Arefyev Anatoly Vasilyevich
Arefyev Anatoly Vasilievich – Soviet theatrical artist, People's Artist of the USSR since 1967.
Born on November 24, 1918, in the city of Stavropol, Samara Province. Studied at the Art-Pedagogical Technical School in Penza from 1936 to 1938. Since 1947, he worked as a scenic artist at the Kyrgyz Opera and Ballet Theater in Frunze, and from 1949, he served as the chief artist of this theater. Over more than thirty years of creative life, A.V. Arefyev designed more than 70 opera and ballet performances. Among them are: "Carmen" by G. Bizet (1949), "Swan Lake" by P.I. Tchaikovsky (1949), "Prince Igor" by A.P. Borodin (1954), "Toktogul" by V.A. Vlasov, A. Maldybaev, V.G. Fere (1958), "The Unknown Soldier" by K.M. Molchanov (1967).
He was awarded the Orders of Lenin, the Red Banner, the Red Star, the medal "For Victory over Germany," honorary certificates from the Presidium of the Supreme Soviet of the Kyrgyz SSR, the Presidium of the Supreme Soviet of the Kazakh SSR, two other orders of the Soviet Union, as well as medals.
Working as the chief artist of the Academic Theater of Opera and Ballet of Kyrgyzstan, A.V. Arefyev took a leading role in Kyrgyz decorative art. The creativity of A.V. Arefyev is one of the most interesting facets of musical theater. He skillfully subordinated artistic solutions to musical images. With concise, precise means of expression, he conveyed the mood of each scene of the performance.
The versatility of his talent, the sharpness of his artistic perception, the taste of the master of decoration, and his rejection of traditional illusory solutions are evident in all the performances he designed.
From the very beginning, when theatrical art was just forming, the artist was immediately placed on par with the co-authors of the performance, alongside the playwright, director, and choreographer, and scenography became an active component of the theatrical action. Moreover, the artist was given a choice: either to design the performance according to a creative style, limiting himself to a description of everyday life, or, conversely, to rise to high generalizations. In creating the visual image of the performance, the artist typically prepared sketches for literally every character and performer, determining makeup, wigs, props, and stage items. This was also the approach of Anatoly Vasilievich Arefyev.
Beginning his creative path as a performing artist, he persistently engaged in self-education, diligently studying scenography through books, dedicating much time to sketches for performance designs, and actively participating in the recreation of old performances.
The artist's creativity was most vividly manifested in the decorations for tragic performances, each with its own characteristic features. In the decoration for the opera "Toktogul" by V. Vlasov, A. Maldybaev, and V. Fere, the tragedy of the people's suffering and the akyn's longing for freedom were talentfully "voiced"; in S. Prokofiev's ballet "Romeo and Juliet," the stage emanates the tragedy of the love of two young lovers. A great compositional and constructive integrity was achieved in the sketches for "Boris Godunov." Concise expressiveness is evident in the decoration of the ballet "Laurensia," and the convincing power of images and the atmosphere of reality is found in "The Fountain of Bakhchisarai."
The development of opera and ballet theater in the post-war period was ambiguous: the opera "Aychurek" was triumphantly received, but the performances "Manas," "Son of the People" were found lacking in both musical and decorative aspects. Critics believed that artist A.V. Arefyev, captivated by the splendor of the visual image of the performance and the luxury of costumes, exacerbated the erroneous interpretation of the main character's image – Manas appeared not as a fighter for the happiness of the people, but as a ruler reveling in his glory.
It is difficult for us today to assess the mentality and moods of people who endured a terrible war. They could hardly delve into millennia and realistically evaluate the image of a national hero... but a ruler. Nevertheless, the struggle for high art continued.
In 1948, a competition was announced for the best sketches for the opera "La Traviata" by G. Verdi, and the winner of the competition was Anatoly Vasilievich Arefyev. After the premiere of the opera "La Traviata," A.V. Arefyev was invited to work at the theater as the chief artist. Thus, the opera "La Traviata" became a kind of starting point that opened the creative path of the scenic artist on the Kyrgyz stage.
