It would seem that simple, but surely the formula of success: Assignment of the Italians is responsible for the outcome of the work on one of the most significant of Verdi’s works. But somehow everything just went wrong. First, it turned out that the Director and set designer Davide Livermore, has managed in one and the same time to release two productions of “don Pasquale” at the Teatro Alla Scala in Milan and in the Bolshoi theater “the Ball”. So most of the time with the soloists. And place the conductor called to take a young and ambitious Giacomo Sagripanti, which is well-proven four-and-a-half years ago, working in a large number of Verdi’s Opera “don Carlos”. But apparently, the test of the “copper pipes” he could not stand, especially not having the experience of working on the costume ball, was not able to cope at all with Verdi’s score, no orchestra, no soloists.
Gustav III in 1792, during the masquerade ball in the Swedish Opera. Because of this, by the way, the Swedish monarch is still legally forbidden to appear in the Opera. The libretto was subjected to censorial editing. For the salvation of his creation, Verdi moved the action of the Opera in the New Light, and the king became a Governor. And he died for political reasons, but for the fact that I’m my friend’s wife. All very Opera, where love without a bloody denouement and not love at all.
But in the late 1970s, the Bolshoi Theater has the luck of the “costume ball”, where the beautiful scenery of Nicholas Benois went on the stage of the best of the best of several generations of Great Singers for this production. quarter of a century.
Now a team of soloists came to be extremely colorful. Weight invited singers, however, it’s not the first row. But if the group of “Bulgarian friends” baritone Vladimir Stoyanov (husband-cuckold Renato) and mezzo-soprano Nadia Krasteva in the role of the fortune teller Ulrica outstanding vocals and not shown, but peers still looked decent. But the Italian troops tenor Premier Giorgio Berruti (Governor Richard), Silvia Beltrami and Damian Mizzi (Ullrich and Oscar the page from the second part) the overall impression that we were invited from the charitable considerations of the fight against the European unemployment. Not in the form of turned out to be extra and appeared in the premiere part of the Ukrainian Oksana Duc (Amelia).
And such personnel decisions are not only discrediting the idea of ”guest performances”, which is unthinkable without a modern. The only one who deserves compliments is the Great Soloist, Anna Nechaeva (second Amelia) and a graduate of the Youth Program of the theater Nina Minasyan (page No. 1). Although they were not always accurate, especially in ensembles. But it is a reproach in the first place of conductor, which, oddly enough, is not able to convey the style of, to create the atmosphere of Italian Opera.
However, in the following autumn, a series of performances, subside with the wave of the premiere, the “first wind” in a different performing situation. For example, another of Verdi’s hits – “La Traviata” and “don Carlos” in the poster Large succeeded. Although in this case, one in the memory of him.
Hitchcock that the Director promised to bring to the show, in fact, he left the statement without any internal drama. Absolutely without hearing the music, he constantly enlivens the action, it is vanity resetimages, a huge crowd, “Chinese”, it is still some gamesmanship. But even this does not compare with its scenographic solution. The main element of the scenery is the building of the governor’s residence with its architectural shapes reminiscent of the Grand Theater. And in a key, the scene of the play, the love affair is revealed, and exposed the “belly” of the house, reminiscent of the landfill. And here opens a wide field for interpretations, far beyond the scope of art.
Maria Babalova –
especially for “New”