In Peter the festival " is finished; Stars of the white nights “Gergiev`s Festival has lowered rate
In Peter the festival " is finished; Stars of the white nights “
that has well affected on its health
In Petersburg in the sixth time has passed festival “ Stars of the white nights “ which for the last seasons has earned reputation of the main musical event of year of the second capital. By tradition this festival opera representations (do premieres and recent premieres of the Maryinsky Theater) and concerts of celebrities. Main “ a star “ Invariably there is a head of festival Valery Gergiev, punctually come Gidon Kremer, Yury Bashmet, Valery Afanasev. This year Plasido Domingos, Deborah Vojt and Violetta Urmana have joined them.
Game in Russian classics
“ Stars “ have opened “ Prince Igor “ updated before spring tours in “ Underground - an opera “ (see from March, 18th). Then, showing loyalty to the All-Russia cultural process, the Mariinsky theatre has joined to anniversary “ to walks with Pushkin “ also has deduced on a promenade chamber opera diptih - “ the Avaricious knight “ Rakhmaninov and “ Mozart and Salieri “ Roman - Korsakova.
“ Prince Igor “ has beaten off at the constant spectator “ Stars “ a habit to admire the big Mariinsky prime ministers. The obligatory part of domestic repertoire, opera of Borodino concerns to is hard to statements of Russian classics and it appears simultaneously perspective and deadlock. In comparison with a spring premiere George Isaakjana and Yury Harikova`s statement has undergone to some correction. The scenery which have been slightly thinned out according to possibilities of a Mariinsky machinery, and razveselye suits on - former are good and on - former do not concern the Borodino plan.
full (in comparison with classical edition Roman - Korsakova) the opera text is treated as a set of fragments, suitable to shifts. On each representation “ Igor “ episodes follow in a new order - as in well-known kortasarovskom the novel. The epic plot and basic absence into this account of author`s opinion suppose it. For the inquiry: festival “ Igor “ has ended with Chorus poseljan and became liriko - a tragical opera.
Modest Pushkin morning performance became a parabottom - to the day off “ to Igor “ the latent reproach. For Mariinsky theatre this gloomy and silent enough performance with the best on libretto light (both composers use the exact test “ Small tragedies “) - A rare example of harmony of theatrical, poetic and sound elements.
dryish laconicism of scenography of George Meshishvili was conformable to aphoristic language of stage settings of Temura Chheidze. The orchestra under control of Alexander Titov kept with rare advantage and a step, and singers have erected intonational and actor`s accuracy to height of art revelation. If the tenor Leonid Zahozhaev (Mozart) and Victor Lutsjuk (Albert) have supported optimism of the Mariinsky fan Sergey Aleksashkin (Salieri and the Baron) it was capable to engender a bass it at any sceptic, imperiously having subordinated dramatic art to sincere impulses of the suffering villains.
a secret of exemplary integrity of statement, probably, in that, as “ man`s club “ participants of performance, and its authors with Korsakovym and Rakhmaninov at the head are uniform in the aspirations - to play Pushkin. It is no more. But where it is more!
the German modernist style at a dock apron
In the middle of festival the premiere of theatre " has taken place; Sankt - Peterburgopera “ - “ the Song about love and death of a cornet of Kristofa Rilke “ Mattusa. It also became the main festival surprise for active spectators who have dared to leave walls of Mariinsky theatre for the sake of walls of Peterkirhe for quite some time now back transformed from pool in church with a concert bias. The phenomenon of a modern European opera in Petersburg - event exclusive. It it has appeared in every respect successful.
in Petersburg “ the Song “ has endured the fifteenth birth. It the child of many parents: fashionable German composer Zigfrid Mattusa, theatre, rukovodimogo Yury Aleksandrovym, chorus Lege Artis and German Goethe - institute, after three-year preparation reduced all of them together.
At the heart of the libretto - the short story of Rilke, and spirit of the Austrian Silver age appears the main nostalgic character “ Songs “. Extremely expressional and painfully flexible melodika rozdana to characters who are corroded by illness dvojnichestva. The composer uses a duplicate set of heroes with their internal voices, thanks to what the lyrical culmination of his composition - a love quartet.
sonorous timbres of the invited soloists (Christina Rattsenbek, Gabi May, Alla Kravchuk, etc.) With firm ease overcoming a delicacy mattusovskoj scores, were weaved with prozrachnejshimi the choral remarks ringing, knocking and singing solo tool ensemble (all these sound riches conductor Algirdas Paulavichjus masterly co-ordinated).
the Mariinsky theatre and this year has not refused the constant theme: Sergey Prokofiev`s portrait followed place on a banner of the updated Petersburg opera. Continuing to scoop from its opera inheritance (and closely having approached to its exhaustion), Valery Gergiev and its theatre have reached a rare Soviet opera “ Simeon Kotko “ caused artly - ideological scandal 1940, and after translated in the category historically interesting. Its concert execution, as usual, foretells the theatrical premiere, but also it has shown, for that to wait from the sixth in Mariinsky repertoire of statement of Prokofiev.
Victor Lutsjuk (Simeon), Feodor Mozhaev (Tkachenko), Tatyana Pavlovsky (Sofia), Natalia Ushakov (Ljuba) and the others still - not - the stars of Mariinsky theatre occupied in statement, excitedly play Prokofiev, occupying its impersonal concert scene live and sometimes very ridiculous heroes. Instead of scenery - an orchestra conducted by Valery Gergiev, for which, apparently, the next portion of Prokofiev - a necessary dope.
a concert for orchestras
Musicians from a Mariinsky hole have once again confirmed claims on the status of the best symphonic collective of a city, and “ vagnerizatsija “ theatre has obviously affected an orchestral sound. Even strict Brams (the Fourth symphony and the Violin concert with Vadim Repin) at Gergiev has begun to sound with passionate ekzaltatsiej. Others a shade “ vagnerovskogo a dialect “ there was a silent mystical lyrics of Four last songs of Strauss with Marina Shaguch`s crystal soprano and drama chasms of the Fourth symphony of Shostakovich.
“ soloists of Moscow “ and also the Moscow soloists Alexander Melnikov, Victor Tretjakov and Yury Bashmet have offered habitual sonorous and a clear game with the quality symbol at which Mozart and Haydn become luscious and a bit verbose repertuarnymi long-livers.
Programma Gidona Kremer and the orchestra with the same name “ KREMERata - Baltic “ after their performance frightened of presence “ Seasons “ Vivaldi. Fears have appeared are vain: the young men collected by Kremer on Baltic conservatories, have played an ancient masterpiece with cleanliness of style of true Europeans. Kremer played silently and zavorazhivajushche imperiously, subordinating itself both a violin, and younger colleagues. So have sounded “ Fraters “ Arvo Pjarta and exclusive kremerovsky repertoire, “ the Tango - ballet “ Astor Pjatstsoly - Leonid Desjatnikova.
In a concert part there were no this time the monumental scores similar to former fulfilments, - Stravinsky, Prokofiev, Berlioz, Karetnikova; it is rather small there was a share of music of the XX-th century. Therefore it is natural that the concert part of festival became “ concert “ in primary sense of a word - private competition “ stars “ and their orchestras.
KIRA - VERNIKOVA