For more than two decades, the stage art created by this remarkable master delighted theatergoers. A.V. Arefyev possessed a high gift for revealing the light painting in grasping the main idea of the work, and especially the worldview of its characters. In this regard, the opera "La Traviata" particularly vividly characterized the artist's innovative discovery: the evening panorama of Paris, executed in blue-black tones, resonates with the moods and even the fates of the characters in the work.
The expressiveness of the color score of the performance emphasizes the diversity of fabrics and architectural structures that the artist uses within the composition of each picture. A.V. Arefyev skillfully used the combination of color with light, confidently solving the most complex tasks of scenography.
In designing the ballet "Swan Lake" by P. Tchaikovsky (1949), the artist discovered astonishing illusory effects, making the decorations "sound" in unison with the feelings evoked by the music. On the dark shore of the lake, on the silvery moonlit path – joyful dances of swan maidens. Here, too, the terrible roots "report" about the invisible yet very palpable image of the evil Genius, which announces its presence with "spots."
In the same 1949, Anatoly Vasilievich worked on the design of deeply national performances reflecting the past and present of Kyrgyzstan's history – the opera "Kokul" by M. Raukhverger and the musical drama "Altyn Kyz." From 1950 to 1958, alongside classical works, he designed national performances: "Anar" (1950), "On the Shores of Issyk-Kul" (1951), "Aidar and Aisha" (1952), "Spring is Coming" (1953), "Toktogul" (1956), "Cholpon" (1958). The stage for the concluding concert of the Decade of Kyrgyz Literature and Art in Moscow in 1958 was decorated by a group of artists under the leadership of A.V. Arefyev.
In creating decorations for national performances, A.V. Arefyev found his unique path, for which he carefully studied and contemplated the peculiarities of the life, past and present of the Kyrgyz people, their spiritual and material culture. Using ordinary gauze, for example, he created a light and airy decoration of a mountain landscape or a lakeside scene with clumps of green trees.
Using traditional techniques in the design of the opera "The Queen of Spades" (1949-1950), the artist emphasized the deep essence of the tragedy occurring with the characters of the performance through bluish-green tones and moonlight in Lisa's room and darkness in the countess's bedroom.
Contemporaries of A.V. Arefyev believed that it was this production that opened for the artist the understanding that the tragic-romantic character in his work becomes defining. This "Arefyev method" manifested itself even in those cases when he had to design diverse national performances. In the opera "On the Shores of Issyk-Kul" by A. Maldybaev, V. Vlasov, and V. Fere, the image of a mighty tree bathed in sunlight conveys the joy of the feeling of life; the cold shades of stones and broken trees in the scene "at the pass" are dramatically opposed to this life, the joy of existence.
In A. Dargomyzhsky's opera "Rusalka" (1951), the artist finds a convincing means to characterize the environment of Natasha and her father, the miller: a powerful fence behind which the river sparkles, and further on... a peculiar Russian landscape that seems to stand in stark contrast to the rich setting of the princely estate.
With the development of the action of the performances designed by A. Arefyev, the audience is convinced that the decoration is not just a background, not an impassive illustration of the performance, but a necessary component of the dramaturgy.
The visual world of the performance, like the performance itself, is based on the intersection of real life and fairy tale, fantasy. They exist in harmonic unity because, in essence, it is difficult to draw a boundary between them...
A.V. Arefyev is a remarkable connoisseur of the world and the history of world culture. Creating the stage world of the opera "Faust" by C. Gounod (1952), he widely used the Gothic style, the colorful possibilities of painting, and in the depth of the stage, he could very successfully operate with light color as needed. He typically emphasizes musical dramaturgy with the character of space, and the emotionality of the sound is enhanced by the coherence of visual and expressive means.
Of course, the artist sought all these solutions in sketches. Warm colors and the twilight illumination of the stained glass of the Gothic cathedral subtly emphasize the presence of glass, massive bronze and gold decorations.
