Dimitris Botinis conductor biography

The character Dimitris Botinis: we live in the “Era of Marketing” in early September, one of the main intrigues in a series of personnel changes was resolved: the summer Greek-Russian conductor Dimitris Botinis DB was appointed chief conductor of the Novosibirsk Academic Symphony Orchestra. About the traditions of the past and hopes for the future of the musician was asked by Ekaterina Shelukhina Esh.

Esh your teacher Yuri Ivanovich Simonov often and rightly says that the orchestra is a conductor’s instrument. What tool was in your hands today, and what do you see, hear it in the future? DB of the NAS is a very interesting team where the values ​​laid down by Arnold Mikhailovich Katsu, who led this orchestra for more than fifty years. This, undoubtedly, is one of the best orchestras of our country, and becoming the fourth chief conductor in his history, I feel that everyone needs to “remind” everyone.

The pump should become the orchestra of the future, leaving its significant mark not only in the history of the twentieth, but also of the twenty -first century. This will require versatile, multifaceted work. Esh what exactly the creative values ​​of the half -century practice of Arnold Katz determine the face of the orchestra? DB, first of all, this is the attitude to the conductor's profession.

Here they understand what the conductor is, and how much it is necessary for the team. We see what is happening now. Our art is depreciated. Someone will answer this: "Yes, it depreciates, because there are few good conductors." And someone will add: "And in general, now is not the time of the conductor's dictatorship." I will tell you: yes, I also agree with these phrases. But that is not the point.

The point is in the era and its needs. You know, in business there is such a thing as a startup. People with instincts invest in it, and after a few years they have a giant company. So, try to ask large conductors, the masters, how long did they go to their skill or not? And what did they need to come to him? Fortunately, in our sphere there are also people who can see something in the young conductor that they will believe in, feel creative potential and will help him open in every possible way, so that the master will turn out through the years.

But the fact is that our time is impatient. We live in the "era of marketing", with all its pros and cons. Sales are needed, and they need them right now. What are the "startups"? The level of young conductors is determined by the sale of tickets. Accordingly, if the conductor creates a certain, well -sold image is a “good” conductor. Once, one very experienced and smart person said to me: “Everything determines PR, say that you were sitting on Mitropoulos in Greece in Greece, and he kissed you on the theme.

It doesn’t matter that he died before your birth, no one will check ... ”He, of course, joked, exaggerated, but it works something like this. Esh, in general, what does the performing traditions and the concept of “Russian conductor school” mean to you? I am normally related to performing traditions. If I like this or that tradition, and I feel that, in my opinion, it is close to the composer's style and spirit, I have a positive attitude towards it.

If not, negatively. Regarding the school, the concept of "Russian conducting school" is very stretched. It rather carries the features of thinking and national character. But from the point of view of conducting art, there is a much more concrete and recognizable concept - “Petersburg conductor school”. But this is a separate big topic ... How will your creative contacts with the orchestra of the North Caucasian Philharmonic, which you led recently, will now take shape?

Now I will work with this orchestra as the main invited conductor. I am glad that our creative contacts will continue. I spent with this orchestra near symphonic concerts and more than fifty opera performances. Of course, there is a certain emotional and professional connection, and this is normal. But everything is developing. I think that over time, a new young main conductor will also appear there, who, like me at one time, will receive his chance.

Esh your new purpose speaks of “emotional and professional communications”, which in a short time managed to arise with Novosibirsk. Do you strive for friendly relations with members of the team? DB I strive for a healthy creative atmosphere and for mutual respect with the musicians of the orchestra. The human connection, of course, is important, and at the creative level.

But I do not set myself the task of making friends with all the musicians of the orchestra: the conductor is not invited to this. Earlier, I worked several times in Novosibirsk as an invited conductor and even then felt a certain “creative chemistry” with an orchestra, a certain energy exchange. Since the orchestra artillery council decided to invite me to become a artistic director, it means that this feeling was mutual.

Esh artistic director, if he seriously and honestly works, is always an orchestra teacher. What tasks of the teacher seem to you the main ones? DB sounds as if if the conductor does not torment the orchestra, then he does not seriously and works dishonestly laughs.My task is to inspire! Make so that the musicians play music with pleasure. And here it is not a matter of democracy or dictatorship.

The key word is "artistic." My starting point is art. The whole complexity of our business lies in the coexistence of performing quality with a living, breathing creativity. I am constantly looking for this balance in working with the orchestra. It is important during the concert to create conditions for the momentary creation of music. Musicians are becoming especially interesting when a feeling of spontaneity and freedom appears on well -prepared and worked out material during the concert, which allows you to achieve the finest shades of sound.

Esh Daniel Barenboim believes that the recognizable, deeply individual style of orchestras is the property of the past. Today it is necessary to be susceptible to different styles, like “musical polyglots” speak in many languages. Do you agree with this, in whom different cultures of the East and West met so wonderful? DB absolutely.

Because in this case, the composer’s “language” and the style of his music are placed above all. This is right. If you can speak without an emphasis in a foreign language, is it good or bad? True, maybe someone prefers to talk with an accent, but with a “recognizable individual style” ... It is difficult to say that it all depends on what is more important for a person. The same is in music.

For me, the composer’s “language” is more important. But do not be mistaken, this does not mean that the conductor should be limited only to what is written in the score. Unless if he wants to kill music. No large conductor is limited only to composer marks. Conducting art, on the contrary, implies a personal attitude to the music performed. But then it all depends on the taste, talent and understanding of the “language” of the composer.

Esh how, in your opinion, the repertoire should take shape: first of all, the classic is the basis of an orchestral culture - or bold combinations, searches, experiments? DB must be everything. The current season of the pump was compiled before me, and all concerts were released on sale in the spring. Now I will deal with the formation of the following seasons. The repertoire is part of the orchestra development policy.

We must live and create in our time, in the 21st century. It should be understood that any distortion has its own positive and negative consequences. I do not like extremes, and despite the fact that narrow specialization in one direction or another can give rapid popularity thanks to the "hung" on the conductor or the orchestra "Label", I never sought this. My internal beliefs were formed in his youth and were associated with the words of Rilke from his “letters to the young poet”: “...

grow like a tree that does not rush its juices and meets spring storms without excitement ...”.