July 17, marks the 75th birthday of composer and now Director Alexei Rybnikov. Last year at the Berlin film festival held the screening of his movie “the Liturgy of the catechumens”. The author of the legendary rock Opera “Juno” and “Avos”, “the Star and death of Joaquin Murieta”, music to the films “adventures of Buratino” and “About little Red riding Hood”, boy wonder, created in 11 years, the ballet “puss in boots” reaching 70, took over directing. On the eve of the anniversary, we spoke with Alexei Rybnikov.

Why did you decide to learn a new profession?

— In the last ten years I do not write music for films. I want to deal only with their projects. If you want to deal with film, then he can make a movie. Now I’m sure. Took three films. In 2014, I realized that I need to make a movie, because the theater is nothing left, leaving only the film and record. We have no one musical movie does. The producers do not wish to invest because of the music movies nobody goes. I thought: if no one else, he will be removed. In 70 years I became a filmmaker. No composer in the world did not. It’s suicide! For every wasted state funding, as we know, you can get probation at best. I had, without touching the budget to invest personal savings. 30 days of shooting we shot the film “the Ghost of Sonora” in the pavilion “Mosfilm”. The first day of shooting, I almost knew nothing about the profession of Director, and can now teach the art of directing. People need to take risks and believe in yourself. For me it was a small feat.

Ten years ago out of the picture, playing your music: “Case of “Dead souls” by Pavel Lungin, “the Brothers Karamazov” Yuri Moroz, before it was “Pop” by Vladimir Khotinenko. All went well and you decided to withdraw.

— some Age. Just came a time when I felt that, while there is still power, the ability to think — to do all the projects that are in the head. It is not known what will happen next. From a creative point of view it is much more interesting to do something different. But while I will not shoot. Do the next step: my movies need to show the viewer that, as I see it. The idea to show them in theatre buildings with powerful projectors, a screen covering a juicy image. We have a huge screen: 16 10 meters. Before him will be a theatrical light, live rock band, actors playing your scene.

“In “Moskovsky Komsomolets” the charts were headed disc “the Star and death of Joaquin Murieta”, and I was called in for questioning”

was Soviet painting “the Star and death of Joaquin Murieta.” ��why you decided to create your own version?

— I had to bring the concept to prove that a musical movie should be removed is not so. Actors can not sing under a soundtrack. They sing, and in the frame on the set, alive, and then articulate. Then there is a completely different effect. This is a technical point. As for creative, we did a very different story, which is based on real events. No imagination there. Joaquin Murieta, a real character. Happened the story which formed the basis of the rock Opera and film “Ghost of Sonora”. Text and poems written by Julius Kim, with whom we work together for 50 years, starting with “treasure Island”. He was a great poet. So in our version of the all new, except for melodies, while the musical arrangements have changed. About Joaquin in 1936 in America made the film “Robin hood of Eldorado”, then it took another two Hollywood films and one Soviet. Our Russian film “the Ghost of Sonora” is the fifth in this series.

— a rock Opera “the Star and death of Joaquin Murieta” in Moscow “Lenkom” it was impossible to get. The theater was guarded by mounted police. And during the tour around the country the show has collected huge halls of the Palace.

— In “Lenkom” rock Opera went on for 18 years. When the performance came, we did not find a common language with Pavel Grushko, made the translation and libretto. He took his text and poems. The result was a new work, which I have already told. We put him in our theatre to warm up, then to have to make a movie. I first removed the “Ghost of Sonora”, showed it in Berlin at the film market, and then held views “of the Liturgy of the catechumens” at the film markets in Berlin and Cannes.

— How was born “the Liturgy of the catechumens”?

I designed it in 1983 from despair, at that moment, when I wanted to wean from the audience. It was a punishment for “Juno” and “Avos”. I have not had the opportunity to write new works for theater. I was cut off from them. That’s when I conceived a work that expressed my personal as a protest against the system that so cruelly does with people. Writing “Juno” and “Avos”, I crossed the line beyond which mysticism becomes an integral part of human life. The phenomenon of the virgin of count Rezanov led the world in “Juno” and “Avos”. Without the mystical component, everything seemed flat. Remember “the divine Comedy” by Dante, which shows Heaven, Hell, man, existing in the coordinate system, struck the imagination of contemporaries of Dante, who it is for and pursued.

— what exactly expressed, your excommunication because of “Juno” and “Avos”?

— just look at what happened to me. In “Lenkom” mark Zakharov we did performances, “the very Munchausen”, “the Star and death Hoak��on Murieta”, “Juno” and “Avos”. Everything was on such a rise! It would seem that it is necessary to continue. But no, all chopped off. I wrote in his book that at last came to bow on stage “Lenkoma” in July 1981 at the premiere. This was the end of our cooperation is unexplained and it is unclear why. In film I worked with Director Leonid Nechayev. Together we made “the adventures of Pinocchio” and “little Red riding Hood”, there were other musical films. But here the cooperation abruptly ended, no bids have been received, as orders from the theaters. To me ceased to apply at the peak of popularity. In “Moskovsky Komsomolets” the charts were headed disc “the Star and death of Joaquin Murieta”, but for me at that moment, everything stopped. Started to drag, to interrogate different law enforcement bodies, and not only me, but my 80-year-old father began to prosecute. In full compressed.

