Felix Korobov personal life. Felix Korobov: “Conducting is a bloody profession...” Chief conductor of the Musical Theater named after

At the age of six he began playing the cello and entered the Sverdlovsk Secondary Special Music School at the Ural State Conservatory named after M.P. Mussorgsky to the class of Professor S. F. Peshkov.

He graduated from the Moscow State Conservatory with a degree in cello in 1996 in the class of Professor Maria Tchaikovskaya and opera and symphony conducting in 2002 in the class of Professor Vasily Sinaisky). In 1998, he completed his postgraduate studies there, specializing in string quartet (class of Professor Andrei Shishlov). Among his teachers are outstanding teachers of the Moscow Conservatory - T. A. Gaidamovich, A. Z. Bonduryansky, R. R. Davidyan, K. S. Khachaturyan.

Creative activity

Over the years he worked as accompanist of the cello group of the Yekaterinburg Maly Opera Theater (1990 - 1993) and accompanist of the cello group of the State Academic Symphony Chapel of Russia under the direction of Valery Polyansky (1996 - 2000).

In 1999, he began his career as a conductor at the Moscow Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko, where in 2002 his graduation work was the production of Giuseppe Verdi’s opera Ernani.

In 2000 - 2002 - assistant to the chief conductor of the State Academic Symphony Orchestra of Russia, with whom he prepared a number of programs with the participation of Placido Domingo, Montserrat Caballe, Mstislav Rostropovich, made a number of recordings on CD and, as a conductor, conducted concerts in the Great Hall of the Moscow Conservatory and the Concert Hall P.I. Tchaikovsky.

In 2003 he was invited to work at the New Opera Theater, and from 2004 to 2006 he was the theater’s chief conductor. Here he prepared a symphony program with the participation of Yuri Temirkanov and Natalya Gutman, a concert for the 100th anniversary of D. D. Shostakovich, conducted concerts with the participation of Eliso Virsaladze and Jose Cura, "Cinemaphony" (for the 60th anniversary of Victory in the Great Patriotic War), was musical director and conductor of the operas "The Tsar's Bride" N.A. Rimsky-Korsakov and "Norma" by V. Bellini, the play "O Mozart! Mozart...", concert programs "Romances by P.I. Tchaikovsky and S.V. Rachmaninov", "Opera@Jazz".

Since September 2004 - chief conductor of the Moscow Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko.

In 2011, with the Chamber Orchestra of the Moscow Conservatory, he participated in the “Big Opera” project of the TV Channel “Culture”.

Pedagogical activity

Since 2007 he has been teaching at the Department of Opera and Symphony Conducting of the Moscow State Conservatory. Artistic director and chief conductor of the Chamber Orchestra of the Moscow Conservatory.

Performances at the Moscow Musical Theater named after K. S. Stanislavsky and Vl. I. Nemirovich-Danchenko

2006 - “La Traviata” by G. Verdi, director A. Titel
2006 - “Cinderella” by S. Prokofiev, choreographer O. Vinogradov
2007 - “The Seagull” to the music of D. Shostakovich, P. Tchaikovsky, A. Scriabin, E. Glenny, choreographer D. Neumayer
2007 - “Eugene Onegin” by P. Tchaikovsky, director A. Titel
2008 - “May Night, or the Drowned Woman” by N. Rimsky-Korsakov, director A. Titel
2008 - “Hamlet (Danish) (Russian) comedy” by V. Kobekin, director A. Titel
2008 - “Stone Flower” by S. Prokofiev, choreographer Yu. Grigorovich
2009 - “Naples” N.V. Gade, E.M.E. Helsteda, H.S. Paulli, H.C. Lumby, choreography by A. Bournonville
2009 - “Werther” by J. Massenet, director M. Bychkov
2010 - “Cafe Socrates” - “Socrates” by E. Satie and “Poor Sailor” by D. Milhaud, director A. Leduchovsky
2010 - “Little Death. Six Dances" to the music of W. A. Mozart, choreographer J. Kilian
2010 - “Force of Destiny” by G. Verdi, director G. Isahakyan
2011 - “The Little Mermaid” by L. Auerbach, choreographer D. Neumayer

