Music instead of confusionOn the New scene of the Bolshoi theatre has passed the prime minister of an opera “ Rosental`s Children “ Leonid Desjatnikova directed by Ejmuntasa Njakroshjusa. It (instead of deputies) was heard by SERGEY - HODNEV.
I Am afraid that for many on the prime minister the most difficult was to forget about all previous malohudozhestvennyh events - stories about “ the pornographer and kaloeda “ about “ chorus of prostitutes it is not clear “ about the Duma slanders and about Audit Chamber. And all - taki to remember that it is any not extraordinary attempt epatirovat public, and the next premiere on the New scene Big. In last season there were too unexpected enough statements “ Makbeta “ and “ the Flying Dutch “ and in it is “ Rosental`s Children “ and coming “ Madam Butterfly stroke “. That is in addition to the opera classics - a new opera on libretto specially written under it: normal history for normal theatre.
Vladimir Sorokin`s Libretto, as always at it, inventively, but thus marvellously is not provocative. It is a usual opera fairy tale about the scientist who has recovered great composers last, but not managed to protect the children - clones from a cruel reality of modern Russia. It is possible to tell that this most light and harmless product of the writer during the last years and even, not in insult to the author be told, moralising and highly moral.
Leonid Desjatnikova`s music has appeared on all hundred corresponding to that the theatre from it waited. The talented and original opera product not capable thus to disappoint the person which at all did not hear any opera. It is thin, witty, obeys easily and with doubtless pleasure, but in it the impudence, respect for classical opera tradition (respect, not servility or imitatorstvo) and, as though pathetically it also are amazingly balanced sounded, consciousness of responsibility of the moment.
this responsibility was quite divided by an orchestra which was this evening attentive and adequate. Less iridescent impression was left by the general level of vocal realisation. If not successful in Rosental`s party to take severe - rublenuju Vadim Lynkovsky`s manner and a little vjalovatuju sincerity of intonation of Maxim Pasteur, quite approaching to an image opera “ Tchaikovsky “ from all soloists the convincing Evgenii Segenjuk (" was musical unless a magnificent contralto; Wagner “) . Even “ Mozart “ the Novel Muravitsky (this party obviously reflected as the brightest) has appeared really effective work only in the one and only number, and that it was the duet - with eks - prostitute Tanej.
To it it is necessary to add problems with an articulation and diction. In a present case when public with unprecedented intensity listened attentively to words, it was especially annoyingly: just right to start up a creeping line with a caption as it already became in Big. In a full measure were distinct unless the voices strengthened by microphones from - for scenes: a children`s voice, “ quoting “ in the end of the first certificate of the statement of replaced state heads concerning a duplication method (a word “ cloning “ yet have not invented), and abstruse “ a voice from above “ informing in the ending “ Mozart “ that it “ brothers “ Were lost, and it has survived (poisoned in the first life, it has found immunity against poisons). But the chorus has appeared pleasant unexpectedness, filigranno spent even the most complicated crowd scene of the third picture - where Russian choral crowd step on the stage - the area of Three stations driving off, taxi drivers, prostitutes and dealers.
chorus and mimans, by the way, have appeared at height and from the point of view of staginess. That was not the most simple problem as the production decision of Ejmuntasa Njakroshjusa differs just petty abundance of mass any dynamics: mimans that drags on a scene tolstennye cables potters about round huge iron baby carriages, that, having changed clothes as a guard of honour, humorously buries the died Rosental represents stray dogs on the station area. They all it did with accuracy of mechanical little men, perfectly well carrying out - to fill the task of the director with action static in dramaturgic sense libretto fragments. Whether
the director - other question was right. Freely treating and the libretto text (the director has neglected many notes that at at once two well authors uncompromising enough step), to the text to musical Ejmuntas Njakroshjus remained and is unreceptive for a long time. Moreover, in a sense it has risen between music and spectators. Action which and so clearly sounded in the score, he has preferred to duplicate own, multiefficient and even slightly fussy plastic arts. As mister Njakroshjus - the director highly experienced, during any moments its comments looked quite successfully, but too often simple and ironic gestures of the composer and the librettist ran counter to the complicated direction. The composer, the person in any opera the main thing, spoke about the desire to be “ close to Almodovar “: representing extremely drama situations in which people nevertheless look not geroichno and it is not a pity, but it is comical and touching - it is banal. The director and the set designer (his son Marius Njakroshjus) have seen only next variation “ the Dog heart “ having mixed rough enough satire and small enough philosophy.
I Will repeat if to consider “ Rosental`s Children “ as normal experimental statement of serious theatre instead of as political gesture (that became possible only from - for dominating in a society cultural diletantizma), we have the following result. Music excellent, the libretto uncommon, realisation not without a sin - from - for not absolutely exact choice of the director. However, it is already clear that the opera has found the right to independent life and new statements which, probably, will not be slow to appear. So disputable first “ Life with the idiot “ Alfreda Shnitke already knows many interpretations, and for the present opera director “ Rosental`s Children “ - much more effective material, than many operas of operating classical repertoire.