Marguerite's garden is painted differently, more broadly...
The artist attached great importance to the historical plausibility of the decorations. He considered the costume to be the brightest means of creating a stage image. He applies painting, uses draperies that rise and fall at the right moment, and the volume of decorative elements. All this gives a sense of the continuation of the visible world in the depth of the stage.
In "The Barber of Seville" by G. Rossini (1954), Figaro and Almaviva appear on stage through an arch, in the opening of which mountains are visible, leading to Rosina's house are steps of a stone staircase. A similar principle is observed in the design of the dramatic performance "Angelo" by V. Hugo (1954).
At one time, Anatoly Vasilievich confessed to his colleagues about his passionate fascination with performances in which tragic notes are distinctly heard in the music. In this case, the artist particularly shone in the design of A. Borodin's opera "Prince Igor" (1954) (2). I was fortunate, as a very young girl, to first encounter this dazzlingly fairytale, musical, pictorial, and grand world. The weeping of Yaroslava, Prince Igor with his aria "Oh give, give me freedom!", the treacherous Konchak, tempting Igor to betrayal, the scenes of love between Vladimir and Konchakovna – and all this culminates in the swift whirlwind of Polovtsian dances... Everything is mixed... What is better? The East or the West? Probably, all together... And all this against the backdrop of dazzling colors of theatrical decorations.
A. Arefyev also mastered the art of compositional-plastic construction. Ancient Russian wooden architecture, the golden domes of the stone cathedral often serve as the main background against which events unfold. The principles of pictorial-volume solutions are also applied in the design of P. Tchaikovsky's opera "Cherevichki" (1957).
In ten years of creative life, Anatoly Vasilievich designed thirty-seven performances and numerous solemn, festive concerts. During this time, a scenography school was "formed" in the republic with prominent masters A.M. Toropov, Moldakhmatov, Sydykbaev, and others. Thanks to their artistic creativity, a common stage ensemble of the performance was created, free from the trivialities of everyday life; detailed elaboration was carried out through the expression of unified creative attitudes and aspirations. The traditions of Russian and Kyrgyz music and dramaturgy played a huge role in revealing the stylistic features of scenography of those years.
With the help of pictorial means on stage, in close contact with music, with light effects and color richness, the visual expressiveness of the performance and its emotional impact on the audience were achieved.
The artist's inclination to show the dramatic and heroic in the characters of the acting persons determined the emotionality of the decorative solution. In the best performances on the stage of the opera and ballet theater, it was precisely "Arefyev's" decorativeness that acquired truly decisive significance.
In the 1960s, Anatoly Vasilievich created several stage works that represent a certain stage in the development of theatrical-decorative art in Kyrgyzstan. In fact, this period also became a time of significant creative successes for the opera and ballet theater.
In 1961, after a long break, the theater returned to staging P.I. Tchaikovsky's opera "Eugene Onegin." A.V. Arefyev approached the restoration of the performance, staged by Shtoffer back in 1942, with a sense of deep solidarity, honoring the good continuity of established traditions.
Admirers of Anatoly Vasilievich's talent emphasized the uniqueness of his creativity: in the design of his performances, "the heart" of domestic and foreign classics "sounds." After "Eugene Onegin," in 1964, "Iolanta" was staged, where the artist conveyed the state of enlightenment of the heroine through the replacement of dark colors with bright ones. And again, the problem of the image solution of the performance, based on the lyrical-romantic character, is resolved through color.
In the history of theatrical-decorative art of that time, the design of A.V. Arefyev's opera "Boris Godunov" by M.P. Mussorgsky is particularly significant. The artist approached the design of this performance three times. Back in 1960, he created decorations in the spirit of the existing traditions, widely using the experience of artist F. Fedorovsky. Here, the precise transmission of the socio-historical meaning of the work was most successful.
