By Anne Midgette At a press conference before the National Symphony Orchestra’s Moscow concerts in March, Olga Rostropovich, who founded the Rostropovich Festival in the name of her famous father, listens to Kennedy Center
This year Olga Rostropovich dedicated the Mstislav Rostropovich Festival to the 90th birthday anniversary celebrations of Galina Vishnevskaya The Seventh International Mstislav Rostropovich Festival opened with a performance at the Grand Hall of the Conservatoire
This autumn in Moscow continued the celebration of the 175th anniversary of Tchaikovsky, and in October alone three different productions of Iolanta were put on at various venues. But unfortunately they were not all worthy
From the magazine MUZYKALNAYA ZHISN «MUSICAL LIFE» «The World Wide Web of Youth». Opera Assemblies of the Galina Vishnevskaya Opera Centre 2014/15 Olga Rusanova The magnificent idea to create an exchange of young opera artists
Olga Rostropovich, the daughter of legendary cellist Mstislav Rostropovich and singer Galina Vishnevskaya, spoke to Radio VR about her late mother, family life in New York, and cultural life in Moscow, which she calls extraordinary and incredible.
When an educational theater (and the Galina Vishnevskaya Opera Centre can be called one) takes on one of the most popular Russian operas, it can be one of two things: it’s either very self-confident and unaware of its real abilities or, on the contrary, it’s really strong. Great impressions of the premiere speak of the latter. “Boris…” is not a coincidence. It’s the tenth production of the Opera Centre, so one can envy the theatrical experience the students have there. The production has been of high quality from the outset, when the Opera Centre chose its directors: a Lithuanian conductor Gintaras Rinkevičius, a Macedonian director Ivan Popovski. Their charm, passion and attention to artists are worth mentioning. However, art director Valery Levental leads the way – he did the impossible – his huge cross made of textile icons organized the space of a flat stage and set a tone to the production. The cross served as the central square of the Kremlin, a monastic cell of Pimen, the Kremlin chambers. It was important for such a small stage that conditional production design didn’t look cheap but exhaustive as well as constructive, so that a monastery can be transformed into an inn within seconds.