Sunday, November 23, 2014

Life after Verdi – Kommersant

Premiere Opera

Premiere of “Il Trovatore” at the Mikhailovsky Theatre has become an example ideal transfer dramaturgically complex performance Dmitry Chernyakov delivered first in Europe and is not intended for Russia. In St. Petersburg, “Il Trovatore” Brussels theater “La Monnaie” sounded different, but not changed in content or quality. Yulia BEDEROVA.

There is no need to describe in detail what is happening in the play Chernyakova: Brussels version of his “Troubadour” with Marc Minkowski for remote control and two performers major parties (out of five), employment and the new version of Michael, already out on DVD, and in St. Petersburg is still going series premiere. So the psychological quest, where the prize winners – Verdi’s music comes to life, it is available. Another issue is that if in other productions directed by extra information into the hands of the viewer does not, there is, perhaps, there is nothing that would sound in the retelling dull spoiler. Neither the main nor the details did not collapse if know in advance that the characters (five of them, a replica of secondary characters transmitted mainly) do not live events in the camp, in the castle, in prison, “in fact”, but only arrogant, or, on the contrary embarrassment play them succumbing to the offer to participate in role-psychological game. And that, as negrityata of Agatha Christie, they are in the final, began playing, will miss most. In this case, no cold-blooded killer and provocateur will not all happen by chance, but we’ll see how it all goes to. Middle-aged beauty Azucena friends gather in rooms hung with velvet deaf, picturesquely ban the door and distribute paper with the script. Read Count di Luna will – haughty, nervous, gray man battered aunt Leonora, Manrico glamorous guy (“ex-boyfriend Leonora,” says titer above the stage) and the frail old man Ferrando, dry twig. They have long been familiar with them already before it happened, it was not fatal, but the pain and sorrow will not leave. Now they have to re-play the long-standing event, finally clarify the relationship. As is usually the performances Chernyakova where operatic conventions of the libretto and music acquire personal meaning and weight to the viewer, here the strong effect more transparent and straighter, people on the stage as if talking to himself and others: try playing their own destiny again, again really Relive loss and fear, humiliation and rage, fall in love again, again be rejected again and try to avenge stay alive after that. Indifference, courage and fear at the same time, that the characters go at it, grab the audience.

However, the “Troubadour” – perhaps the most efficient performance Chernyakova, it completely naked method: invented dramaturgical design frankly imposed on opera. And if many other performances idea is revealed gradually growing out of music, here, thrown on top, she quietly screwed into opera material and transforms its sound and emotional sense.

Outwardly simple method of re-experiencing the drama, it seems, involves a complex sequence of feelings in the viewer, at the same time as his own love and loss are becoming harder and harder, he can suddenly be amazed as important to him that the opera heroes hate deceived and die every time we look at them. And if the designated staging of “last time” before the Chernyakovskiy performance, heroes, apparently, miraculously survived, does this mean that they are now dead for real? If is not shown, it is again a conversation with the audience – an opera genre, its value and price.

An excellent ensemble of soloists made it thin and clear, and the musical work of Michael Tatarnikova without hitting specially imagination, almost always helped him in harmony scenes, duets, and Duettino tercets. And not just him – individual pleasure turned choir with its slim and discreet Verdi sound. The protagonist – the same Scott Hendricks (di Luna), which in Brussels formulation (without the possibility of transferring the performance in general seems to be very illusive), created vocal and dramatic image of Statutory not, on the contrary, mobile, rich nuances, plastic phrasing, bright paint. The second participant in the play “La Monnaie” – Giovanni Furlanetto (Ferrando) – his work did nekriklivoy softness vocals. The discovery was Manrico: strong and courageous voice of Arnold Rutkowski quickly and easily cope with the iconographic party, especially the scene and aria in the third act of penetration and were flawless. Ildiko Komlosi Azucena in the party also did not sing in Brussels, but how good it is – the ownership of voting and punching walls piercing image. Only one Leonora – Tatiana Ryaguzova – represented in the ensemble of “Troubadour” troupe and Michael was good, though, and at full capacity.

It is interesting that the most compromising performance Chernyakova (assuming no compromise extremely traumatic statements to the public, the director here in this sense, humanistic) was the biggest success among his Russian prime minister. At least, the most obvious and devoid of scandal. There was no loud insults nor deaf bewilderment. The premiere audience had “Il Trovatore” rapturous reception last but not least, perhaps, because, exposing method, Chernyakov not only offended hypersensitive viewers, but not transformed the meaning of Verdi gradually.

In addition, the transfer took place as including a careful and delicate work of theater: all changes (they are concerned not only artists) clearly, the performance fully formed, nothing important not to lose on the road nor in the plan, or as what is good and to play (here he looks and sounds a little more lyrically), and Michael himself – he can make European performances at a good level, and his audience, at least at the premiere, interested, attentive and reacts vividly.


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