Career Conductor, Stage Director

Total films 28

Genres ballet, children's, jazz and blues, musical drama, opera

Born in 1972 in Irkutsk. In 1996 he graduated from the Moscow State Conservatory named after P.I. Tchaikovsky in cello class (teacher - Professor M.I. Tchaikovskaya). He graduated from graduate school at the Moscow Conservatory with a degree in chamber ensemble (supervisor - Professor A.A. Shishlov, 1998). In 2002 he graduated from the Moscow Conservatory with a degree in opera and symphony conducting (supervisor - Professor V.S. Sinaisky, 2002).
Since 1999 - conductor of the Moscow Academic Musical Theater named after. K.S. Stanislavsky and Vl.I. Nemirovich-Danchenko. In 2000-2002 he was assistant to the chief conductor of the State Academic Orchestra of Russia. Since January 2004, he has been acting as Chief Conductor of the New Opera Theater (Moscow). Since August 2004 - Chief Conductor of the Musical Theater named after. Stanislavsky and Nemirovich-Danchenko.

At the Musical Theater he was the conductor and director of the opera “The Golden Cockerel” by N.A. Rimsky-Korsakov, “La Traviata” by G. Verdi, “Cinderella” by S.S. Prokofiev, “Eugene Onegin” by P.I. Tchaikovsky, took part in the production of the plays “Die Fledermaus” by I. Strauss and “Faust” by C. Gounod; also conducts other performances, including the operas “Ruslan and Lyudmila” by M.I. Glinka, “The Tale of Tsar Saltan” by N.A. Rimsky-Korsakov, “Ernani” by G. Verdi, “Tosca” and “Madama Butterfly” by G. Puccini, “Romeo and Juliet” by S.S. Prokofiev.

At the New Opera Theater, as a musical director and conductor, he worked on the performance of the opera “Ruslan and Lyudmila” for the anniversary of M.I. Glinka and the production of “The Tsar’s Bride” by N.A. Rimsky-Korsakov; conducts the play “Oh, Mozart! Mozart..."

In addition, F. Korobov’s repertoire includes “Elisir of Love” by G. Donizetti, “The Queen of Spades” by P.I. Tchaikovsky, “Force of Destiny” by G. Verdi and other operas.

As a conductor he has performed with such soloists as E. Obraztsova, L. Kazarnovskaya, S. Shvets, V. Voinarovsky, A. Lyubimov, K. Shakhgaldyan, soloist of the Berlin Opera K. Primke, Al Di Meola, I. Itin (USA) . Together with the State Academic Symphony Orchestra of Russia, he prepared programs with the participation of P. Domingo, M. Caballe, M. Rostropovich.

He took part in numerous Russian and international festivals, including the Classical Music Festival “Pitsunda - Khibla Gerzmava Invites”, the Opera and Symphonic Music Festival “Return” (Ekaterinburg), the Moscow Autumn Festival, the Festival “In Memory of Igor Stravinsky” (Moscow ).
As a cellist, Felix Korobov is a member of the ensembles: Russian baroque soloists, Anima-Piano-Quartet, constantly collaborates with the State Quartet. P.I. Tchaikovsky.

Felix Korobov- chief conductor of the Moscow Academic Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko, artistic director and chief conductor of the Chamber Orchestra of the Moscow Conservatory.

The musician received his professional education at the Moscow Conservatory, graduating from it in two classes - cello (Professor Maria Tchaikovskaya, 1996) and opera and symphony conducting (Professor Vasily Sinaisky, 2002). At the same time, he completed his graduate studies at the Moscow State Conservatory, specializing in string quartet (Professor Andrey Shishlov, 1998). Among his teachers were outstanding teachers - T. A. Gaidamovich, A. Z. Bonduryansky, R. R. Davidyan, K. S. Khachaturyan.

Over the years, the musician worked as accompanist of the cello group of the Yekaterinburg Opera House (1990–1993) and the State Academic Symphony Chapel of Russia under the direction of Valery Polyansky (1996–2000).

Since 1999, Felix Korobov has been the conductor of the Moscow Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko, where in 2002 he presented the opera “Ernani” by Giuseppe Verdi as his graduation work. Since 2004, the maestro has been the chief conductor of the theater. His repertoire includes more than 30 operas.

