“ Benvenuto Chellini “ has undergone to restorationthe Maryinsky Theater has shown last in a season, the seventh under the account the opera premiere - “ Benvenuto Chellini “ Hector Berlioz. It became the first statement on a scene of a new Mariinsky Concert hall on which boundless possibilities Valery Gergiev standing up for by the panel in every possible way insists. To let out an opera which almost does not go anywhere, in a hall where still anybody put nothing, have entrusted director Vasily Barhatovu and artist Zinoviju Margolin. EKATERINA tried to follow result - BIRJUKOVA.
the Idea to show in opened half a year back the Concert hall high-grade performances heated Valery Gergiev at a stage of building and does not leave till now though terms of closing of the basic building of Mariinsky theatre are transferred for a long time, and threat to remain without a scene has disappeared. In the Concert hall not all so is simple. The orchestra pit there falls, but there are no side scenes. Besides, it round, that is spectators sit from different directions scenes, and it is possible to sing, as it is known, only in one party. From above to observe of an event stir a handrail. In general, apparently, that the best in it the place for the review is a conductor`s stand.
in a case with little-known “ Benvenuto Chellini “ (in the Mariinsky poster we are obliged by occurrence of this exotic to the international plans of maestro Gergiev - in August at it statement of an opera of Berlioz in Salzburg, and here it has started to prepare morally for it at home) the problem of a caption was sharply designated also. They while are not present, the tiny screen looked absolute mockery but even if a caption will be from - for specific forms of a hall will demand from spectators very much an acute eyesight. While public tried to follow on a piece of paper with transfer the prompt French libretto narrating about confused love and professional adventures of the well-known Italian sculptor and the jeweller of XVI century. That distracted from a scene where at this time life modern, otvjaznogo, not deprived tired charm of the glamour reveller not less promptly developed.
All it occurs against the glossy magazines, expensive sofa “ under classics “ and a considerable quantity of jewelry, it is first accurate razveshannyh on show-windows with logos of mysterious Italian firms - Balducci and Co, Fieramosca and actually Cellini. Last surname gives out at once a playful spirit of directors. It is soon found out, as two others are too characters of an opera.
speech in it goes about the treasurer of father Klimenta of VII Dzhakomo Balduchchi who unsuccessfully dreams to give out the daughter Terezu for papal sculptor Feramosku. That, in turn, is enamoured of the Florentine rascal Benvenuto Chellini with whom escapes from the house. The father appears on a scene - a unique case in an opera history - more close to the ending, trying to bring to reason idler Chellini and forcing it to work on a statue of Perseja at last. The father, by the way, is set by directors in one more show-window for jewelry.
this performance - already the second teamwork for a Mariinsky season of solid artist Zinovija Margolin and the director - child prodigy Vasily Barhatova. And if in previous - “ Enufe “ JAnacheka - they tried to be extremely serious then laugh everywhere where only it is possible.
the Opera in which the comic and high is mixed in not clear proportions, has suffered a deafening failure during the world premiere in 1838 in Paris. Also it is necessary to recognise that, despite a number of remarkable fragments on music (for example, the fatal theme of casting of a statue at copper wind instruments as if it is specially written for maestro Gergiev), the opera is longish, and its plot is oddish also in places is silly.
And mister Barhatov obviously had no intention to make it more cleverly, and is fair napridumyval scatterings of a hilarious nonsense where all artificial, nobody to sympathise, and it is necessary to learn only hardish tarantinovskie jokes and to laugh at plastic fast food from the Chinese restaurant, the feet immured in mafia concrete, black female stockings on heads of merry fellows - robbers, herd of beauty queens with diadems on the heads photographed against a fresh corpse, and the copper wind instruments, which sympathising orchestral players add from the hole to the general heap of the precious metal collected for casting by Perseja.
As a result three long actions of an opera you look as zalihvatsky a serial, already at all without paying attention what not all details rich, extensively spilt young director`s imagination well are read and develop in a single whole. More likely it komiks from separate pictures among which indisputable masterpieces look performance of the present conjurer with a live rabbit and the subsequent fight of two applicants for a hand of Terezy - Chellini and Feramoski dressed on the occasion of the Roman carnival big, shaggy, white plejbojskimi by the hares.
as to musical making this production it is necessary to remind that the theatre went to statement of the opera, different improbably difficult, masterly ensembles, unusually long, through a number of concert executions. But nevertheless ideal unity has not reached yet. Nevertheless it is necessary to note a number of vocal works. It first of all the young Sergey Semishkur who has perfectly well mastered a title part - one of the most difficult in tenor repertoire. In a role of Terezy the charming growing up Mariinsky star - Anastas Kalagina shone. Sated metstso Zlaty Bulychevoj precisely sounded in party of young pupil Chellini Askanio which the director has simply transformed into woman hopelessly enamoured of it. It is absolutely irresistible in a comic role of Feramoski there was Nikolay Gassiev. And the fine and serene Pope whom the mocker - the director has accompanied the assistant for gathering of recoils, the regal veteran of a Mariinsky scene Gennady Bezzubenkov has appeared.