Opera to date is definitely not a dying genre. On the contrary, it became a mandatory item in the programs of travel agencies, political and economic forums and even poster of multiplexes. Reasons for going to the opera house are very different: to see the status chandeliers and lodges, to listen to Anna Netrebko, to walk the diamonds, to find the debut of Theodor Curentzis in Salzburg, for the hundredth time to hear your favorite arias and recitatives or see the premiere of Dmitry Chernyakov in Paris. However, regardless of the motives for the modern spectator to come to the opera, he eventually ends up in a performance. And according to the laws of the current theater era, even the most celebrated singers and conductors will sing and play not by themselves, but according to the director's plan. It is the new hierarchy which irritates the opponents of the "regulators" most of all. However, this contemptuous word has long been too tight for the numerous directors' workshop, which put and put the opera. Ilya Kukharenko and Olga Fedyanina compiled a map of trends and approaches in opera directing. Of course, imperfect: the more significant the director, the more he tries to go beyond his territory.