Now Anatoly Vasilievich focused on the tragic motifs of the opera, emphasizing them with visual means. The basis of the stage design is a gloomy monastery wall, the "image" of which emphasizes the hopelessness of the fate of the people, crowding in the square and forced, against their will, to ask Boris Godunov to take the reins of power – to become the Tsar of All Russia. The rebellious spirit of those gathered is emphasized by rich dark and red tones, with flashes of white and blue, masterfully used by the artist's art in the design of the stage, costumes, and... indeed, the entire performance.
A.V. Arefyev constantly sought new and new means of visual expression to emphasize not only the tragic moments but also the possibility of a way out of them. In 1971, another, third version of the opera "Boris Godunov" was born. This time, the artist refused bulky images that intensified the tragedy, but... widely used a peculiar language of conventionality and conciseness.
The decorations became freer, more spacious, more generalized, emphasizing the possibility of a way out of the accomplished.
The mastery of foreign classics by A.V. Arefyev began with the opera "Madama Butterfly" by G. Puccini, which was staged in 1959. He managed to create a characteristic Japanese landscape on stage with intertwining ornaments on the pagoda, with bright rose bushes that stretched up along the portal curtains. Here everything is tragic, but against the backdrop of such decoration, events unfold more lyrically than tragically.
In 1960, the opera "Aida" by G. Verdi sounded on the stage of the opera and ballet theater. It is quite obvious that, preparing for the design of the stage for the performance, Anatoly Vasilievich carefully studied not only the history but also... the psychology of the inhabitants of Ancient Egypt. That is why the stage image of the performance is somehow especially monumental, even theatrical. The entire stage space is particularly delineated, reminiscent of a miniature, rather that very special ancient world.
In the prologue – a curtain on which the wall and entrance to the temple of the god Ra are masterfully depicted. Through the columns of the Pharaohs' Palace, the blue of the sky shines through. At the center of the entire composition is the Pharaoh in white robes, surrounded by priests. Everything is somehow metaphorical, although perceived absolutely realistically and authentically. You clearly understand that a powerful, solemnly-majestic, and mysterious world of Ancient Egypt is opening before you.
I remember, when we were still students of the history faculty, we rushed to the theater – in mother's shoes with high heels and... as an obligatory part of the accessory – gloves, moreover, white. And with a pounding heart, you perceive the enormous statue of the god Ra – golden-brown against a dark background, the square in Thebes, sphinxes, alongside which columns stretch to the Nile. And all this is simultaneously black, blue, white, gray... And all this is anxious and trembling.
I remember listening to "Aida" several times a season. I don't know what attracted me more – the music, the script about mysterious Egypt, or the stage art of the Master. At that time, it was said: good music, supported by the spectacular decorative design of Arefyev, will surely make the heart of the viewer flutter. And for us, the young ones, trembling for the fate of the beautiful Aida and Radames, even more so.
Each time, when starting a new production, Anatoly Vasilievich checked himself on how deeply he could think in specific images of the performance. While preparing sketches for the performance, he immediately considers not only color but also light, space, texture, clarifying and revealing new facets of visual possibilities. Both students and contemporaries assert that he often succeeded in this.
With the remarkable stage design of S. Prokofiev's ballet "Romeo and Juliet," A.V. Arefyev opened to the audience the world of Shakespeare's era. Without excessive details in the decoration, the artist emphasizes the relationships of the color structure and volumetric elements. For example, in the scene "Square in Verona," only black figures of knights and again a black column-obelisk are shown. They are all black even in sunlight. In the air lingers: tragedy is inevitable.
In the depth of the stage – black velvet – this is the common background of all pictures. The thematic mood of the entire performance is expressed through concise symbols: a branch with white flowers – Love, a grieving Madonna – a metaphor for the inner state, a huge cross – a sign of sorrow. And all this is for the two lovers – Romeo and Juliet.
In designing the ballet "Laurensia" by A. Krein, staged in 1962, A.V. Arefyev chose the Commander's castle as a leitmotif symbol of fear. The Commander's castle constantly moves, sometimes coming to life and moving closer, sometimes retreating, visually regulating the logic of the entire performance.
