Moscow City Symphony
Russian Philharmonic
ГБУК г. Москвы «Симфонический оркестр Москвы «Русская филармония»

Gayane Shiladzhyan: "Russian Philharmonic" is the popularization of classics!

Дата публикации: 
Tuesday, 17 October, 2017

Director of the Moscow City Symphony Orchestra "Russian Philharmonic" Gayane Shiladzhyan spoke about the battle of the orchestra for the attention of the general public.

With the orchestra "Russian Philharmonic" the situation in general is unique - this is the only full-size city orchestra in the city of Moscow. There are federal, there are regional - and city one. At the same time, the orchestra, based in MMDM, has developed an incredible activity - programs with computer graphics, accompaniment to the greatest pop and rock stars of the world and Russia ... Finally, the main conductor is Dmitry Yurovsky, from the glorious Yurovsky dynasty.

The director of the orchestra, Gayane Shiladzhyan, who was at the source of the creation of the "Russian Philharmonic", we met in her office in MMDM, just after the repair, and that caused by boxes with everything - disks, tea cups, diplomas ... And before big concerts with Queen & ABBA Symphony programs on October 22 in the Kremlin and "Golden hits of rock" on November 24 in the House of Music.

- How do you feel the work in the orchestra differs from the work in the theater? You worked in the "New Opera" and "Helikon".

- Theater is a sight. People come to listen to voices, see the direction, drama, scenery, costumes. With the opera house it's easier. This is a musical performance.

- Easier?

- Of course. With a symphony concert is more difficult. We are limited only by music. Our people do not have such a tradition - to regularly attend concert halls. All this happens very spontaneously or not at all. Now the tradition of going to the opera, to symphony concerts has just been laid. I hope that this is at least 1-2% of the population of Moscow.

"But is not that so everywhere?" Is it different in Cape Town?

"I do not work there." But in Europe there is already an established culture - on Sundays to go to church, and on Friday, Saturday, Sunday evening to attend secular musical events. And this tradition is adhered to even in the smallest provincial towns, for example, France, Austria, Germany, Italy.

"But Sting does not come to these small towns." And he comes to Paris, and there's a completely different situation there.

- This is a huge choice of a metropolis. I have to compete with our concerts of the Russian Philharmonic Society with the whole number of cinemas, restaurants, clubs, opera and drama theaters and with the biggest concert venues like the Kremlin, the Crocus, the Conservatory, the Tchaikovsky Hall. I need to interest the viewer, catch his attention!

Take, for example, "Masters and Margarita". Are you more willing to go to literature readings of the novel or to a performance?

- Personally, I'm definitely into the performance.

- Here's a factor in the spectacle. The same with the opera. The same material is reproduced, but the effect is different.

- But in the administrative sense, the theater is for sure more difficult - except musicians, there are still singers, directors ...

- It is always difficult to administrate. We all work, so my dear colleagues forgive me, in the sphere of serving the population, so to speak, a cultural product. I began to speak such an official language. Yes, we are losing the theater in a spectacular way. But the orchestra has the opportunity to offer the listener a live performance of his favorite musical works, invite to the concert star soloists, discover young names, give new life to famous rock and pop songs, can accompany opera divas or pop-rock legends. There would be a desire - then there will be ample opportunities, how it is possible to attract the viewer to the symphony orchestra concert. The question is: how to file this.

- And in a creative sense? I, when it comes to the orchestra "Russian Philharmonic", immediately thought that it was something fashionable ... different genre. But these words are mostly abusive in the academic environment.

- Yes, I want our orchestra to be fashionable and popular! And most importantly, the concerts that we do are a very high-quality product. Perhaps a new word or the opening of a new musical genre for a wide audience. Because the musical academic audience at the best is 0.5% of the total population of Moscow, and I strive to expand it by at least 15-20%, attract young people to concert halls, remove the stereotype that the symphony orchestra concert is boring and not interested. Yes, I want it to be fashionable. Nothing wrong with this I do not see. The main thing is that the musicians of the orchestra "Russian Philharmonic" in any genre remain the highest professionals and play with pleasure. After all, it's not just that everybody celebrates the special energy of our concerts.

- Have there been cases when academicians refused to cooperate with the orchestra for this reason?

