For more than a decade and a half, the public went to the Moscow Novaya Opera to listen to the velvet baritone Vasily Ladyuk. On this stage, the singer was remembered for his bright and diverse roles., such as Eugene Onegin, Figaro, Germon, Prince Yeletsky…
It seemed, nothing can change the meeting place with Vasily Ladyuk. But unexpectedly for all fans a year ago, the artist leaves the capital's theater and becomes a "free artist". As it turned out, for a little while. With no less surprise, music lovers perceive the news that, that from this season Ladyuk joined the staff of the Perm Opera and Ballet Theater.
About traveling from Moscow to Perm, big plans at the Bolshoi Theater and passion for tennis Vasily Ladyuk told in an exclusive interview FAN.
“There was no talk about moving from Moscow”
— Vasily Vladimirovich, who invited you to the Perm Opera?
- Andrey Borisov called me to the Perm Opera House, now a former director (Andrey Borisov was appointed director of the Stanislavsky and Nemirovich-Danchenko Musical Theater in mid-November. — ca.. FAN).
Negotiations on this topic have been going on between us for almost the entire last year.. But in detail, we discussed my employment in early autumn. We considered various options for cooperation and in the end settled on, that 1 November I will enter the staff of the theater. This arrangement suited both parties.. So far we have signed a contract for one season.
- You negotiated some special conditions for yourself, especially in terms of repertoire?
- Due to the pandemic, it is now impossible to discuss any long-term plans. No one knows, how theaters will work tomorrow and whether they will work at all. Furthermore, In the Perm Territory, the situation with coronavirus is much more alarming, than in Moscow. Perm opera operates on a torn schedule: then closes, then opens, resuming performances.
Under a new contract, I participated in the play "Eugene Onegin" by Tchaikovsky. Despite the difficult epidemiological situation in the city and the special conditions associated with it, hall - with the obligatory restriction of the audience on 50 percent of the total number of places - was filled to the maximum. Tickets sold out instantly. We sang and played with full dedication. The audience accepted the performance with enthusiasm., rewarding the artists with a flurry of applause.
- After the departure of Borisov, can something go wrong with you?
— The contract is signed for a year. If the new management decides, that the theater does not need me, our cooperation after its expiration will naturally end.
At the moment I am not required to attend the weekly rehearsals. The schedule of my employment in theater performances is compiled taking into account my performances at other venues. So, in December, I did not originally plan performances in Perm, since this month I am busy at the Bolshoi Theater in the operas Iolanthe by Tchaikovsky and Don Pasquale by Donizetti.
- In other words, in Perm you will visit?
— About moving from Moscow, when we discussed terms, there was no conversation. The length of my stay in Perm will depend on the circumstances. If another performance, then this is one story. If we are talking about intensive work on a new production, the other. Will see, how everything will turn out.
"Chorus - like-minded people, soloists are individualists"
– Perm has an excellent culture of the festival movement. You do not plan to register your Opera Live festival in this city, which has so far been held in Moscow and St. Petersburg?
— Andrey Borisov and I discussed the prospects for organizing the Opera Live festival in Perm. As you know, I am its artistic director. But again, it's hard to think ahead now. For obvious reasons, our festival will no longer take place this year.. May be, closer to spring 2021 year, we will be able to present our project in some form. is he, I'm sure, will be of interest to the Permian public.
There are many festivals, but operatic, featuring prominent singers, so far there have been no gala performances. The Diaghilev Festival of Teodor Currentzis and Opera Live differ stylistically and conceptually.
- You graduated from the Moscow Sveshnikov Choral School and your main teacher not only in music, but in life you also consider the legendary choir conductor Viktor Sergeevich Popov. It was he who taught friendship to the graduates of the "horovushka"?
- Last December, as part of the Opera Live festival, we held a dedication concert to Viktor Sergeyevich in connection with the 85th anniversary of our Teacher. Many of Popov's students attended this evening. Among them were those, who has been living abroad. The concert was an event for them, for which many years later they flew to Russia.