In the first scene, the castle with towers is located on a mountain, far from the area where the people are having fun. In the forest, where Laurensia and Frondoso meet, the castle seems to watch over the lovers, and its silhouette becomes increasingly visible through the branches of the trees. This is the reconnaissance of evil forces – and they appear in the form of the Commander's soldiers.
The Commander's soldiers reappear on stage during the wedding of Laurensia and Frondoso. Here the castle clearly acts as an evil spirit. It has "moved" almost close to the audience. Through the gates of the castle, guards push Laurensia out... The finale: the castle – a symbol of villainy – is engulfed in flames – the Commander is defeated!
Thus, very strictly and restrainedly, with the help of light and dark tones, the impressive stage image is created.
In the 1960s, the creative team of the Kyrgyz Opera and Ballet Theater showed interest in one-act ballets and enthusiastically worked on creating chamber performances. Here, the master-scenographer faced the task of achieving the disclosure of the subtext of the musical dramaturgy of the ballet through a concise and expressive visual language. In 1963, A.V. Arefyev designed the performances: "Egyptian Nights" by A. Arensky, "Francesca da Rimini" by P.I. Tchaikovsky, "Spanish Caprice" by N. Rimsky-Korsakov. In each of them, his own, uniquely characteristic "language" of expressiveness.
In "Egyptian Nights," short episodes of action change under the weak glow of the moon, but... it only changes its color – from yellow to red-purple. In the performance "Francesca da Rimini," the world of what is happening on stage bursts into the auditorium as soon as the curtain disappears. A palpable, striking effect of spatiality on stage in "Spanish Caprice" is achieved with the help of tulle and black velvet draperies.
The emotional tension... was heightened with the help of light.
The image of the fountain in the unified construction of the performance was laid by the artist at the foundation of the ballet "The Fountain of Bakhchisarai" by B. Asafyev (1964). Here, the socio-psychological meaning of everything happening on stage is demonstrated by the fountain – a symbol of "love and sorrow." And today, 40 years later, I see, and in my heart, Pushkin's finale of the ballet sounds:
Fountain of love, living fountain,
I brought you two roses as a gift,
I love your silent speech
And poetic tears.
Anatoly Vasilievich's appeal to stage graphics in the design of D. Shostakovich's ballet "The Lady and the Hooligan" (1965) seemed unexpected and too bold to many colleagues. However, the Master, who could sensitively capture the nature of the musical and dramaturgical structure of the performance, brilliantly embodied graphics in the design. As contemporaries recall, Arefyev's graphics convincingly solved all the problems associated with the staging of "The Lady and the Hooligan."
In 1968, the performance "Don Juan" by L. Feigin was staged. Here, A.V. Arefyev "composes" the stage image of the performance from a combination of light, varying-height arches and lace. "The lace clothing of the stage – white with black, gray, blue, orange – by shaping the stage space differently, created the world of theatrical Spain, Spain of serenades, fencing duels, and the love adventures of Don Juan" (3).
In the 1960s, Anatoly Vasilievich worked on the stage design of many remarkable operatic and ballet works:
1965 – "Optimistic Tragedy" by A. Kholminov;
1966 – "Romeo, Juliet and Darkness" by M. Molchanov;
1967-1968 – "Quiet Don" by I. Dzerzhinsky;
1954, 1969 – "The Barber of Seville" by G. Rossini;
1956, 1969 – "Sleeping Beauty" by P. Tchaikovsky.
In 1968-1969, the ballet "Spartacus" by A. Khachaturian was staged. Here again, the talent of the master-scenographer manifested itself, each time discovering original stage images. And Rome – a city seemingly forever shackled in chains.
The creativity of A.V. Arefyev testified to his deep knowledge of the stage, sharp sense of the laws of scenography, and talented use of its rich arsenal. He created truly amazing works of art. Many masters of stage art, students of the "Arefyev school," owe him both the stage culture and the creation of striking images of the national ballet and national opera, which later entered the golden fund of national scenography.
