Falstaf has looked younger and has grown thinVerdi in “ Helicon - an opera “
the Moscow theatre “ Helicon - an opera “ has opened a season a premiere of an opera of Verdi “ Falstaf “. Together with the Greek conductor Teodorom Kurentzisom it has put burlesknyj, naughty performance. It is possible to concern somehow direction of Bertmana, but one is clear - such sir John Falstafa still nobody saw.
director Dmitry Bertman is known for the ability to overturn habitual opera plots upside down. Here and Verdi`s late comic opera this bowl too did not pass. It is known that the great Italian, having failed in youth with a comic opera, this opera genre avoided almost till last days life. Bertman as if has decided to compensate this blank in the biography of the composer and at once to make up for lost time: gegov a different grade, comic situations, rude humour and parodies new gelikonovskogo “ Falstafa “ would suffice on some performances. That there is one only chorus elfov Windsor wood in the form of a rank of ballet small swans!
on a press - conferences the conductor explained that sees in Verdi`s only once put earlier on the Moscow scene this opera, connection comic and sad. But in performance of anything sad or at least lyrical does not remain. Even those lyrical lines that is in an opera (in particular, a duet of two young enamoured, Nanetty and Fentona), have appeared are pressed down by fat, juicy buffoonery.
the key metamorphosis, however, has occurred not to spirit of all product, and with its main hero. Everyone knows, how it is necessary to look to Shakespearean Falstafu: he/she is the big-bellied drunkard not the first youth, the comic clodhopper and the blunderer whom all associates fool how much in vain, a walking parody to the degenerated, fallen knights. At Bertmana sir John Falstaf performed by Michael Davidov - the high young blonde with a beefy torso, something an average between effective Don Zhuanom and the mystical, fantastic conquering hero. He quite could play any proud Aryan in vagnerovskom spirit. Perhaps, with such course of Bertman wanted not only to surprise the spectator, but also to remind it that a score composition “ Falstafa “ on - vagnerovski it is complete and nasyshchenna. Or it would like to show collision of old and new time. Antagonists of sir John are dressed on a fashion of a boundary of centuries and go by the car. A pragmatic iron horse in statement “ Helicon “ goes on change sensual, picturesque arhaike.
Anyhow, but Windsor scandal-mongers not only do not laugh at such Falstafom, but are enamoured of the handsome man as cats. Performance “ Helicon “ it is sated by frivolities and lust. Fallichesky symbols are persistently shown in numerous details of a requisite. Statement of Bertmana reminds a corporality and hedonism feast. A small theatrical scene holds apart from any florets and curls, from huge frames and the ware increased to human measurement literally. The hall, in turn, - and it is faster the big room, than small theatre, - holds apart from Verdi`s sounds. To an opera it is close in the conditions of chamber gelikonovskoj living spaces. But Teodor Kurentzis (Theodore Currentzis) skilfully copes with an orchestra, safely overcoming even very difficult vosmigolosnye ensembles. Thus that outwardly its work looks even unduly artistically.
for a long time it was not necessary to see such ekspansivnogo conducting. It seems, Kurentzis (by the way, last favourite pupil of well-known teacher Ilya Musin) is ready to jump out from time to time simply from - for the panel in an orchestra and itself to undertake this or that tool. But this storm any wonderfully brings in sounding gelikonovskogo an orchestra not chaos, and coordination and an order. Sing “ Falstafa “ too it is equal, without special launches, but also without konfuznyh punctures. In a word, an orchestra and singers have played on the party of the director: their joint diligent work has created the reliable base to risky direction.
the NOVEL - DOLZHANSKY