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With grabbed the bear

October 15 2008

So imagine hunting Russian Lithuanian production group that made the Bolshoi Theatre "The Legend of the Invisible City of Kitezh" NA Rimsky-Korsakov.

From 10 to 13 October at the New Stage of the Bolshoi Theatre of Russia have been the premiere performances of the last opera of the great Russian composer. Co-production with Opera Theatre of the Italian city of Cagliari, which premiered April 24, 2008. Write that with success. Maybe so - Russian exotica, braids to his waist, a drunken hero, bears, domes, icons - full clip style "la Russe."

But Moscow - not Italy, and Great - not provincial theater, even in Italy. Here, like stamps, as they say, "no roll".

First, to say the least, surprise you test in the first act, when the scene appear princely hunters ... grasp! When was the first shock, and you notice that one of the gripping bearskin hanging, you know that both are likely to represent the artists themselves spears - hunting weapons in Russia, which went on a bear. But it is something on the tongs, gentlemen-producers, some do not like - or rather, not like at all!

Such a formulation very much - to list all no desire. But some pearls ... still worth mentioning.

So part of the crowd and some minor characters encased in blue shoes, reminiscent of association with shoe covers, which give visitors and when visiting hospitals and other museums. Female extras for some reason dressed up in a typical Catholic or Protestant Europe, white aprons, and some costumes adorn enormous crosses - but the orthodox view. Well the Tatars - they are operating fake and comically exaggerated curved sabers.

Now about directing. As if we are not assured in the booklet that Mr. John Nekrosius feels the music, throughout the play was growing feeling that the director simply do not understand. Known as a talented drama producer, at the opera, he demonstrated a complete helplessness that camouflages plenty of puzzles that offers to solve for the entire play to the audience.

The Legend of ... "in the very titles of some epics, and the music is even more sacred and meditative. Static in nature. But Nekrosius corrects the author himself, replacing the conceptual Statutory meaningless bustle of almost all the characters.

It seems that the director does not know what to do with some of the soloists and the extras in the scene. Fuss drunk Grishka Kuterma, and the scene of prayer and Fevronia Hryshky Earth whole system collapses of its lofty continuous clapping hands on the stage, causing an association with the card game, when in the heat slap greasy cards on the table.

Totally unjustified appearance on stage at the 1-st picture IV of the birds of paradise Sirin and Alkonost. They must be invisible to the libretto, because portend death. Instead, we are witnessing the emergence on the scene of two ugly, clunky, pingvinopodobnyh birds with blood-red bill - similar to those most advertising characters, shapeless figure who advertise on the streets, such as mobile phones.

A lot of claims and to the musical side of the new formulation. Of course, orchestra sounded better than last season, but "masterovitym" it still can not be named. Never at the beginning of the next act of musicians have joined together. Yes, and other overlays for the play was a lot of that for an orchestra of such high rank is simply unacceptable.

;> More claims to conductor Alexander Vedernikov. All the orchestral part of the opera "Legend of the Invisible City of Kitezh" seemed dull, dull, featureless and very monotonous, for the four-hour action is simply intolerable.

Completely lost and the beginning of the opera - majestic prayer orchestral introduction, Sung sometimes in concert, entitled "Praise to the desert," which continues his singing Fevronia. But no - to focus on music is almost impossible - Fevronia senseless rushes to the scene. Fidgets as an end in itself, so that only something to do heroine. Listen to quiet music of the forest, it is unable to. Not able to block foreign fuss and get to listen to the orchestra and Mr. John Vedernikov.

So one of the most interesting and conceptual places Kitezh simply goes unnoticed.

Performed no better than the second symphony piece of opera - "Battle of Kerzhenets. This is generally an orchestral hit, even the executable to "encore" at concerts. There can no longer blame the director - "Battle" sounds in a dark monochrome curtain without any action, and at the same time sounds absolutely inexpressive and pale. There is no development, no climax. It seems that this is not a bloody battle, and suburban horse ride in the society of friends.

In the formulation employed good soloists. But a common feature of vocal composition - inconsistency of the majority parties of their voices. Fevronia - Tatiana Monogarova popular now - has too light soprano to fully perform the title role, especially since such great magnitude. And now she and you have to force the vote, which, incidentally, can be quite unpredictable to say for her longevity on the scene.

Have been a good tenor Vasily Tarashchenko the party Hryshky commotion. Sounded good, but here in terms of pure acting lacked ernicheskogo boldness. For the role of Prince Yuri bass Mikhail Kazakov led his vocal part is very professional, but dramaturgic over him, alas, played by actor dominates the image of Boris Godunov. Not very short bottoms and Tatar bogatyrs performed by Andrei Arkhipov and Vyacheslav Pochapsky. And it does not cope with his party boy mezzo-soprano Svetlana Belokon - not to mention the ridiculous wig, in which her outfit.

Finally, about one birth defects, which today is almost inherent in virtually all the soloists of the Bolshoi Theater. This is - the lack of diction. Parse the text was extremely difficult and sometimes impossible. This, of course, there are wine conductor, which is responsible for the overall sound balance.

You can criticize and "padded" the acoustics of a new scene, but it only means that all these factors must be taken into account Musical Director. And that is something not happening. It is time to propose to the displays, located on either side of the stage, the withdrawal of Russian text.

And still fared well in this production the chorus (Chorus - Valery Borisov), especially in the final picture, where its composition becomes particularly large.

I am afraid that this formulation Kitezh long life in the Bolshoi Theatre is not threatened. The audience voted with their feet - by the end of the play a good third of them left the room at all. Among the "deserters", of course, were some of the foreigners, for which the visit to the Grand - the tourism program, but in large numbers left and Muscovites. And I find it hard to accuse them of this. And he would, perhaps, was gone, but ethics does not allow ...

And finally.Once again convinced that directing opera thing is very peculiar, and not even any good drama or a movie director can handle it. In recent years, many instrumentalists have rushed to the conductors, and directors - to put the opera. As the saying goes: "Who took the stick - he and Corporal!"

But let's better everyone does a craft, which he did a good command. It does not matter - boots stitch, bake pies or opera sets. Every profession is causing the respect of the wizard. And grabbed the soup should pull out of the oven, not on a bear hunt.

Vladimir Oivin


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