Also, Felix Korobov was an assistant to the chief conductor at the State Academic Symphony Orchestra of Russia named after E. F. Svetlanov (2000–2002), preparing programs with the participation of Placido Domingo, Montserrat Caballe, Mstislav Rostropovich, recording on CD and conducting a number of concerts in the Great Hall of the Moscow Conservatory and Concert Hall named after P. I. Tchaikovsky.

In 2003, the musician was invited to the New Opera Theater named after E.V. Kolobov, where in 2004–2006. served as chief conductor. Here he prepared a symphony program with the participation of Yuri Temirkanov and Natalia Gutman, a concert for the 100th anniversary of Dmitry Shostakovich, conducted concerts with the participation of Eliso Virsaladze and Jose Cura, the “Cinemaphony” project (for the 60th anniversary of Victory in the Great Patriotic War), and was the musical director and conductor of the operas “The Tsar’s Bride” by N. A. Rimsky-Korsakov and “Norma” by V. Bellini, the play “O Mozart! Mozart...”, concert programs “Romances by P. I. Tchaikovsky and S. V. Rachmaninov”, “Opera@Jazz”.

The conductor collaborated with outstanding choreographers - John Neumeier, Oleg Vinogradov, Yuri Grigorovich. With Yuri Vamos he staged the ballet “Spartacus” at the Deutsche Oper am Rhein in Dusseldorf.

Felix Korobov actively tours as a conductor and cellist. He collaborated with various symphony orchestras in Russia, Germany, Finland, Italy and other countries. He is the chief guest conductor of the State Hermitage Orchestra (“St. Petersburg Camerata”).

Since 2007, the musician has been teaching at the Department of Opera and Symphony Conducting of the Moscow State Conservatory. In 2011, with the Chamber Orchestra of the Moscow Conservatory, Felix Korobov participated in the “Big Opera” project of the “Culture” TV channel.

Felix Korobov is an Honored Artist of the Russian Federation (2008), an Honored Artist of the Republic of Abkhazia (2012), laureate of the National Theater Award “Golden Mask” (2012).

Ballet Insider interviewed one of Moscow's most famous conductors, talking about ballet and more.

The famous conductor, Felix Korobov, not only conducts, but also loves ballet. Ballet life in the theater of the chief conductor of the Muses. Theater named after Stanislavsky and Nemirovich-Danchenko began ten years ago, when he first conducted the play “Cinderella” by Sergei Prokofiev, directed by Oleg Vinogradov.

2007 - “The Seagull” to the music of D. Shostakovich, P. Tchaikovsky, A. Scriabin, E. Glenny, choreographer D. Neumayer,
2008 - “Stone Flower” by S. Prokofiev, choreographer Yu. Grigorovich,
2009 - “Naples” by N. V. Gade, E. M. E. Helsted, H. S. Paulli, H. C. Lumby, choreography by A. Bournonville,
2009 - “Margarita and Arman” by F. Liszt, choreography by Ashton,
2010 - “Little Death. Six Dances" to the music of W. A. Mozart, choreographer J. Kilian,
2010 - “Sharpening to Sharpness” - Vivaldi, choreography by Jorma Elo,
2011 - “The Little Mermaid” by L. Auerbach, choreographer D. Neumayer,
2014 - “Tatiana” Ballet by John Neumeier to the music of Lera Auerbach,
2014 - "Manon" MacMillan Ballet to the music of Massenet, "Swan Lake" - Burmeister, "Romeo and Juliet" - Vasiliev, "Don Quixote", "Pas de Quatre", "Walpurgis Night", "The Phantom Ball" - Bryantsev , “Straussiana” – Burmeister.

— When was the first time you conducted a ballet?

— Apart from individual numbers in gala concerts, which all conductors face in one way or another, the first performance that I conducted at the theater was “Swan Lake”, and the first production was probably Vinogradov’s “Cinderella” - both in our theater.

In general, I am a completely “unusual” chief conductor - I love ballet and enjoy conducting ballet performances. Not to mention how many titles I have staged in our repertoire.

Seriously though, in addition to the truly “dansant”, “treadmill” and downright bad music of numerous composers, often united by conductors under the name “Puni”, the ballet has a lot of wonderful, gorgeous and fantastic music - Tchaikovsky, Shostakovich, Stravinsky, Prokofiev - these are absolute musical masterpieces, which come into contact with in real life - that is, in the theater for which they were written - great happiness and pleasure.

