Dmitry Otyakovsky
stage director
He is a winner of the Competition of Young Opera Directors at the Mariinsky Theatre, laureate of the 1st prize of the Third International Competition of Young Opera Directors "Nano - opera".
List of works as a stage director, victories in competitions, achievements and awards.
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Press about performances

The apotheosis of the program was a play based on the memoirs, letters of Shostakovich and the premiere of the opera "Anti-formalist rake". The opera written by Shostakovich in the late 1940s was first performed only in 1989. Surprisingly picturesque musically, it represents an evil satire on three "main musicologists of the country" - Stalin, Zhdanov and Shepilov. Director Dmitry Otyakovsky did not search for three basses - all the main parts were invented and humorously performed by one artist - the vocalist of the Zazerkalye theater Alexander Podmeshalsky.
Olga Strauss
"Nano-Opera" Competition just announced its winners. This unique project, invented by Dmitry Bertman, already for the third time releases a group of young opera directors who very quickly "from our future" turns into "our present". Alexey Smirnov (GITIS, Alexander Titel's workshop) received the media jury prize. He also shared the third prize with Lisa Moroz (GITIS, workshop of Andris Zhagars). Second place was awarded to Daniil Dmitriev (GITIS). Well, the first went to Dmitry Otyakovsky from St. Petersburg.
Ekaterina Kretova and Artur Gasparyan
Dmitry Otyakovsky was distinguished by deliberate theatricality with the elements of the show: Rigoletto is not allowed to enter the club where Gilda is located, Mavra exists in the spirit of Malevich. In the final round Dmitry went all-in and offered a jury parody for the "Nano-Opera" project: Love for Three Oranges turned into two rounds of the contest, with the king - Dmitry Bertman at the head of the table, with Princess - the leading broadcast of Sati Spivakova, and Smeraldina - one of the contestants Asya Chashchinskaya. As it should be, the comedy turned out to be really funny, at the same time it was dramatically structured and included the entire context of the event.
Tatyana Yakovleva
TV presenter: To interpret Weber's Der Freischutze in Russia is roughly the same as putting Sadko in Germany. Neither is prohibited, but it requires either knowledge of the national color, or vice versa - a complete rejection of it.
Soloist Micaela di Catalano (Germany): I'm totally delighted, I had to come to Russia to participate in the most real, Germanic Der Freischutze. We would probably have the whole scene covered with black. I'm happy to sing in this great German romantic opera.
The program "Cultural Evolution"
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