Rybnikov: I did not want to write an opera!

Author of the famous rock opera, hit soundtracks for plays and films, recently completed work on a musical drama based on the novel by Leo Tolstoy's "War and Peace". Incidentally, the same Rybnikov - not just "Munchausen," "The Star and Death of Joaquin Murieta," "The Adventures of Pinocchio," is "On the Red Hat" and the legendary "Juno and Avos". But it turns out that the mass audience is associated only with the composer hits, and his other works (eg, symphonic and chamber music), it is not always known. - Do not hurt to know that the broad masses of the working people, you are in music for theater and film, as you are the author of symphonies? - That I do not like too, like Shostakovich not from the fact that its not despair rastirazhirovannosti identifiable by the Seventh Symphony and Mozart's 40th Symphony suffer. While there are composers to experience a toothache on the performance of his famous works. Hated Khachaturian "Sabre Dance". However, if the composer no memorable works ... - Should at least be a hit, do you think? - Sure. I share the fresh feeling. "Steering" opened its 85th Season, which marks 30 years of "Juno and Avos". Anniversary of the piece was dedicated skit in which the actors playfully moaned: they say, how we can use this "Juno" tired! We have no time for personal life. We play "Juno" from day to day, in Moscow, and on tour in Russia and abroad. And so 30 years. As you can! And great for the composer. Therefore, the game is on his music still collects halls, the audience is willing to pay for it, and the theater had to play this show. - You have recently completed work on a scene for a musical composition on the novel by Tolstoy provided "War and Peace". Who and when is staged? - This project was seven years. So his idea has nothing to do with the upcoming 200th Anniversary of the war to do in 1812. Just one day they came to me, the people that you do not have a genre that is in "Juno and Avos" not arisen develop. We have said that to do otherwise. I began to try to talk them: an opera by Prokofiev was to give it a classic, and if in a dispute with this masterpiece? They say, yes, there is Prokofiev, but Tolstoy's novel is so diverse, there are many characters that are motivated by his infinitely to compose theater. And I thought that the "War and Peace" - it really is a literature on which you can write operas, ballets, musicals, rock operas, whatever. This is our Russian asset, which may be embodied in many different forms of art. But in this work, I did not start a long time. Although gradually thought about it, and I began to gather musical material. When it reaches a critical mass, I dropped everything and went to Venice to San Clemente Island, raised Tolstoy's novel and nothing more was involved, how to read, read, read ... I grabbed this present work. I realized that there have to be young people, the years of the twenties. I realized that Pierre Pierre - a frivolous young man who makes a noise. Bolkonsky - is a relatively gentle man in his early novel 27 years. And I found the key to "War and Peace". I chose these episodes with the Prokofiev not overlapped. I start with a salon of Madame Scherer and finish the last scene, when Pierre comes Natasha. - Make the libretto for "War and Peace" is not so simple. Who do you trust? - I myself wrote the libretto. It is based on the text of Tolstoy, who were surprisingly musical, dramatic actively made. Used and documentary material - Manifesto of Alexander I, as well as letters and diaries of Napoleon. - How do you define your style of music? This is a modern opera? - No, I do not want to write an opera. As Leo Tolstoy loved opera, the novel "War and Peace", he talked about a very pointed and evil, and I wanted to make a classic like. I think getting a musical drama. XXI century and is characterized by the fact that it happens most incredible mix of styles and shapes. So I messed up. This dramatic play, and modern opera, where the artists sing in microphones and classical opera, where microphones are used. There is also a large symphony orchestra and electronic music - when the action gets conditional, as if detached from the historical period. There is also a conversational dialog and vocals, and recitatives. The music sounds continuously, without stopping for a second. - Your filmography of about 150 titles. Millions of viewers have seen these images. Can it be said that the film music - classical music to a mass audience is adapted? - This is the exact wording. When people ask me, why not listen to classical music, why people do not go to symphony concerts, I say, do you hear every day in large numbers to see if Hollywood movies. It is a live symphony orchestra, large - hundreds of people, and there are very good musicians. In Hollywood, realize that a live symphonic music is very effective on the human soul, no electronics, it is not a substitute. Electronics has its emotional effect, but color is much lower. In five electronics, and a maximum of ten colors. And in a symphony orchestra to a million. So, knowing the nature of the public perception of the producers in Hollywood and never leaves the orchestra. And they are absolutely right. Listen to symphonic music in the halls - it takes a special audience, we have it, and it's very rewarding. But it is certainly not a mass audience. - Western producers, writers, innovative film music room? - No, they are very diligent with composers. I know this because I worked with the American and British producers. Enter the composer task: "This is where I like Prokofiev need here - as in Mussorgsky, and here - as in Ravel." Composer in Hollywood is not independent. He can not his creative individuality. Once the music has a certain autonomy, begins with the image that attracts increasing attention more than the picture, it will be removed immediately. This music is not necessary. Need music that does not does not bother with the picture. - If any of the Soviet era brought large number of war composers name. Stalin - Prokofiev, Shostakovich, Brezhnev - Shchedrin, Sviridov, Schnittke, Denisov, Gubaidulina ... People leave the current? - If any of the composers, and will remain at the current time, it is not because it, and despite. Since the development of musical culture today, nobody is interested. In addition to the composers and informed public. I was always of short-sighted politicians, lack of understanding, that is from each era, beaten by the government in the history just a cultural level. No sign of political intrigue, economic turmoil, unrest, crime, war ... were pyramids, temples, paintings, literature, music ... We read books, listen to music, look at art - and form a representation of the era. After all, who would not say that there is now a large, and also the cultural layer of us failed to score. The newspaper "Beep"