Well, then, what could be more beautiful than a gorgeously choreographed and superbly danced white tutu ballet?

— Is your conducting style different in ballet and opera?

- There are two points here. The first is that, by and large, there is no difference in conducting an opera, ballet, operetta or symphony - the principles of development of musical material, the attitude to the musical fabric, the sound of the orchestra are the same everywhere. There are no “high” and “low” genres in musical interpretation. Accordingly, as far as music is concerned, there are no different “methods” or different “manners.”

Another thing is that, due to the specifics of the genre itself, a ballet conductor (I really don’t like the expression “ballet conductor”) is a separate and very complex profession, which, of course, needs to be studied - at least in order to talk with dancers and choreographers on their language understanding each other.

This is a different world, different specifics, different skills - you can’t just “pick up and conduct a ballet.” I was lucky - I collaborated with outstanding choreographers and professionals of the highest class. Many amazing dancers and ballerinas are my friends, with whom I ate more than a pound of salt during performances and shed tanks of sweat. Our wonderful teachers-tutors and accompanists in the class also helped me.

And very, very gradually I began to understand ballet, to feel it not only through music, but also to see the interaction of music and choreography, music and dancers, to distinguish their individual traits and capabilities.

A ballet conductor has many tasks. And behind these numerous, sometimes purely technical tasks, we should never forget that with all the “convenience” for the dancers and the “correctness” for the choreography, Music, Emotions, Feelings must still sound from the pit. Otherwise, oddly enough, the performance will still be a little flawed.

— An eternal question about music and ballet: do you think that during a performance the conductor should set a comfortable tempo for the artist or should he play exactly according to the notes, as the composer wrote?

- This, alas, is a very beautiful and no less speculative topic. You often hear from my colleagues: “Tchaikovsky didn’t write like that, I won’t play like that” and other similar statements.

In fact, Tchaikovsky knew where he was bringing his score, just like Prokofiev and Shostakovich... And, by the way, Stravinsky, to whom Diaghilev said - “here I’m missing fourteen seconds - add it” - and Stravinsky completely calmly completed these necessary for the choreographer seconds.

And the famous countless insert variations of “Sleeping Beauty”? They were written for specific ballerinas (moreover, each of them was especially good at certain movements - some were fouettés, some were cabrioles - so the necessary music was written), then the ballerinas changed, left, fell into disgrace , variations also changed.

But we digress. It is very important when the choreographer of a performance – a new performance – works in tandem with the conductor from the very beginning. In this way, many problems are already solved from the very beginning, and the foundation for the future conflict-free existence of the performance is laid.

Of course, when I lead a play, I always look at the stage. This is the peculiarity of a ballet conductor - if you know the choreography thoroughly, you can always help the dancer and prevent the performance from falling apart into a hundred small gala concerts, maintaining its integrity and form. This does not mean that you should always play as “comfortable”.

After the premiere of our The Seagull, John Neumeier wrote on the first page of the score “Felix! Just never listen to the dancers!” and, by the way, he repeated this inscription many years later on the score of “Tatyana”.

There is also something in this, because over time the performance gradually becomes different: the tempos change, the “moods” are forgotten, sometimes one or another artist changes or simplifies the choreography “to suit himself,” and often the conductor becomes the very “disinterested guardian” of the performance.

By the way, in my life there have been cases when choreographers changed the choreography after I offered them a slightly different, unusual to their ears and unexpected reading of the score - however, these are the really great John Neumeier and Jüri Vamos.

— You have been working at the Stanislavsky Musical Theater since 1999. What has changed for the better during this time, and what would you like to add to your repertoire?

— The theater has gone through several eras in my lifetime. And the point is not which one is worse or better. They were all interesting, each had its own personality.

I came to the theater when Dmitry Aleksandrovich Bryantsev was still working. With him there was a phenomenal troupe, united by the common will of the choreographer-teacher, choreographer-leader. The theater took the loss of Bryantsev very hard. After so many years of working in a tight-knit team, it was difficult to find a new direction for development. It was the competent policy of Vladimir Urin, who began to invite modern talented choreographers, that provided the theater with a new fruitful period.

It was then that John Neumeier first appeared in our theater with his “The Seagull”. Of course, it was a breakthrough, a performance that absolutely changed consciousness. Everything was new for the theater and artists - plasticity, thinking, relationships on stage.

