Yevgeny Vladimirovich Kolobov (Russian: Евгений Владимирович Колобов; 19 January 1946 – 15 June 2003) was a Russian conductor. One of Kolobov's lifelong ambitions was to revive undeservedly forgotten music and to produce new, modern interpretations of well-known compositions. Yevgeny Kolobov was the first opera conductor in Russia to stage Verdi's La forza del destino, Bellini's Il Pirata, Donizetti's Maria Stuarda, Catalani's La Wally, Verdi's I Due Foscari, Mussorgsky's Boris Godunov in the composer's original version and Thomas's Hamlet.
He has also produced new, remarkable stagings of Glinka's Ruslan and Lyudmila, "O Mozart! Mozart..." (based on the opera Mozart and Salieri by Rimsky-Korsakov and Mozart's Requiem), Tchaikovsky's Eugene Onegin, Golovin's First Love (Kolobov's debut as stage director), Verdi's La Traviata.
Kolobov's style of conducting was highly expressive and energetic, he was acclaimed by opera lovers and critics alike as one of the best opera conductors in modern Russia.

Fragments from the rehearsal of the opera "Maria Stuart" by G. Donizzetti. 1993.
Soprano: Victoria Lukianets. Ukrainian opera singer, about whom Luciano Pavarotti wrote in his book. And the famous director Franco Zefirelli, put her on a par with Maria Callas and Teresa Straras, and called them the three great Traviatas of opera history.

Фрагменты с репетиции оперы "Мария Стюарт" Дж. Доницетти. 1993.
Сопрано: Виктория Лукьянец. Украинская оперная певица, о которой писал в своей книге Лучано Паваротти. А знаменитый режиссер Франко Дзефирелли, поставил её в один ряд с Марией Калласс и Терезой Страрас, и назвал их тремя великими Травиатами истории оперы.

Subtitles are available in English.

Ye. Kolobov: I am always saying: Why people are singing? Because I really want to say so much that I can't say it in prose. I cannot say in prose what I am feeling. Singing should be higher than any prose. This is an ideal. Singing should include all meanings. I must hear in the sound: love, anger, passion, death. How to achieve this? It is very difficult, but this is very interesting.
Any theater and art should appeal us to the Supreme, to the ideal of some kind, of bright one. This is our goal.

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