- Nobody can reproach the orchestra "Russian Philharmonic" in the fact that we issue a substandard product. We are even jokingly called SOBR, a symphonic orchestra of rapid reaction. In principle, the ancestor of this genre is Leonard Bernstein. The musical "West Side Story" was written in the genre of the symphony crossover. Then the London Symphony Orchestra picked up this idea, and there were so-called concerts in jeans, as well as recordings of symphony orchestra albums with groups of Beatles, Led Zeppelin, Michael Jackson and others.

"But the filth is poured?" Already about the "Helicon" how much they say, but about you and even more ...

- Apparently, this is the fate of modern art. It is much easier to criticize than do something good yourself. I do not know what they say about "Helikon" - we go exactly in the middle. We have a clear balance of classical academic concerts and concerts of other genres. Special skill of our musicians: after the microphone rock concerts to switch and play Mozart.

- And how do you achieve this? Do you have separate rehearsals for microphone concerts?

- First of all, it depends on who is behind the conductor's panel. Each concert has its own rehearsal schedule.

- Why did the "Russian Philharmonic" undertake to play such programs - rock concerts, soundtracks for Hollywood militants?

- This is not a concert from the soundtrack, it's a new concert genre of live cinema. The audience watches a full-length film with titles from start to finish, but all the soundtracks are listened to in the live performance of the symphony orchestra. This genre is gaining popularity. We have already performed Gladiator, Godfather, Pirates of the Caribbean, Titanic, The Lord of the Rings. When you hear this soundtrack, you understand that it was impossible to write other music for this story. Ahead of us is a new work with "Aliens". In general, I dream to play the film "The Bodyguard", there is neither a song, it is a hit, as in the "Godfather".

- You also sounded "Metropolis" Fritz Lang.

- Yes, it was our first job. There was the original music of Gottfried Huppertz from the original soundtrack of the film. For orchestra in such projects the main thing is concentration and endurance. In the case of Metropolis - it's a silent film and 2 hours and 40 minutes of pure music, without pauses, without dropping the instrument! Heavy.

- And the musicians don't they tell you - that it would be better to play Rachmaninov !

- We play Rachmaninov, and Tchaikovsky. Just the time dictates finding new forms of concerts.

- And the story with the soundtracks - is it because of the money?

- Not only. It is important to expand our repertoire and audience. The financial component, of course, is also important. Unfortunately, we do not receive a grant like all federal orchestras, and therefore the earned money goes to the salary fund of the orchestra in order to approach the salary level of the orchestra grantees in Moscow.

- The Moscow government gives you only a salary?

- Yes, the funding goes to salaries and taxes. Approximately 30% of our earned money goes also to salaries for musicians, and the rest - to our economic activities: this includes renting halls, paying invited soloists, and advertising. To begin with, no one is working like the Russian Philharmonic. We have a full-cycle concert organization. First you need to think up a concert, rent a hall, pick up soloists and conductor, make advertisements, distribute tickets ...

- So you justify the name "Russian Philharmonic"?

- Completely.

- Last year you played with "Bi-2" on "Nashestvie", and it was noticeable.

- We have been cooperating with Lev and Shura for the first time. We have joint plans until 2020. The musical material of the children is very rich. The Symphony Orchestra is an equal partner and a full participant in the show.

- On the "Nashestvie" you said that I would like to see the 200 thousand people listening to you at the rock festival, come to your concerts. They came?

"It's impossible to verify, but I hope." For example, when we worked in the Kremlin with the legendary Ian Gillan, at the end of the concert he said that the "Russian Philharmonic" - one of the best orchestras with whom he had worked. A few days later we play a classic concert. A young woman approaches me and says: "Gayane, I heard the" Russian Philharmonic "for the first time at the Gillan concert, now I bought a ticket to your classical concert. I never thought that an orchestra that plays rock can play the classics so magnificently. Thank you for that".

- In general, what kind of audience do you have?

- We have different audiences. We try to focus on the youth. Today the listener came to the "Classic of rock", tomorrow - to "Mad dances", then will go to Vivaldi and Piazzolla. And Tchaikovsky and Rachmaninov are not far off! We are engaged in the popularization of classics for the general public.

- Is this enlightenment voluntary, or was it originally intended to create this orchestra?

- It's all interconnected! The orchestra was created to popularize philharmonic activities. But no one is interested in working in an empty room. There will be an uninteresting program - there will be empty rooms. Do not expand the repertoire of the symphony orchestra - you will see in the hall, mostly gray heads. Now time is different, and the orchestra should be different - modern, fashionable. After all, look how the performances in theaters began to differ. I'm not saying that they are all good or bad, they are different.