Then Kilian, Elo, Duato appeared and at the same time - an absolute and perfect classic, “Stone Flower” by Grigorovich. And the theater began to breathe again and began to enjoy its work.

As for “add”, I have long dreamed of directing “Sleeping Beauty.” This is probably the only title that has not yet been realized.

— There is such a feature in your work - you conduct ballet and opera performances with paired plots: the ballet “Tatiana” and the opera “Onegin”, the ballet “The Lady of the Camellias” and “La Traviata”. A new pair has just been formed - MacMillan's ballet "Manon" to the music of Massenet and Massenet's opera "Manon", which has just premiered at the theater.

- Yes, it happened, but it happened by accident, beautifully, it seems to me...

Brilliant novels inspire choreographers and composers alike to create performances. But if in the case of Dumas and Prevost everything is quite simple, then as for the couple “Eugene Onegin” and “Tatiana”, the main thing should still be mentioned: at many press conferences, discussions, rehearsals, John repeatedly spoke and repeated ad infinitum the same thing, but, unfortunately, was never heard by many.

Felix Korobov. Photo – Shukur Burkhanov

The play “Tatyana” is not an illustration of the novel “Eugene Onegin”, not a retelling of the plot and not an attempt to understand “our everything”. These are the impressions of choreographer John Neumeier from reading Pushkin’s novel “Eugene Onegin” - precisely the impressions of a specific person, a specific Artist!

This is extremely important, especially for those who come to “read the novel with their eyes” and are dissatisfied with the fact that they did not see the “relationship” memorized in literature lessons. By the way, John has a phenomenal knowledge and understanding of Pushkin’s novel, and it was very interesting for me while working to look at “Eugene Onegin” through his eyes.

— You have said more than once that the most important thing for you is that the director knows exactly why and why this or that action is staged. Has it ever happened that there was no answer to these questions, but you had to conduct it?

— I’m probably a very lucky person (or it’s just luck), but I’ve never done anything I didn’t want to do. This applies to all my work. I do what interests me and with those with whom I am interested.

One of the journalists even started a rumor that Korobov collects choreographers. My first ballet was staged with Vinogradov, three ballets with John Neumeier, Jiri Kylian, Yuri Grigorovich, Yuri Vamos, Elo. The level of work of these choreographers and the level of performances are unique. Both creativity and the process of working on a ballet with each of them is invaluable to me.

— If we talk about personalities, are there any artists with whom the performance is more inspired?

- Certainly! And the point is not that there are “convenient” or “inconvenient” artists for you. No matter who is dancing at the moment, you are obliged to help, to make the person on stage feel comfortable and calm (I don’t specifically use the word “comfortable” here - that’s about something else).

In general, the atmosphere on stage, in the pit, is fifty percent of the success of the performance. That is why I still spend a lot of time in rehearsal halls, before performances I go not only to rehearsals, but also to the class - to feel the mood, in what state of mind my today’s “premieres” are, how tired or full of energy, will tell not only about the pace , but also what is called “interpretation”.

We have done a lot of serious work together in the theater. These are the “man hours” that don’t just pass by. I have developed very warm relationships with someone, with someone we understand each other in such a way that we don’t even need to discuss the pace - we just feel each other, with someone we have had a very warm friendship for many years.

The troupe is updated all the time. I always proudly say that I also conducted Margarita Drozdova! It was our big scam. Her anniversary was celebrated at the theater, there was a beautiful program, her students danced. I wanted to give her an original gift, and we found a unique recording, a black and white chronicle, where she dances “The Dying Swan” by Saint-Saëns.

And we came up with this trick: they lowered a screen onto the stage, gave a projection of her Swan, and I, looking at the screen, played the cello for her. It was incredibly difficult to match the recording, and when even the last steps matched the music, the hall exploded with applause.

In general, Margarita Drozdova is the personification of youth. A person's youth is not a date on a passport, it is an attitude towards life. And at 20 years old you can be an old man and live a dull life. Signora Margherita (as the stagehands in Genoa called her) is a phenomenal woman! An example of a person who is interested in life and who loves his job.

— Since we’re talking about generations, are artists different now?