You talked about it with mark Zakharov?

— you Can, of course, much to talk, but what’s the point? The result is still there. The following contemporary Opera entitled “the Royal game” was made by Zakharov already sándor Callosum. That is a genre we invented, and continue it somehow with Callosum. Understand that all of started to write itself without any order, began work on the “Liturgy of the catechumens” no connection with any Directors and theatres. Then he created his own theatre. Thirty years old as it exists, and, thank God, successfully.

— No malice on anyone? Could hold a grudge the rest of his life.

— All the resentment I’m in the “Liturgy of the catechumens” did. Why talk trash when you can Express what you care, at artistic images? The impact is much stronger when your feelings and pain expressed in a musical work.

“Movie began to resemble the production of Slippers that can be sold”

— Your movie is “Lost” appeared in 2019. To what extent is it personal for you?

— Picture Director, lost inspiration and continues to live in search of the lost Paradise. He was a hero of our time. But it’s not me. I’m just an observer. Many now say in advance that what they are doing, not demand. The money now invested in what can be sold without risk. So the movie began to resemble the production of Slippers which surely can sell. And what do the person who wants to convey their message to the world? Maybe people are just waiting for a real live words, which the art lacks. In our movie, no one sings, this ain’t the Opera. The plot develops through the ballet and real life.

What movie character remains a favorite and somewhat similar to you?

— I was inspired by my favorite Pinocchio. I beholdthe BOJ identify with him. It involves a mystical appearance of my theater, which appeared in burtigny. I lived on the second floor of the house in the Big Rzhevsky lane. We had a back door with stairs leading down through which no one went. And suddenly in the house there was a rat. The neighbor knew how to harass her. In the hole she slipped a black root. To check how it worked, had to go down the stairs. I opened the door and saw the basement was in terrible condition. There was a warehouse of some hospital. Then in the head could not come that someday it will be possible to exercise private initiative, to take the basement for rent. But perestroika came, I made repairs and has a hall with 40 seats. When we got the “Liturgy of the catechumens,” came one man, later unselfishly supported our theatre. We bought the equipment, and the premiere was held in a huge two-thousand hall of the theater Маhffey in the United States, in Florida, in St. Petersburg. This adventure helped me to create theater and win. Pinocchio, too, was an adventurer.

— How is the work on the Opera “War and peace”?

We had in the spring to produce the show, but the pandemic we strongly detained. August 1 will begin to runs, and by October, I hope, release the play. As it will be called, while I can’t say. Initially it was “Live pictures of the time of the Emperor Napoleon.” Maybe “Living paintings”. Tolstoy, as is well known, disliked the theatre, but it’s a name he liked, somewhere he mentioned it.

Three years have passed since that time when you headed the Union of composers, which were in poor condition. What has since changed?

— If we talk quite frankly, the Union of composers then was dead. There, nothing happened. The situation was hopeless, it seemed that he will never be reborn. But thanks to the support of the Russian musical Union, the composers ‘ Union, stood on his feet. Repaired, rescued and returned to space, almost given into the wrong hands. Rapid progress was being made. Restored House of creativity Ruza. We have made is not very large, but still increasing targeted support for composers from the state. This will allow my colleagues to get creative orders, earn some money. Very seriously supported the youth section of the Union “Hammer”. He has a lot of projects, festivals and competitions, which are supported by quite serious amounts. The Union of composers has become a normal functioning organization, a living organism. The most important thing. We set ourselves objectives are much more ambitious. First of all I want to achieve respect for our profession. In the state register of the profession of composer no. We like all lovers, hunters, fishermen, gatherers brands. Still need to get our profession has been specified in the registry. This will mean that people will receive pensions and social protection. Now composers are not socially protected.

still strong in you public vein. Why do you need this cart? Do social activities do not consume human and creative time?

— Not very much and eats. I work with good and reliable people involved in administrative activities. And I need to come up with an idea, defend it on behalf of the Union of composers in those high courts, where I am on the Council for culture under the President. I was there and present for the reason that represent the interests of all composers. Remember, what was the composers ‘ Union, when it was headed by Rodion Shchedrin and Tikhon Khrennikov. Aram Khachaturian I was not caught. It is necessary to restore the former atmosphere of creative and professional community. For me it is a very interesting problem. And a glorious mission.

You studied with Aram Khachaturian?

— Aram was a man of peace, and in the class we had students from Japan, Venezuela. Khachaturian instilled a sense of creative freedom. Some students wrote music, which he did not accept. It contradicts his views. But it is these students defended. It was considered an ideological diversion, if you write the music, what you need. Aram was saved by his disciples, truly happy, when I got something bright, talented, memorable. When I played him his Sonata “Dances”, he said, “I nail hammered into the brain. I keep humming the music from the finale. It’s a rare quality when the composer knows how to create memorable musical images.” Most importantly, instilled in me Khachaturian, — the feeling that if I didn’t write something memorable, remaining in the listener in the head, then your task is considered outstanding.