In the fall parade starting musicals beautiful and powerful chord fit one of the most anticipated premieres of the season — “Anna Karenina” in the Moscow operetta. The Prime Minister gathered all the capital’s Beau Monde, including a large number of professionals of the genre. Producers Vladimir Tartakovsky and Alexei Bolonin, which for several years purposefully engaged in the creation of the national Russian musical format in the world, succeeded in his noble and one might even say, Patriotic work: “Anna Karenina” is a Russian musical best.
Photo courtesy of the press service of the theater
The audience is through the main entrance with Bolshaya Dmitrovka, and VIPs through the entrance room 6 — on the track, because of the narrowness of the alley that separates the Bolshoi theatre and Operetta, though small, but red. Receiving space, an invited guest rises to the second floor where the generously poured and the food. Yes, someone is here! As classic said: “all of Moscow is here.” Theater, music, and business. Who makes musicals and musical plays (urin, Shvydkoy, Ryashentsev, Dunaevsky, Zhurbin, Durova, Isakjan, Rozovsky), the Directors of the capital in full, about show-business and say nothing — pulled luminaries (Steep, Leshchenko, Kobzon, the crowd all to see) about the business world and say nothing — Aksyuta borschivs’kyi, Resnick…
— Well come, — says Yuli Gusman, which is one of the last with Yuri, Kobaladze. — You might think that no one knows how it will end.
— And you know I left Karenina the fashion world? — interested in someone.
— Platform shoes.
— Yes, jokes-the professionals are still those, not without cynicism.
Today it’s the time of revision of the classic stories. Changing the unit of life, system of values, norms of behavior — and now a lot of the stories are puzzling. But not the story about Anna Karenina who really were eternal. The woman, who preferred passion of conjugal duty, sex education of the child, the humiliating status of a mistress — a quiet family life… Even now, in the era of universal emancipation and feminism, at least in our country, it is quite exotic. How many women do you know today that own (I emphasize — for yourself!) left their husbands and children? And if so, they are financially independent, often masculine (not externally but internally). This is not Anna. She is feminine and dependent. Her tragedy is namely this: it does not hold universal hatred, guilt, awareness of their depravity. And she dies crushed by not so much the engine, how many poses on her cruel fate, and we weep over her fate, and at the same time and torn down over the lives of all the characters of the brilliant novel by Leo Tolstoy.
The plot for the musical theatre (Opera, ballet and anything) is a luxury. Playwright Yuliy Kim and composer Roman Ignatyev has offered its compelling version of the poetic text and music in the style of European symphonic-rock. The Moscow operetta used in the musical of a similar format a live orchestra under the baton of Konstantin Hatidza. And the Director Alina Cevik skillfully combined laws and rules of the classic musical (Moscow operetta embraces the French model that has been tested on two original French musicals “Notre Dame de Paris” and “Romeo and Juliet”) with the dynamics and manner of acting contemporary dramatic theatre. The action is fast and does not slow down anywhere — in a beautiful melodic arias sensornogo type, nor in the dance episodes, which traditionally employ a ballet company, especially in the ensembles, which is rapidly developing action. The actors are very seamlessly switching from singing to speaking and back — without pause, without losing degrees, as if they were in your life then talking, then singing.
On the premiere performance, the producers have prepared for spectators a surprise, and a (the open secret) — against the wishes of the creative team: the title role is played by two Actresses in the first act, Valeria Lanskaya, the second Ekaterina Guseva. And each showed their strengths: Lanskaya — flawless vocals, Guseva drama skills. Guseva, went to the tragic stage, the fate of the heroine, Lansky — arc. But because it remains intriguing as to how these two artist will exist in a single pattern of development of the character of Anna? In any case, it is clear that they are both charismatic, and cause an unconditional sympathy.
Karenin — Igor Balalaev. And once it is clear that his character will evoke sympathy and empathy. Noble, honest, generous Karenin performed balalaeva becomes a source of special misery for Anna: she throws not a villain, not a cynic, and a worthy man. As always, Balalaev extremely musical and stylistically accurate. Generally, in this musical based on the symphonic rock sound (on acoustic instruments of the classic orchestra overdubbed sound of the rhythm section), and combines it with the Russian singing, all performers kept the unity of the vocal manners. Dmitry Ermak as Vronsky is one step of an artist in his brilliant career. The incomparable Phantom of the Opera (Dmitry won the “Golden mask” for the role), Ermak appears in a completely new quality: the Russian officer, a hero-lover, handsome. However, there is something in common between the Ghost and Vronsky: an obsessive love affair. But when she is, Vronsky—Ermak not sinking into the betrayal and indifference. The heroes of Tolstoy is no single linear motivation, and the artists managed to convey.
Great work Natalia Bystrova — kitty. This is a very bright personality and thought-provoking about the nature of women’s love. Why rejected initially, Levin suddenly becomes her? Calculation or conscious love? Wisdom or feeling? Bystrova returned to the stage after the birth of her son, in great vocal and external, which is very pleasing as it was one of the first Russian musiclover Actresses, Zapishi in a Broadway manner. Her choice is Levin — Konstantin Kiryukhin is the direct embodiment of ideas of Tolstoy himself. That is why Tolstoy has established his name from his name — Levin!!! But all it seems to care. But because every time Levin turns to Levin that, given the development of his image — care in a Russian village and unity with billhooks, is causing some problems.
By the way, the author solved very nicely. And primarily through original choreography Irina Korneeva: no folk “branchy cranberry”, a lot of elements of hip-hop, dance pattern hard requires the highest professionalism of dancers.
Plot steers one Steward — Andrei Birin. He and the Manager at the station, and the Manager at the ball, and bookmaker at the races. He formulates the law, regulations, rules that cannot be broken. Who broke waiting for death. The image of rolling on the rails of the train, spinning wheels, moving the coupling mechanisms from the very beginning sets the play nervous, anxious atmosphere. Set design (artist Vyacheslav Okunev) built on today’s popular synthesis hard moving scenery with projection and video mapping. Train station, concert hall, Opera hall, the auditorium at the races — all these rooms instantly follow each other, and moving the structure to form each time a new configuration space.
As usual, the problem of the Russian musical sound. In the Moscow operetta it is traditionally very loud and not fundamentally acoustic. And not because the theatre does not have the technical ability to make it more close to natural sound. A repertory performances of this theatre, which uses the microphone gain, go with the sound — like acoustic. Here is a conceptual position of the producers sound like in a variety show coming from the speakers and creates a powerful sound wave. It is possible to disagree, but such is the will of the creators.
From the plot page taken about the birth of Anna, her dependence on morphine. And rightly so: the musical is a musical. This show, which, of course, can be tragic, but not overloaded with plot conflicts. But elements of the show in the musical, not much happens. And so the most important element becomes a luminous score by Gleb Filshtinsky. The rays piercing through the darkened stage from all sides and forming a light cage is a work of art.
The final performance is very strong. Anna stands with his back to the audience. From the depths of the scene for her (and us) moving machine engine. The blinding lights… And from the darkness and the silence…