- I don’t like this talk about how things were better before than now. Each generation is talented in its own way; in every generation there are geniuses and there are mediocrities. The main thing is that after this generation it will remain in memory.

— Do you have time for anything else besides music?

— Unfortunately (or fortunately), we have such a profession that you cannot come home, drink beer, sit in front of the TV, turn on football and turn off your head. The profession keeps you busy all the time, one way or another you evaluate the performance that took place, and the next rehearsal is already spinning in your head. Therefore, there is no time for leisure in the traditional sense.

But, probably, my hobby is life, and this is a much broader concept than work - it includes friends, reading, painting, tennis, and travel. I just love to live!

Felix Pavlovich Korobov(b. May 24, Irkutsk) - Russian conductor and cellist, teacher, Honored Artist of the Russian Federation (2008), Honored Artist of the Republic of Abkhazia (2012), chief conductor of the Moscow Academic Musical Theater named after K. S. Stanislavsky and V. I. Nemirovich -Danchenko, artistic director of the Chamber Orchestra of the Moscow Conservatory.

Biography

At the age of six he began playing the cello and entered the Sverdlovsk Secondary Special Music School at the Ural State Conservatory named after M. P. Mussorgsky in the class of Professor S. F. Peshkov.

Creative activity

Over the years he worked as concertmaster of the cello group of the Yekaterinburg Maly Opera Theater (1990-1993) and concertmaster of the cello group of the State Academic Symphony Chapel of Russia under the direction of Valery Polyansky (1996-2000).

Pedagogical activity

Performances at the Stanislavsky and Nemirovich-Danchenko Theater

- The Golden Cockerel Rimsky-Korsakov
- “La Traviata” by G. Verdi, director A. Titel
- “Cinderella” by S. Prokofiev, choreographer O. Vinogradov
- “The Seagull” to the music of D. Shostakovich, P. Tchaikovsky, A. Scriabin, E. Glenny, choreographer D. Neumayer
- “Eugene Onegin” by P. Tchaikovsky, director A. Titel
- “May Night, or the Drowned Woman” by N. Rimsky-Korsakov, director A. Titel
- “Hamlet (Danish) (Russian) comedy” by V. Kobekin, director A. Titel
- “Stone Flower” by S. Prokofiev, choreographer Yu. Grigorovich
- “Naples” by N. V. Gade, E. M. E. Helsted, H. S. Paulli, H. K. Lumby, choreography by A. Bournonville
- “Marguerite and Armand” by F. Liszt, choreography by Ashton
- “Werther” by J. Massenet, director M. Bychkov
- “Cafe Socrates” - “Socrates” by Erik Satie and “The Poor Sailor” by D. Milhaud, director A. Leduchovsky
- "Little death. Six Dances" to the music of W. A. Mozart, choreographer J. Kilian
- “Force of Destiny” by G. Verdi, director G. Isahakyan
- Sharpening Vivaldi to sharpness Choreography by Jorma Elo
- “The Little Mermaid” by L. Auerbach, choreographer D. Neumayer
- “Meet the Orchestra” by Prokofiev Saint-Saëns
- Britten's Guide to the Orchestra
- “War and Peace” Prokofiev
- “Blind” Auerbach
- “Songs at the Well” Langer
- “Italian in Algiers” by Rossini
- “Aida” by Verdi

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Interview // “Culture” No. 34 (7442), September 2-8, 2004



Vyacheslav Suk (1925-1933, Studio-Theater named after K. S. Stanislavsky) Boris Khaikin (1935-1936, Studio Theater named after K. S. Stanislavsky) Nikolai Golovanov (1938-1939, Studio-Theater named after K. S. Stanislavsky) Mikhail Zhukov (1939-1941, Studio-Theatre named after K. S. Stanislavsky) Evgeny Akulov (1938-1941 - State Musical Theater named after V.I. Nemirovich-Danchenko, 1941-1949 - united theater, since 1943 - together with Samuil Samosud) Samuil Samosud (1943-1950, until 1949 - together with Evgeniy Akulov) Kemal Abdullayev (1962-1969)