And after it there was a traditional feast: in a pleasant atmosphere, everyone vividly recalled our "Sharovskoye" (Graduates of the choir school jokingly call their native “horovushka” “ball”. — ca.. FAN) childhood, youth. It was an evening of unusually happy, emotional communication.
- Do you allow, that the vocalists, once studied together, so happy together in a relaxed atmosphere?
- Well, At first, vocalists are different: soloists and choir singers. Soloists are often unkind, envious people (laughs). It's neither bad nor good. ordinary story, more precisely, the costs of the profession. Soloist, usually, - individualists: every man for himself. It's a matter of psychology. The choir is a group of like-minded people, whose motto is "Shoulder to Shoulder", "Back to back", "One for all, and all for one".
As for the students of the choir school specifically, it's a different level of communication. We not only sang, we lived, brought up, grew up together. It was a real choral brotherhood, which remains so to this day.. Even for the guys, with whom you did not seem to be friends in childhood, feel a sense of fraternal unity. And the center of our singing universe was the "great and terrible" and infinitely beloved Viktor Sergeevich Popov.
I am friends and often perform together with my classmates - now famous singers Dmitry Korchak and Nikolai Didenko, as well as with the talented conductor Mykola Azarov, leader of two well-known choirs (State Academic Moscow Regional Choir named after. A. D. Kozhevnikov and the Academic Choir of Russian Song of the Russian State Musical Television and Radio Center. — ca.. FAN).
- You often perform with the "Masters of Choral Singing" under the direction of Lev Kontorovich - also, by the way, graduate of the Moscow Choir School. Why there are negligibly few concerts of sacred music in modern posters?
- such concerts, really, Little, but there is interest, and among young people ... educated! That's the problem, and it exists not only in our country, but all over the world. lack of spirituality, declining interest in base culture, decline in education, substitution of concepts - all these are phenomena of today.
What can we talk about, if such institutions, as a choral or choreographic school - unique, which are centers of culture and cultural heritage of the country, wanted to make it public, t. it is. without the team, selections, relegating them to the level of secondary schools with some kind of bias.
Now is the time for empty wrappers. Youth is focused on making easy money under the roar of rap. Here is their culture. But, as Zinaida Gippius said:
But no complaints; what joy in crying?
We know, we know: everything will be different.
"In the period of professional heyday"
- Unlike many of his colleagues, you don't aspire to sing a lot in the West. Why?
- In the realities of today, my position seems to me quite logical. In connection with the lockdown in European and American theaters, the question may arise: where would you perform now?, let's, Anna Netrebko, if she had not retained Russian citizenship? This allowed her to move from Vienna without any problems during the period of transport restrictions., where she lives, to Moscow and St. Petersburg, where this autumn she performed with enviable constancy and gave the Russian public the pleasure of her luxurious singing.
- If you do not take into account the current situation, you feel more comfortable performing in Russia?
That soldier is bad, who doesn't want to be a general. I won't lie, and at the beginning of my career I dreamed of a big stage, including in the West. My dreams have come true, and creative ambitions were satisfied: I was lucky to perform on the stage of the Bolshoi and Mariinsky theaters, and also at La Scala, "Metropolitan Opera", Paris Opera, "Covent Garden" and other equally famous theaters. My international career is already developing successfully 15 years.
Coming, but, moment, when the number of covered theaters and their geography fade into the background. Today I can afford to participate only in those productions and in those theaters, which are of interest to me. I don't agree to everything. If domestic theaters offer me amazingly creative projects, I think it's unreasonable to refuse to participate in them.
In world opera literature, there are quite interesting baritone parts - different in terms of complexity and age.. There are plenty to choose from. This provides us with a fairly long life in the profession..
- several decades?
- Basses and baritones develop vocal maturity, usually, later, than tenors - somewhere to 30 years. So right now I'm in my professional prime.. All, of course, individually, but I hope, I have many years of active creative life ahead of me, theater and concert performances, which I would like to share with my audience.
To a wonderful singer, to our outstanding baritone Sergey Leiferkus next April will be 75 years, and he is in great shape.
