff
  • Artistic director, stage director — Dmitry Bertman
  • Principal conductor — Vladimir Ponkin
  • Set and costume designers — Igor Nezhny and Tatiana Tulubieva
  • Director of creative groups — Ilya Ilin
  • Chief chorus master — Eugene Ilin
  • General manager — Viktoria Pavlova
  • Technical director — Rostislav Protasov

Soloists

Soloists with the company include:

  • Marina Andreeva (soprano)
  • Alisa Gitsba (soprano)
  • Anna Grechishkina (soprano)
  • Marina Karpechenko (soprano)
  • Elena Kachura (soprano)
  • Tatiana Kuindji (soprano)
  • Ekaterina Oblezova (soprano)
  • Inna Zvenyatskaya (soprano)
  • Ksenia Viaznikova (mezzo-soprano)
  • Elena Guschina (mezzo-soprano)
  • Elena Ionova (mezzo-soprano)
  • Irina Reynard (mezzo-soprano)
  • Larisa Kostiuk (mezzo-soprano)
  • Alexey Tikhomirov (bass)
  • Vadim Zaplechny (tenor)
  • Anatoly Ponomarev (tenor)
  • Dmitry Ponomarev (tenor)
  • Andrey Vylegzhanin (baritone)
  • Sergey Toptygin (baritone)
  • Dmitry Ovchinnikov (bass)
  • Mikhail Guzhov (bass)
  • Alexander Kiselev (bass)
  • Alexey Tikhomirov (bass)
  • Stanislav Shvets (bass)
  • Dmitry Skorikov (bass)
  • Alexander Miminoshwili (baritone)
  • Alexey Isaev (baritone)
  • Alexey Dedov (baritone)
  • Mikhail Nikanorov (baritone)
  • Konstantin Brzhinsky (baritone)
  • Maxim Perebeynos (baritone)
gollark: Communism is poorly defined too.
gollark: Star Trek doesn't have much of a coherent or sane economic system.
gollark: I said "not".
gollark: - I think automation is generally good as it could/should lead to less work generally or more intellectual/interesting jobs- people are not sure about whether there will be/are people who can't find work given increasing automation- if there are then it appears as if there are not functional systems in place to cope with it
gollark: Probably.

References
  1. CBS News."Russia's Love Of Opera" 17 March 1999.
  2. Charlton, Angela. Frommer's Moscow & St. Petersburg. Frommer's (2010) p. 183. ISBN 0-470-53763-9
  3. Stolyarenko, Lyudmila. "Rebels with a cause". Opera, Volume 48, Issues 7-12 (1997) pp. 1170-1171
  4. Hodouchi, Ayano. "Bad romance, Tchaikovsky style" Archived 2011-07-16 at the Wayback Machine. The Moscow News October 14, 2010.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.