A brilliant creative foundation for composers, filmmakers, and theater artists was the magnificent prose of Chinghiz Aitmatov. The artist faced a challenging task when considering the design of the opera "Jamilya." How to depict through visual means the duality of the state of Seyit-the-narrator when Danyiar and Jamilya leave into the unknown, sharply breaking the shackles of old customs?
Scenographically, the artist begins and ends the story with the following plot: Seyit created a picture of the lovers; a boy, approving the act of the lovers and simultaneously regretting their departure, stands before the picture in deep thought, as if pondering what is happening on stage with Jamilya and Danyiar.
Next, the scene – the picture "The Happiness of Jamilya": the lovers walk down the road towards the light. It's evening, but the light stubbornly shines from behind the mountains, symbolizing hope for better days... But the anxious sky warns that happiness is not easy. Suddenly... the picture disappears, leaving the frame, as if enclosing the action taking place within it.
The action is painfully familiar and close to everyone, not just to those who have read this remarkable story of love.
It is through such stage designs that A.V. Arefyev managed to express the main psychological theme of Aitmatov, which resonates in almost all his works: "To overcome, to transform reality today is only possible for a person with a poetic perception of reality, capable of creating his own image of the world, his own picture of life."
In 1967, on the stage of the theater – again the Aitmatov theme in V. Vlasov's ballet "Asel." In the program of the performance, we read the intention of its authors: "We wanted to look at the world through the eyes of these different in character, but kind, honest, and sincere heroes, and most importantly – in conveying universal human problems, moral and duty questions concerning all Soviet people, not to detach from the people's soil, from the specific place of events – our republic."
Anatoly Vasilievich faced a challenging task: to design the stage so that the audience could "see" this moral-ethical problem that the writer Ch. Aitmatov and composer V. Vlasov conceived. And again, for the umpteenth time, on stage, the artist embodies both his and the author's idea through symbols: on the curtain – mountains, and above – a piece of sky; across the entire picture – a road to the pass. It disappears and reappears, and at the very top, it connects with a heavy cloud. Through these symbols, the image of life and the comprehension of the fate of the heroes are visually revealed.
Through the symbol of the road, the artist "paints" on stage the memories of Ilyas, Asel, and Baitemir. Moreover, the image of the road is endowed with a characteristic feature: it seems to rush across the tulle, shading the joyful, anxious, and often even dramatic mood of the action.
Contemporaries believed that the Aitmatov ballet "Asel" to the music of V. Vlasov was most successfully reproduced in the visual interpretation of A.V. Arefyev.
In 1969, the opera "An Hour Before Dawn" by V. Vlasov and V. Fere was staged. And here... to organize the stage space, Anatoly Vasilievich uses conditional "backdrops," stylized as national felt. The stage looks colorful and very picturesque, although this time the performance does not use painted decorations at all.
The scenographic creativity of A.V. Arefyev in the 1960s testifies that we are dealing with an outstanding traditionalist. But at the same time, his "spectacular decorations" also indicate that the author is a restless, tireless experimenter, seeking a specific image literally in every performance.
In these years, the theatrical-decorative art of Kyrgyzstan was enriched with other well-known names of artists – A. Moldakhmatov, A. Toropov, O. Sydykbaev, S. Toboiev, S. Ishekov, and others. In most performances designed by them, "... there is no props, and the word 'decoration' seems strange. In them, 'the edge of the mountains, seemingly suspended in the air, gave way to an autumn tree with tangled strands or a white apple tree – a dandelion, or the frosty mist of a lonely wayside station... Trees – like people, they reach upwards, like long-legged teenagers, frown in bad weather, bowing their tousled heads... In these naive trunks, or rather in the images, there is much poetry and no moralizing at all..." .
And... here again, "sounds" the classical, national..., but Arefyev's and applicable to the specific image.