An excerpt characterizing Korobov, Felix Pavlovich

- That's another matter. This is necessary for the people,” said the first.
- What is this? asked Pierre.
- Here's a new poster.
Pierre took it in his hands and began to read:
“The Most Serene Prince, in order to quickly unite with the troops that were coming to him, crossed Mozhaisk and stood in a strong place where the enemy would not suddenly attack him. Forty-eight cannons with shells were sent to him from here, and His Serene Highness says that he will defend Moscow to the last drop of blood and is ready to fight even in the streets. You, brothers, don’t look at the fact that public offices have been closed: things need to be tidied up, and we will deal with the villain in our court! When it comes down to it, I need young people from both towns and villages. I’ll call the cry in two days, but now there’s no need, I’m silent. Good with an axe, not bad with a spear, but best of all is a three-piece pitchfork: a Frenchman is not heavier than a sheaf of rye. Tomorrow, after lunch, I’m taking Iverskaya to the Catherine Hospital, to see the wounded. We will consecrate the water there: they will recover sooner; and now I’m healthy: my eye hurt, but now I can see both.”
“And the military people told me,” said Pierre, “that there is no way to fight in the city and that the position...
“Well, yes, that’s what we’re talking about,” said the first official.
– What does this mean: my eye hurt, and now I’m looking at both? - said Pierre.
“The count had barley,” said the adjutant, smiling, “and he was very worried when I told him that people had come to ask what was wrong with him.” “And what, count,” the adjutant suddenly said, turning to Pierre with a smile, “we heard that you have family worries?” It’s as if the Countess, your wife...
“I didn’t hear anything,” Pierre said indifferently. -What did you hear?
- No, you know, they often make things up. I say I heard.
-What did you hear?
“Yes, they say,” the adjutant said again with the same smile, “that the countess, your wife, is going abroad.” Probably nonsense...
“Maybe,” said Pierre, looking around absentmindedly. - And who is this? - he asked, pointing to a short old man in a pure blue coat, with a large beard as white as snow, the same eyebrows and a ruddy face.
- This? This is one merchant, that is, he is an innkeeper, Vereshchagin. Have you heard perhaps this story about the proclamation?
- Oh, so this is Vereshchagin! - said Pierre, peering into the firm and calm face of the old merchant and looking for an expression of treason in it.
- This is not him. This is the father of the one who wrote the proclamation,” said the adjutant. “He’s young, he’s sitting in a hole, and he seems to be in trouble.”
One old man, wearing a star, and another, a German official, with a cross on his neck, approached the people talking.
“You see,” said the adjutant, “this is a complicated story. Then, two months ago, this proclamation appeared. They informed the Count. He ordered an investigation. So Gavrilo Ivanovich was looking for him, this proclamation was in exactly sixty-three hands. He will come to one thing: from whom do you get it? - That’s why. He goes to that one: who are you from? etc. we got to Vereshchagin... a half-trained merchant, you know, a little merchant, my dear,” the adjutant said, smiling. - They ask him: who do you get it from? And the main thing is that we know from whom it comes. He has no one else to rely on other than the postal director. But apparently there was a strike between them. He says: not from anyone, I composed it myself. And they threatened and begged, so he settled on it: he composed it himself. So they reported to the count. The count ordered to call him. “Who is your proclamation from?” - “I composed it myself.” Well, you know the Count! – the adjutant said with a proud and cheerful smile. “He flared up terribly, and just think: such impudence, lies and stubbornness!..
- A! The Count needed him to point to Klyucharyov, I understand! - said Pierre.
“It’s not necessary at all,” the adjutant said fearfully. – Klyucharyov had sins even without this, for which he was exiled. But the fact is that the count was very indignant. “How could you compose? - says the count. I took this “Hamburg newspaper” from the table. - Here she is. You didn’t compose it, but translated it, and you translated it badly, because you don’t even know French, you fool.” What do you think? “No,” he says, “I didn’t read any newspapers, I made them up.” - “And if so, then you are a traitor, and I will bring you to trial, and you will be hanged. Tell me, from whom did you receive it? - “I haven’t seen any newspapers, but I made them up.” It remains that way. The Count also called on his father: stand his ground. And they put him on trial and, it seems, sentenced him to hard labor. Now his father came to ask for him. But he's a crappy boy! You know, such a merchant's son, a dandy, a seducer, listened to lectures somewhere and already thinks that the devil is not his brother. After all, what a young man he is! His father has a tavern here near the Stone Bridge, so in the tavern, you know, there is a large image of the Almighty God and a scepter is presented in one hand, and an orb in the other; so he took this image home for several days and what did he do! I found a bastard painter...