- As I know, most recently you became a laureate of the 5th Onegin National Opera Prize, the president and chairman of the jury is just Sergei Leiferkus. In category "Star", if I'm not mistaken?
— I was pleased to be the recipient of this award., because Onegin is one of my favorite parties. It was in it that I made my debut on the opera stage - at the Novaya Opera Theater. I found myself in good company with my, Unfortunately, recently departed friend Alexander Vedernikov and Olesya Petrova. Alexander passed in the category "Recognition", and Olesya - in the category "Diva". Both of them took part in my festival "Opera Live"
What roles are you preparing for in the near future??
- Due to the pandemic, my debut in the new production of the Bolshoi Theater - Verdi's Un ballo in maschera - did not take place.. I had to sing the part of Renato. The performance was canceled. But I do not lose hope to act in this role.. I'm ready for it not only in vocal, but also in dramatic terms. Furthermore, I got along with her emotionally.
I am also supposed to take part in Mozart's Marriage of Figaro. I mean the game of the Count - again, at the Bolshoi Theater. All this will be. We just need to get through this difficult period for all of us..
- What are your hobbies, except singing?
I have traveled a lot around the world since childhood.. To save impressions - and there were a whole sea of u200bu200bof them - I became addicted to photography. Still haven't given up on this hobby. I love to cook, when time permits. Friends say, that i'm good at it. Well, and "gourmet" I'm not averse.
Recently got into tennis. Previously, only looked and hurt, and now moved to the active phase. Already logged in, what is called, in Game. I love: this and communication, and keeps fit. Our work is not physical., but it takes a lot of mental strength, psychologically exhausting. Tennis helps you recover. Taking a bath with friends, which also relieves stress.
— Closer work with the Perm Opera and Ballet Theater has become a kind of anti-crisis solution?
- I do not get you, What do you have in mind. but, regarding my professional employment, then there is no problem here. I actively cooperate with the orchestras of Vladimir Spivakov and Vladimir Fedoseev, busy at the Bolshoi Theater, I regularly receive invitations from other theaters - like ours, as well as abroad. Then another my festival.
The career of an artist consists of certain stages.. obviously, my stage at the New Opera Theater, who gave me a lot and to whom I will always be grateful as my first and unforgettable opera house, completed. The Perm Theater is known for its special place in the opera space, in particular the experimental approach, and in this sense offers new opportunities in creative development.
dossier
Vasily Ladyuk was born 14 December 1978 years in Prague, Czechoslovakia. AT 1997 graduated with honors from the Moscow Choir School named after A.. AT. Sveshnikova. AT 2001 graduated from the vocal and conducting-choral faculties of the Academy of Choral Art named after V.. FROM. Popova. FROM 2001 year on 2004 years of postgraduate study at the academy.
FROM 2003 year on 2019 year - full-time soloist of the Moscow theater "New Opera", and with 2007 of the year - guest soloist of the Bolshoi Theater. From November 2020 of the year - full-time soloist of the Perm Opera and Ballet Theater. In Russia, he took part in productions of the Mariinsky and Mikhailovsky theaters, Krasnoyarsk Opera and Ballet Theater, Tatar State Academic Opera and Ballet Theater named after Musa Jalil.
Debut performances at the Brussels Opera House La Monnaie and Barcelona's Teatro Liceo marked the beginning of a fast-paced international career as a singer.. The artist collaborates with the Paris National Opera, the theaters of Covent Garden, "La Scala", "Metropolitan Opera", Houston Grand Opera, New National Theater in Tokyo.
Has performed with prominent conductors and directors, including Valery Gergiev, Placido Domingo, Mikhail Pletnev, Vladimir Spivakov, Vladimir Fedoseev, Dmitry Yurovsky, Francesca Zambello, James Conlon, Andrey Konchalovsky, Gianandrea Noseda, Casper Holten, Dmitry Chernyakov.
He is the artistic director of the music festival "Opera Live".
Author: Irina Stolyarova