Performances designed by A.V. Arefyev
1948 – "La Traviata," "Kim Kanti."
1949 – "Swan Lake," "Carmen," "Kokul," "Altyn Kyz."
1950 – "Zaporozhets Beyond the Danube," "Doctor Aibolit," "The Queen of Spades," "Anar."
1951 – "On the Shores of Issyk-Kul," "Rusalka."
1952 – "Taras Bulba," "Cherevichki," "May Night," "Aidar and Aisha," "Red Poppy."
1953 – "Spring is Coming," "Alekо," "Cholpon," "Rigoletto."
1954 – "Prince Igor," "Angelo" (Russian Drama Theater named after N.K. Krupskaya), "The Barber of Seville."
1955 – "Esmeralda," "Arshin Mal Alan," "The Sold Bride," "Teremok."
1956 – "Toktogul," "The Taming of the Shrew" (Russian Drama Theater named after N. Krupskaya), "Pagliacci," "Sleeping Beauty."
1957 – "Cherevichki," "The Oprichnik."
1958 – "Cholpon," "Toktogul," concluding concert of the decade.
1959 – "Chio-Chio-San," "Ai-Churek."
1960 – "Aida," "Boris Godunov," "Maysara's Tricks."
1961 – "Eugene Onegin," "The Grand Waltz," "Jamilya," "Peter and the Wolf."
1962 – "Tales of Hoffmann" (Kazakh Opera and Ballet Theater, Almaty), "Romeo and Juliet," "Laurensia."
1963 – "Mother's Heart," "Francesca da Rimini," "Spanish Caprice," "Egyptian Nights," solemn concert dedicated to the 100th anniversary of Kyrgyzstan's voluntary entry into Russia.
1964 – solemn concert dedicated to the twice-ordained Kyrgyzstan, "Jamilya," "The Fountain of Bakhchisarai," "Iolanta," "Chopiniana."
1965 – "Maysara's Tricks" (Samarkand Opera and Ballet Theater, Samarkand), "Boris Godunov" (Uzbek Opera and Ballet Theater, Tashkent), "Optimistic Tragedy," "The Lady and the Hooligan."
1966 – "Romeo, Juliet and Darkness," "Manas," festive concert dedicated to the 40th anniversary of the formation of the Kyrgyz SSR.
1967 – "Kyz-Zhibek" (Kazakh Opera and Ballet Theater, Almaty), "The Unknown Soldier," reporting concert in Moscow dedicated to the 50th anniversary of Soviet power, "Asel," "Quiet Don" (Leningrad Opera and Ballet Theater named after S. Kirov, Leningrad), festive concert in honor of the 50th anniversary of October.
1968 – "Don Juan," "Asel" (Tatar Opera and Ballet Theater, Kazan), "Spartacus" (Odessa Opera and Ballet Theater, Odessa).
1969 – "The Barber of Seville," "An Hour Before Dawn," "Sleeping Beauty," "Quiet Don," "Spartacus."
1970 – solemn concert dedicated to the 100th anniversary of V.I. Lenin's birth, solemn concert dedicated to the 25th anniversary of the victory of the Soviet people in the Great Patriotic War (Moscow, Kremlin Palace of Congresses).
1971 – "Boris Godunov."
Notes
1. Great Soviet Encyclopedia. – Moscow, 1970. – Vol. 2. – P. 190.
2. Dzhusupova O. Anatoly Vasilievich Arefyev. – Frunze, 1958. – P. 14.
3. Berezkin V. Theatrical-Decorative Art of Kyrgyzstan. – Frunze, 1972. – P. 89.
4. Aitmatov Chingiz. In co-authorship with the earth and water... Essays, articles, conversations, interviews. – Frunze, 1978. – P. 379.
5. "Asel." Performance program. – Frunze, 1967.
6. Dzyubinskaya O. Two in the Steppe // Theater. – 1964. – No. 7. – P. 10–11.
Voropaeva V. A.
