Russia said goodbye to People’s Artist of the USSR Yuri Solomin
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The funeral ceremony took place according to the laws of a work of art: the beginning was the queues in front of the Maly Theater and the checking of documents at the entrance, the culmination was the squabbles arranged by the spectators in the hall, and the denouement was the carrying out of the coffin to applause, which rallied everyone, including those who had quarreled fifteen minutes before. . True, the bustle of everyday life prevented us from realizing the main thing – the patriarch of the Russian stage was gone. But Solomin was seen off precisely as a patriarch or, in the figurative expression of Valery Barinov, as a king who died, but one cannot say: “Long live the king.”
An hour before the start of the civil memorial service, people began to gather on Theater Square. The press was on duty at the service entrance to the Maly Theater, and near the box office they made a “corridor” of metal barriers, where a queue of “ordinary” spectators appeared. At 10.45, the MK correspondent counted 80 people in it, but in just a few hours at least three hundred people said goodbye to Solomin; the exact number is impossible to establish due to the “stream” nature of the process.
Journalists who “hunted” stars of stage and screen on the street were often left with nothing. Sergei Garmash arrived with a bouquet of flowers, but silently walked past the cameras and, by the way, left immediately – he did not take part in the official part. Other stars agreed to give interviews – but this was a preamble to the most important words.
The abundance of police, riot police and other people in uniform attracted attention: maximum attention was paid to the security of the event, even journalists were checked extremely carefully, checking the lists of invited representatives of the press and TV and carefully studying documents.
Once the ceremony began, it became clear why this was so. The head of the Investigative Committee, Alexander Bastrykin, personally came to pay tribute to Solomin.
“All of Russia mourns, seeing off Solomin on his last journey. They talk about him not only as a great artist, but also as a citizen and patriot,” said Alexander Ivanovich. Bastrykin called on theater youth to follow the example of the great teacher, as Solomin did in his time, and remembered that the actor brilliantly played the role of law enforcement officers.
Among the high-ranking people, presidential adviser Vladimir Medinsky came to the memorial service. He was taciturn and called Solomin an actor from God and a rock against which new-fangled theatrical trends were broken. “We have already forgotten about many of them, but Solomin exists,” Medinsky said triumphantly.
Deputy Chief of Staff of the Government Leonid Levin appeared on stage, and telegrams were sent by Vladimir Putin, Mikhail Mishustin and other top officials of the country. It is worth noting that at the moment when the leader of the funeral service read out a telegram from Putin, where they spoke about the nation’s love for Solomin, a spectator standing in the hall started a squabble due to lack of space. They asked her to be quieter and even wanted to take her out, but in response the lady began to make a particularly belligerent noise. There was no police intervention, but the scandal arose twice.
And, perhaps, this could have been avoided if the organizers had not “blocked” the stalls, giving the space of the amphitheater to the press, and to “ordinary” citizens – as if nothing. They were asked to walk in front of the stage, leave flowers, approach the coffin if they wished, and then leave the hall. To stay, we had to fight for a place on the tiny island near the “exit” sign at any cost. “Please come through,” “You can’t stand here,” they heard constantly, bringing down the mood.
The leitmotif of all the speeches was the words that Solomin was a faithful keeper of classical theatrical traditions; on the day of Yuri Methodievich’s death and today his colleagues talked about the orphanhood that they and Maly, who had lost his captain, were experiencing.
Deputy artistic director, director Alexei Dubrovsky, admitted that he considered the Solomin Theater his home and family and “left a piece of his heart here every day.” “These particles will live in each of us,” Dubrovsky assured, once again guaranteeing that the Maly Theater will not deviate from the path outlined by Solomin.
Little can be added to this if we quote in detail the speeches of Boris Lyubimov, the rector of Shchepka and Solomin’s deputy, the director Dmitry Barshchevsky, the famous actor Vasily Bochkarev, other cultural figures, or Gennady Zyuganov, who used the language of political rallies, talking about the fact that Solomin did not penetrate “ liberal rot”, the war of the West against the “Russian world” and the USSR as a high-tech space power.
In the face of death, everyone is equal – both communists and “capitalists”: when the coffin was carried out, the people who had quarreled 20 minutes earlier turned out to be spiritually united with those whom they pushed with their elbows. Everyone was at the same time with everyone and applauded for almost ten minutes. As if feeling the need to maintain tradition, the frost retreated. It was almost warm, snow was falling on the velvet pillows with Yuri Solomin’s awards.
Three white buses were waiting for theater workers and relatives on Theater Square: ahead was a funeral service in the Cathedral of Christ the Savior. Moreover, it took five, or maybe more, black cars to take away all the wreaths.
And the People’s Artist of the USSR was buried, according to his last will, next to his wife, at the Troekurovsky cemetery.
Newspaper headline:
Tears and applause
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