Balzhan Hatan Biography

Despite the fact that she is about the dramatic episode of one of the Buryat tribes, it is at the same time about the actual and eternal, about the moral duty, which is more expensive than life, about the personal happiness laid on the altar of the happy future of the whole people. And led by the secret laws of the eternal blue sky, they awaken the Great Steppe.

The cultural code is the production of the artistic director of the Buryat theater of the opera and ballet Vladimir Rylov really made a lot of noise. Admiration, disputes, music, politics - a good premiere is always more than a stage act. The first in the new millennium is the national rock-musical is a metatrait message, the search for answers to new spiritual requests of the public as part of society.

What is called archetypal, which is in the nature of the Buryat ethnic group and where each viewer passes his own rubon from myth to foreboding. The very image of Balzhan Hatan, whose historical existence was overgrown with many versions, was brought to the forefront of social and sacred history as an enlarged personality embodiment, which, being a carrier of a myth, is “raised above the ordinary”.

In this regard, the internal connection of Balzhan Hatan is seen not with the heroic Buryat opera Enhe-Bulat Bator, but with the legendary ballet “Beauty Angara”, whose stage survivability is associated with archetypal “cultural codes” embedded in her music and action. The magic of the suggestiveness of the first and, perhaps, the main characteristic of the production is its suggestiveness - undivided artistic suggestion, perceived at the subconscious level.

The same magical art combines into one academic and pop vocals, a symphony orchestra and Buryat instruments, throat singing and a rock band indicate carefully verified acoustic balance and conducting score. Under the magical gesture of Vladimir Rylov, a new sound quality returned to life, provocative within the walls of the Academic Theater, but accepted “with a bang” by a young public.

Thanks to the maestro, Galina Shoydagbaev and Valentina Tsydypova, the role of Sorol, the mother of the heroine, returned to the stage life and legends of the Buryat opera. In the end, the return of the musical genre is the struggle for the viewer, the struggle is unequal, where all the “means are good”, and it is good that these funds become the best in skillful hands.

From the “camp” of the classic vocals, their “skill” and the stability of the class confirmed the masters of the scene Biligma Richinov Bulzhamur, Dam Zandanov and Eduard Zhagbaev Sagaan Lobson, father Balzhan, acting singers Badma Gombozhapov and Galsan Vandanov Buubei-Bayele, Sopranian sopranic skeleton was taken by the spectator. The Khorinsky family Dina Sandanova Balzhan Khatan and her juicy dramatically rich Metzo answered Maria Baldanova in the role of an evil zelme.

Geroine of the second day of the premiere, I would call Batchyg Sambuu, whose voice was reference and flexible followed by the image of Balzhan. However, in terms of episodes, the abundance of strong voices testified to excessive opera gravity, to break away from which it turned out to be an invitation to one of the key roles of the Buryat pop star of Madagma Dorzhieva. With her charisma and a strong pop voice, she gave a “rock-ooper” drive to a musical action.

A successful result of the vocal-acting casting was the appearance of the dramacter Chimit Dondokov on the opera scene. By the way, about music and her author, Sarantuei Pretsanova -Dmitrieva - a young Buryat composer, who lives and works in Moscow. Rock music x, Buryat melos, traces of academic genres-she managed to connect all this in an organic mixture. Suinity and abundance of conversational dialogs coming from the musical were compensated by the strong composer equipment, expressed in the harmonious interaction of the symphonic orchestra and rock group, a connection with the Buryat folk song and following the traditions that exist in the Buryat Opera, in particular, the episode of preparation for the swarm.

A well-forgotten genre by the first Buryat rock-musical, which was originally designated as a rock opera, “Balzhan Hatan” can be called conditionally. For Buryatia, this is a well -forgotten genre with its original trace. The history of the genre in the republic goes to the distant year, when the famous chormaster Boris Anatolyevich Kim put on our stage with a great ideological risk and under the phonogram of the rock opera “Romance of lovers” to the music of Alexander Gradsky.

Already a year later, the Buryat composer Viktor Usovich bravely took up the modern musical genre. He presented the audience “Song of Karchagina” and the first national rock opera based on the old Buryat legends “Touched Teaper Zear Dalaya” to the accompaniment of a living symphonic orchestra. As a true apologet of a “two-faced” genre, Viktor Alekseevich believes that symphony of through development and leitmotics should be maintained from the opera in it Heroes, and from rock - actually the performers themselves.It is no coincidence that V.

Usovich put his next rock operator of Medea, counting on pop stars and even sent the score of the Soviet stage alas as a “million red roses”, unrequitedly. Nevertheless, placed by Vladimir Rylov, on his first visit, a fragment of this rock opera, with the participation of a symphony orchestra and attracting rock-singers from Ulan-Udan restaurants, made such a splash that tickets were asked from stops.

We did not have a more appeal to the genre of the rock opera. It took the ballet as a driver thirty -three years and the third visit of Vladimir Rylov to rehabilitate such an easy and such difficult genre. Its complexity was not only in the style of multidimensionality, but also the performing multi -components. If the choir, as if in the ancient Greek tragedy, was an active participant and at the same time commentator on the events of Hormaster V.

Volchanetsky, M. Dambaev, then the ballet was the driver of the entire plot development. The author of the choreographic line of Alisa Shikina, taking advantage of the free genre framework and the spirit of the collective experiment, generously poured stylizes of Buryat dances in combination with elements of modern dance, such as jazz-Modern, Vogue, Contemporary.

Fighting scenes to assertive music were distinguished by beauty, and style organicity, markedly reviving the traditional, “Burdramovskaya” as one of the spectators, directed by Oleg Humov, which nevertheless corresponded to spectator expectations. The authentic theater drama was supplemented by the scenography and costumes of the production of SESEG Dondokova and Chimita Zundueva.

From memory to foreboding the soul, of course, was her musical director and conductor Vladimir Rylov. The scale of the personality has also formed the scale of the plan. It is not even about the coherence of the orchestra, the strength of all performing floors and the unconditional art of the premiere. This production accumulated a huge public request for the Buryat Opera and Ballet Theater: what is the musical theater suitable for the centenary of the republic, and most importantly, what spiritual resource can the theater in the era of tectonic faults?