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Friday, March 16, 2018

For Manon Lescaut with Netrebko in the Big six made a clown

Parterre and five tiers in the gilding of the Grand theatre are screaming. This is the final long-awaited premiere on the historical stage Puccini’s “Manon Lescaut.” Staging a theater Director Adolf Shapiro largely rehabilitated risky project Directorate BT, the last two of the season are invited to performances of the masters of drama. The details of the main musical theatre of the country — the observer “MK”.

photo: Damir Yusupov

In the long ago a single ticket — because the main part is sang by Anna Netrebko, and even with her new husband, Yusif Eyvazov. However, on the way to the stage of history, exactly on the corner of the New man, whose appearance in the life of determine the most common bummer, asked me: “who needs Tickets?” — “And how much have you?” “Good, three is” — “Is in the pit?” “The dealers all have” — he confirms the train, intending to take me to these very dealers. The theme of speculation scarce tickets itself is interesting, but not at the time — after 20 minutes, the beginning of the premiere, which in Moscow was waiting for a long time. And which was not in the plans Great, but obviously that pleases God, sometimes against all odds and in spite of everything. Even in a Large.

Adolf Shapiro, a Director with a large, not afraid of the word, the world authority, went to the prima Donna in Vienna and told me after the premiere that pretty quickly they found a common language and that the Opera diva was an awesome partner. And I remembered one of her first roles at the Leningrad Maly Opera house (now the Mikhailovsky theatre), Suzanne in “the marriage of Figaro”: a little-known artist, a thin, clear soprano, incredibly artistic, which set it apart from all Opera composition. I must say that Netrebko, the perestroika period practically has not changed — except that the weight is gained, physical. About the world and say nothing — Opera houses are patiently for her turn.

But the third call, the boxes Packed so that they are. During the Overture (conductor Cores Benjamini) black hard curtain running white handwritten lines: “it is Necessary today to only say things that are relevant today. So lay down everything and say at the right time”. This is a quote from notice of the author of “Notes of a noble man”, the opening novel of abbé prévost’s “history of the Chevalier des Grieux and Manon Lescaut” of Giacomo Puccini made his chetyrehosnuju Opera with great music. Well-dressed Opera audience again and again for more than three hours literally read on the hard black curtain is the story of a fatal passion, beauty, Manon and her Chevalier. And this text from the past will serve as navigation in the turbulent sea of events.

But the black curtain crawls up, revealing a clean as a first snow, the city. “Ah!” — exhales hall, looking at the layout of the white houses, closely appressed to each other on the curves of the streets. Its like I just cut some kind of a skilled desktop publisher and went, say, to smoke, leaving the edges of the huge scissors, pencil, compass. Left a little casually, lifting at an angle to the proscenium degrees forty-five. And it has moved to a brightly dressed people: red, green dots in sweaters and knitted hats — just a ski resort, which three times floats a balloon with passengers, three times increasing their proportion. And when he becomes life size, it makes a well-dressed man and dark-haired beauty in a white sweater, beanie with pompom and doll-like one to one. So the artist Maria Tregubova, the strongest and brightest in the generation of thirty years, is starting to surprise.

The first act, along with Director Shapiro it builds all in white, which slowly and imperceptibly will creep black. But while the triumph of the white — light meeting beauty Manon the poor student des Grieux. His first Aria ends with cries of “bravi!” from the audience, and this will continue — almost every Aria or duet accompanied by a long “brave!”.

photo: Marina Raikin
Anna Netrebko and Vladimir urin

There is something: the orchestra sounds powerful, sound amazing, not only the couple Netrebko and Eyvazov, but Alexander Naumenko, Elchin Azizov, Julia Mazurova… Applauded the scenery, especially the second act, which is a Parisian house Manon is a masterpiece of set design and directorial decisions. And I see that the unique Union of film Director and artist when it’s hard to even imagine someone who dictates, everything is so natural. Here is how solved the second act: on the right sits a huge Manon, probably seven meters tall is the doll in a black silk dress with white beading at the neck. Nearby, a little deep, a huge oval mirror, which, trembling in the chill accurately reflects what is happening on stage. And on the stage in a beam of light is a luxury Manon is literally in turmoil: poverty is bad for her Treasurer, and in luxury, there is no love. A rich husband is struggling to entertain beauty, supplying all kinds of entertainment in the form of singing and dancing comedians, acrobats — nothing pleases the heart of beauty, prone to treason. Cheating happens right at the feet Netrebko-dolls on the white plastic where the crawling black spiders, ants and other vermin from plastic. This jewelry, which she can’t leave, wish real love.

Fatal enthusiasm inspires this plastic miracle, which also moves the hands, eyes. The dramaturgy of puppet reactions strictly counted: in the arms of lovers, she shyly covers her eyes. On the white city of their first love, for a moment reflected in the mirror, turns his head and looks longingly as the irrevocable past. And in a panic randomly closes his hands when lovers on the orders of her husband will be caught by the police and thrown into different prisons.

Who made such a miracle? Abroad? It turns out, no — did our craftsmen in St. Petersburg, and it was very functional and disassembled, which allows you to quickly change the scenery.

One can only admire the fine style of work of the Director and the artist who managed to make the Opera a dynamically tense. Black and white color that spread the light of Damira Ismagilova on many shades, gives this dynamic. From the glowing transparency of the white of the first two acts deaf to hopeless black the last two. White scenographic imagination aggressive is absorbed in austere black. And also the game — from white to black. Although in black-and-white scheme in the third act suddenly hits the parade of characters from the penitentiary in variegated, glamorous.

In the last act, the characters find themselves in an empty box stage black stage with a white backdrop, and he, like the specter of hope, in which black ink is slanting handwriting to sign their dialogue. Line pour invisible tears, making the letters flow together, dark spots from them grow slowly together in the heat, while in the foreground his last love mourn Manon and des Grieux: “Dark… Alone… no One around… Scary…” etc. Repeated “scary” merge into the inky mud.

Standing motionless on the stage, singers are not in any way represent care. The Director has deprived them of any visible support — no scenery, no extras. Only Puccini’s music and dramatic play. But what! How adorable she is Anna Netrebko, as sincere at Yusif Eyvazov! The concept of Shapiro — in the absence of any confusing concepts, and it produces an incredible effect. By bowing to the Bolshoi theatre not beiruit, he just yells — all five tiers are merged into a single cry from the ground and did not let go of artists. By the way, by bowing on the stage they turned out to be more than a hundred.


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