- And what was the idea of ​​creating a city orchestra? Initially, it was the orchestra of the TV-6 channel. After all, there are many orchestras in Moscow ...

- Yes, since 1996 on the channel "TV-6 Moscow" was created a media orchestra. In May 1998, I went to the orchestra, just before the default. Since September, the channel for obvious reasons has stopped financing the orchestra and the age-old question has come: what to do? At that time in the Moscow Committee for Culture there were about 100 theaters, but not a single orchestra. So the idea of ​​creating the orchestra of Moscow appeared. And now somewhere in London, the heart contracts with pride when they announce: Moscow City Symphony Russian Philharmonic. Believe me, it's very joyful to hear from the stage Royal Hall Festivals, Sentori Hall or Brucknerhouse. Yes, we are the orchestra of Moscow!

- It was a bold step. You drive around Russia, and when you hear about the provincial or municipal orchestra, they are dragging out a miserable existence.

- It all depends on the leadership. At one time in 2008 the Moscow Mayor made special financial conditions for us. But for ten years, unfortunately, this amount has not grown, but on the contrary.

- Obviously, your orchestra is the brainchild of Luzhkov. Does Sobyanin come to your concerts?

- Of course. We have a few photos from the concerts, where Sergei Semenovich on the background of the orchestra. He even opened our concert at VDNKh.

- How do you divide the area of ​​the House of Music with the teams of Spivakov? Is there a formal division?

- Of course, we are grateful to the Moscow Government and Vladimir Teodorovich Spivakov that in the capital there is our wonderful house - the House of Music. Now it's even hard to imagine how 15 years ago musical Moscow lived without it.

At us all is formally registered. In the House of Music there are two orchestras under Spivakov: the National Philharmonic Orchestra of Russia and the Moscow Virtuosi Chamber Orchestra, the Vladimir Spivakov Charitable Children's Fund and the Moscow Philharmonic Symphony Orchestra. We cut the rehearsal areas according to the schedule.

- Do you rent the scenes at the House of Music?

- Yes. Thanks to the Government of Moscow, we have special conditions.

- I can not help but ask, how did your cooperation with the current chief conductor Dmitry Yurovsky start?

- In the first 10 years of becoming in the orchestra, not one principal conductor was replaced. Maybe because of my inexperience, maybe because of their incompetence. The conductor is the same musician, only with great authority. First of all, musicians of the orchestra should be interested in working with this conductor, and they should understand and respect him. The main conductor should be engaged in creativity. Because we are a young orchestra, and the conductor's profession in Russia is dying out, I decided to invite Dmitry Yurovsky, the youngest of the world's conductor dynasty. At that time, Dmitry was only 30 years old, and the "Russian Philharmonic" - 10 years. Most recently, we jointly opened our 18th season.

- Does it make it possible to combine work with you with the leadership of the Novosibirsk Theater?

- We agree a concert schedule and programs with Mitya for the year ahead. Sometimes, of course, there are lining, but it's all possible. The only thing that he practically lives on the plane.

- Why are there so many collaborations with pop and rock musicians, but there are almost no collaborations with jazz musicians?

- We have repeatedly collaborated with Denis Matsuev and his jazz trio, with Igor Butman, Vadim Eilenkrig. With Daniel Kramer we open the Christmas Christmas Fest on December 15th. And with Valery Grokhovsky on October 24 in the House of Music we have a big Gershwin-gala.

- Tell us about the upcoming Queen & ABBA concert in the Kremlin on October 22nd.

- This is the first concert in the Kremlin. It is dedicated to the 45th anniversary of the creation of the ABBA group. For the first time, the Swedish Eurovision winner, Charlotte Perelli, and the Swedish rock singers Magnus Baklund and Johan Boding come to Russia and the charismatic conductor Ulf Wadenbrandt, who this summer with the Russian Philharmonic Orchestra rocked the Kremlin with the concert "Classic of Rock. The Best. "

Honestly, I made this project for myself as a gift. I really love ABBA songs and admire the works of Freddie Mercury and Queen. In the concert - only gold hits of these two groups. For this show, there have been specially ordered orchestrations in Sweden and in London. One branch is ABBA, the other is Queen. It is very important when artists understand what they are singing about. Therefore, we invited the bearers of Swedish culture. The crazy energy from the drive of rock vocal and the power of the symphony orchestra will really cover the hall. That's how the cult hits Queen and ABBA will sound in a new way.

Vadim Ponomarev

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