Musical theatre, keeping up with his dramatic counterpart, lived in the passing season’s tumultuous life. The fact that the end of season is not accompanied by its sinking, is further proof of that. In the summer there were many important events, and something on the way. For example, “the damnation of Faust” by Berlioz at the Bolshoi theatre, staged by Peter Stein. However, not without bitterness, I must admit that the intensity of events in this area touches only a small part of society. According to some pessimistic statistics, the theaters in our country is visited no more than 3% of the population. And what percentage of this small group accounted for the Opera and musical – it is better not to think about it. And all the same facilities (at least in the premiere performances) full, tickets are sold, the audience applauds or demonstratively left the hall, critics argue. So there is every reason to stay in the illusion that musical passion still possess our souls, and leave their traces. Including those which were in the past season, the observer “MK”.
Photo: Nadezhda Pavlova
Reaper and Opera directing
This old topic continues to be an acute angle that beat all Directors, threatening Opera score. Especially those who flew in Opera from the womb of the drama theatre. This season the Opera has gathered the masters of dramatic direction of Rimas Tuminas and Sergei Zhenovach, and young but very confident entering the cage in-demand Directors Timothy kulyabin. They all achieved their ambitions at the Bolshoi theatre with different results. Tuminas presented is quite strong, “Katerina Ismailova”, kulyabin – predictable surface “don Pasquale”, and Zhenovach – the extremely unsuccessful “Iolanta”. The General trend remains the same: drama Directors often do not know musical notation and do not have any training in the field of music history, and other highly amusing musical disciplines, eager to the Opera with irresistible force. They are attracted by the international recognition and high fees, but not everyone is able to cope with the material by means of General culture, intuition, and love for music. If there is one.
In parallel with the weakening not “dramatic” expansion in musical theatre came a team of young professionals – Directors with a solid musical background and specialized education. Many of them have said about themselves at the competition “Nano-Opera”. They are active in the province, in St. Petersburg, some already lit in Moscow, someone has managed to get theatre awards: Aleksei frandetti, Philipp Razenkov, Dmitry Alenushkin, Ekaterina Vasileva, Denis Azarov. It is hoped that they will be able to provide a professional alternative to amateurish forays his dramatic colleagues and personal example to prove the seemingly obvious, but stubbornly deny the truth: there is such a profession – to put the Opera.
The vanguard sat down in a low start
This season has somewhat relaxed the representatives of the so-called “musical avant-garde.” It seems their powerful shots in previous years have sapped the reserves of creative enthusiasm. Only one more or less obvious phenomenon in this season was in sight of lovers, which for some reason is called “avant-garde”, although, in fact, is a set of outdated techniques of 100 years ago – a collective composition “more often” invented (not forgotten the words of the composer Kerosene from the classic movie “Anton Ivanovich is angry”, “do not compose music, and invent”) a group of composers under the patronage of Sergei Nevsky and played at the Meyerhold Center. However, the flower is wilted, failing to bloom: play played a couple of times and then stopped. You see, sometimes writes as the system in the computer, “something went wrong”.
The most anticipated performance
After almost 40 years of waiting Edward Artemiev’s Opera Crime and punishment ” finally got the stage incarnation in Musical theatre Mikhail Shvydkoi. Worked on the performance with the same team in the late 70s he was planning: besides the great composer Eduard Artemyev – Director Andrei Konchalovsky, playwrights Yury Ryashentsev and mark Rozovsky. Only here the end product was completely different. Not by chance the name of the composer in the poster moved from the title of the author’s space on a modest – somewhere down there under the title. A full-fledged author of the play was Andrei Konchalovsky, radically rewrite the story of Rodion Raskolnikov, moving it in 90-e years of the last century. To create a powerful and effective spectacle it turned out to be a fertile technique: the inverted flaming Bentley, a real paddy, raging mob, a flying axe, fantastic design, authentically depicting a horse. Plus modern dance and hard rock arrangement. And while connoisseurs of the original, and not said to be realized scores fall in some surprise, I must admit that 37 years we waited not in vain.
Not often cultural events happening in the province go to the page arrogant Metropolitan press. However, this does not apply to projects handled by Teodor Currentzis: generously favored by one group of critics and criticise the other, this is still a young conductor remains a major newsmaker in his profession. Not counting Gergiev, of course. So to speak, “first after God”….This year Currentzis has once again created an artistic event, presenting on stage of Perm Opera’s new version of Verdi’s “La Traviata” staged by Robert Wilson. A kind of directorial decision – typically wilanowskie, is formal and versatile, easily applied to any Opera score – has become a beautiful designer frame for exceptional musical performance. The epithets such as “perfect”, “flawless”, “inspirational” can be addressed to all the participants of the show – the Maestro Currentzis, musicAeterna orchestra, and some soloists, choir. But even against such a well-balanced ensemble, it is impossible not to allocate a new – supernova star. Soprano Nadezhda Pavlova sang filled with sincere and strong sense of the role of Violetta, incredibly organically typing it in complex mechanistic uncut pattern. For this little beautiful voice, excellent vocal technique, talent and skill, although all this is Nadezhda Pavlova in abundance. Here need work of remarkable intelligence, which is actually a rarity, and on the Opera stage and even more so. Life shows that it is the intelligence and depth of personality are often the Foundation that allows you to grow true world Opera stars. Nadezhda Pavlova, it seems, has all chances to be among them.
Photo: Nadezhda Pavlova