After “ Shakespearean “ Romeo and Juliette`s death danced a tap dance
Statement “ Romeo and Juliette “ Charles Gounod in Salzburg where the duet of the main Shakespearean lovers performed by Anna Netrebko and Rolando Villazona should become apogee of the present opera program, has happened without participation of the Russian tonic. Company Villazonu was made by the debutant of festival the Georgian singer Nino Machaidze.
After the “ Shakespearean “ death on a scene both is also Rolando - Romeo, and Nino - Juliette, were happy, as children: skipped for pleasure on a scene literally, accepting flowers and congratulations from the president of festival Helgi Rabl - Shtadler and quartermaster Jurgena Flimma, beating off together with auditorium and artistic troupe loud approving “ a tap dance “. A rough epilogue “ Romeo and Juliette “ spoke in not so outstanding parametres of performance: It was the pleasure of the Mexican tenor who has won a serious crisis of the voice (Villazon did not step on the stage half a year, in statement Meta in Romeo`s party its all last season duplicated Roberto Alanja, and participation in Salzburg festival long remains in doubt).
the Present success of Villazona and its brilliant work in Romeo`s party have appeared not only its personal achievement, but also have tightened quite ordinary performance to a lath of qualitative Salzburg production where was and magnetizirujushchy the centre - Villazon, and excellent work of the Salzburg orchestra of Motsarteuma under the direction of the Canadian maestro Jannika Neze - Segena debuting at Salzburg festival, and a number of the effective scenic decisions applying if not on fresh interpretation of a Shakespearean love story, then on a show.
“ Romeo and Juliette “ On the well-known scene of Felzenrajtshule where a back of performances is the natural wall of mountain of Monks with circles of the cut down arcades reminding the Collosseo, the American directors - the director from Seattle Bartlet Sher and artist Michael Jergan - too debutants of festival have created. The Shakespearean tragedy which has undergone already enough radical interpretation in the score, where composer Gounod and librettists of Barbe and Karre “ have organised “ a sentimental farewell meeting of lovers in a crypt (a tribute of opera tradition with its cult of love duets), directors to overload with new senses did not become. Unique “ a liberty “ which they have allowed themselves, - art game by times and styles - an ordinary place in modern direction.
“ Ancestors “ - Montekki and Kapuletti have gone in performance in pudrennyj a XVIII-th century (a century “ fathers “ for Gounod`s generation) with its caustic rhetoric in the spirit of Beaumarcha. Juliette`s father copied a type from an epoch " literally; the Seville barber “ and “ Marriages of Figaro “ and mass meeting played a side of aristocratic frivolity of a gallant XVIII-th century and scabrousness of times of Skriba and Balzac where young Juliette appeared on ball as fresh “ the goods “. Also it is necessary to notice, these associations any in performance did not look, as the director obviously studied the score in close contact to conductor Neze - Segenom, Gounod who have carefully got from music and a reminiscence ancient motsartovskoj “ breeds “ to which the composer worshipped, and thoughtless “ shantannye “ the motives which have begun to sound during an epoch of Gounod.
But in comparison with thin and exact musical interpretation scenic action looked all - taki washed away on senses: to generation “ pudrenyh “ fathers resisted “ youth “ Verona - in a skin, piracy kerchiefs - bandanah, energetic, with the brimming over energy, ready to fight. However that they opposed “ to fathers “ - remains behind a performance shot.
Perhaps - only fights which have appeared the most effective episodes in “ Romeo and Juliette “. At public grasped spirit when Merkutsio, Romeo and Tibald with lightning speed moved on a scene, loudly knocking swords, manoeuvring between fake baskets and trays of a market square of Verona. Virtuosity of fight simply on the verge of a miracle was entered in frameworks of an opera scene where Villazon and its partners Russel Brown (Merkutsio) and Jean Frantsisko Gattel (Tibald) should the vocal party exchange without a damage under sounds of the excited orchestra raging forte emotional remarks. And this trick it is excellent daring.
it is obvious that to do from “ Romeo and Juliette “ the insurgent directors did not plan. The festival theme, as it is known, was formulated by Solomonovym a phrase about “ love, strong, as death “ so history of favourite Shakespearean characters to tighten to a theme here it was not necessary. As Gounod has written for Romeo and Juliette effective “ sklepnyj “ a duet in the ending. But on this line singers remained alone with themselves, without special support of the director, extending images exclusively means of own actor`s talent. Here again Rolando Villazon has appeared almost the magician who has tightened in the field of the influence not only auditorium, but also an orchestra, and Juliette - Machaidze - the young Georgian singer, the owner of the magnificent vocal data who is literally “ blossomed “ on a performance course, turning from the unnatural girl with grimaces to Juliette capable at worthy level to sustain duets with Villazonom. One more work should be noticed in this performance: Father Lorentso performed by Michael Petrenko, a bass from the Maryinsky Theater always finding unexpected actor`s decisions. Its Lorentso - the young monk in a long cassock, with hardly the fastidious person and the released voice, knowing about this life and “ love, strong, as death “ everything, therefore and carrying in a pocket the treasured bottle, which price - knowledge solomonovoj wisdom.
to Salzburg public, however, absolutely all the same, under what motto to it will show operas: the main thing that in performances happened though any art event. In “ Romeo and Juliette “ it was provided with Villazon.