In the middle of this new story, Pierre was called to the commander-in-chief.
Pierre entered Count Rastopchin's office. Rastopchin, wincing, rubbed his forehead and eyes with his hand, while Pierre entered. The short man was saying something and, as soon as Pierre entered, he fell silent and left.
- A! “Hello, great warrior,” said Rostopchin as soon as this man came out. – We’ve heard about your prouesses [glorious exploits]! But that's not the point. Mon cher, entre nous, [Between us, my dear,] are you a Freemason? - said Count Rastopchin in a stern tone, as if there was something bad in this, but that he intended to forgive. Pierre was silent. - Mon cher, je suis bien informe, [I, my dear, know everything well,] but I know that there are Freemasons and Freemasons, and I hope that you do not belong to those who, under the guise of saving the human race, want to destroy Russia.
“Yes, I’m a Freemason,” answered Pierre.
- Well, you see, my dear. You, I think, are not unaware that Messrs. Speransky and Magnitsky have been sent where they should be; the same was done with Mr. Klyucharyov, the same with others who, under the guise of building the temple of Solomon, tried to destroy the temple of their fatherland. You can understand that there are reasons for this and that I could not exile the local postal director if he were not a harmful person. Now I know that you sent him yours. crew for the rise from the city and even that you accepted papers from him for safekeeping. I love you and do not wish you harm, and since you are twice my age, I, as a father, advise you to stop all relations with this kind of people and leave here yourself as soon as possible.
- But what, Count, is Klyucharyov’s fault? asked Pierre.
“It’s my business to know and not yours to ask me,” cried Rostopchin.
“If he is accused of distributing Napoleon’s proclamations, then this has not been proven,” said Pierre (without looking at Rastopchin), “and Vereshchagin...”
“Nous y voila, [It is so,”] - suddenly frowning, interrupting Pierre, Rostopchin cried out even louder than before. “Vereshchagin is a traitor and a traitor who will receive a well-deserved execution,” said Rostopchin with that fervor of anger with which people speak when remembering an insult. - But I did not call you in order to discuss my affairs, but in order to give you advice or orders, if you want it. I ask you to stop relations with gentlemen like Klyucharyov and get out of here. And I'll beat the crap out of whoever it is. - And, probably realizing that he seemed to be shouting at Bezukhov, who had not yet been guilty of anything, he added, taking Pierre by the hand in a friendly manner: - Nous sommes a la veille d "un desastre publique, et je n"ai pas le temps de dire des gentillesses a tous ceux qui ont affaire a moi. My head is spinning sometimes! Eh! bien, mon cher, qu"est ce que vous faites, vous personnellement? [We are on the eve of a general disaster, and I have no time to be polite to everyone with whom I have business. So, my dear, what are you doing, you personally?]
“Mais rien, [Yes, nothing,” answered Pierre, still without raising his eyes and without changing the expression of his thoughtful face.
The Count frowned.
- Un conseil d"ami, mon cher. Decampez et au plutot, c"est tout ce que je vous dis. A bon entendeur salut! Goodbye, my dear. “Oh, yes,” he shouted to him from the door, “is it true that the countess fell into the clutches of des saints peres de la Societe de Jesus?” [Friendly advice. Get out quickly, that's what I tell you. Blessed is he who knows how to obey!.. the holy fathers of the Society of Jesus?]
Pierre did not answer anything and, frowning and angry as he had never been seen, left Rostopchin.

When he arrived home, it was already getting dark. About eight different people visited him that evening. Secretary of the committee, colonel of his battalion, manager, butler and various petitioners. Everyone had matters before Pierre that he had to resolve. Pierre did not understand anything, was not interested in these matters and gave only answers to all questions that would free him from these people. Finally, left alone, he printed out and read his wife’s letter.
“They are soldiers at the battery, Prince Andrey has been killed... an old man... Simplicity is submission to God. You have to suffer... the meaning of everything... you have to put it together... your wife is getting married... You have to forget and understand...” And he, going to the bed, fell on it without undressing and immediately fell asleep.
When he woke up the next morning, the butler came to report that a police official had come from Count Rastopchin on purpose to find out whether Count Bezukhov had left or was leaving.