Rossinis have made a laughing-stockOn a new scene of theatre “ Helicon - an opera “ on New Arbate there has passed last opera premiere of a season: Dmitry Bertman has presented to public the first statement “ the Seville barber “ Rossini. To a debut SERGEY - HODNEV has fairly marvelled.
“ the Seville barber “ it is known where better, than Rossini`s other operas, but in Moscow the opera does not go anywhere. Neither in the Bolshoi theatre, nor at Theatre of a name of Stanislavsky and Nemirovich - Danchenko - in repertoire of both theatres were no time the “ Barbers “. So new performance “ Helicon “ meets a lack - let even the main director and addresses to maloprivychnoj for it to stylistics of a comic opera.
he understands these stylistics simply: in a comic opera all by all means should be ridiculous - presmeshnoe. In last performances “ Helicon “ The scenography often tried to be deliberately serious (as in a case “ Mermaids “ Dvorak and “ Siberia “ Dzhordano), and here at once order to laugh - artists Igor Nezhnyj and Tatyana Tulubeva were limited to erection of the shaky designs fitted by something like strongly increased lace.
Don Bartolo and its members of household are depicted in absolutely klounadnoj to stylistics - in their scenes periodically there is a sensation that here - here they at last - that will stop to sing and will start to shout bad voices something like: “ Hi, Bim! - Hi, Bom! - And what it you such sad?! “ Berta, the servant doctors (Maria Karpechenko), the simple Russian woman, the husband beaten, priests pugannaja which goes in a kokoshnik, raskochegarivaet the samovar a boot, well and sings, naturally, on - russki. As well as its servant Ambrodzho (Michael Laverov), don Bartolo Dmitry Skorikova ridiculously razdut podkladnymi tolshchinkami, is ridiculously dressed and brushed and ridiculously trips is not the opposite old man from Beaumarcha`s play, and the revived children`s toy. Don Basilio (Michael Guzhov) - not the artful swindler, and the silly clodhopper in the dress of the regimental musician, a big drum dragging behind self and was to the doctor not intrigues to build, and to cure a painful tooth by means of a toy drill. At last, and Rozina (Karina Grigoryan) too the character almost utrirovanno the doll. If to add that all house of the doctor is filled up by huge balls of the wool, which heroes roll, throw, use as furniture (and sometimes and something knit from this wool) this party of performance accepts finished infantily - a toy kind.
as the abstract concept it, probably, lovely and funny, but in the turned out performance works nasty. In - the first, the rest in “ the Barber “ It is solved absolutely differently - not in the spirit of a doll small house. Count Almaviva (Vasily Efanov) at will of the director pays off not any there tsehinami, and checks, and Rozinu tries at the slightest possibility potiskat in a corner at all on a toy harmony. Certainly, at Vasily Efanova the ardent aristocrat forces to remember Kerubino from the following part of the trilogy of Beaumarcha more likely, but the role is obviously conceived as aggressive enough. Almaviva continually catches at a pistol and perfectly (Andrey Vylegzhanin), which too that still type gets on with bright Figaro: scissors gets from a pocket obviously as blind, and itself is engaged in any more dark affairs, than bradobrejstvo. Probably, a pimping if to judge to that “ Largo ad factotum “ - well-known kavatinu - he sings accompanied the chorus of the maidens dressed in something such fantasy and vyrviglazno painted not registered in the score. The man`s chorus in sense of a cheerful exterior does not lag behind, and as a result all crowd scenes definitively get other-wordly awkwardness.
kindly still well sang! But the premier cast found out extremely weak podkovannost in rossinievskom an opera vocal where besides buffoonery all - taki is required considerable degree of control at fair tehnichnosti. There and then, perhaps, choking Italian tongue twister of recitatives - and only became the main achievement. Rozina at Kariny Grigoryan it is sung purely, but very much on - uchenicheski; high - Vasily Efanova`s counter-tenor though approaches on colouring, but in all the rest is strongly far from meant “ voce d ` agilita “; Andrey Vylegzhanin sang Figaro with any semistrangled guttural sound. Better others have appeared Bartolo Dmitry Skorikova and Basilio Michael Guzhova, but also here were, in - the first, roughness, and in - the second, lacks of sounding, hard of hearing in the first case and plainly - metal - in the second.
with an orchestra and for a long time it is not better. Young maestro Konstantin Chudovsky not only conducts with all possible enthusiasm, but also accompanies in “ dry “ recitatives on a harpsichord and even plays to the first scene on a guitar; however to operate “ the big guitar “ (as scornfully named Wagner an orchestra) all it helps it with the Italian operas a little. Periodically there is a sensation that the orchestra only is in the way at singers and directors - bolshee quantity of extraneous noise in opera performance to difficultly itself to imagine. Figaro it is loud and fervent klatsaet scissors about scissors, and also long claps in a step to music (for entire happiness spectators as lemmings, start to clap obediently in the answer); Basilios and Bartolo beat in the big drum; Rozina instead of last notes of the kavatiny gives out slonopodobnye sounds, blowing in soimennyj to theatre gelikon - that, on - to mine, it is quite possible to accept for the self-review of the director.