The Perm opera has sung old fairy tales in a new way
Both names were are changed: the first performance was called “ Sinderella, or the Fairy tale on the Cinderella “ the second - “... By name of the Water-nymph “. In renamings there is a certain sense: in Perm there is one more “ the Cinderella “ - Prokofiev`s ballet, and from “ Mermaids “ domestic public first of all will remember the composition Dargomyzhsky. But, most likely, another meant also: to public hint that familiar fairy tales will appear in other appearance.
Put fantastic dilogiju George Isaakjan is known for love to little-used tracks. The theatre headed by it brought to Moscow “ Cleopatra “ Massne and “ Lolita “ Schedrin, and even earlier - the trilogy of one-act operas de Fali, Prokofiev and Poulenc. And if “ the Mermaid “ Dvorak still can be carried to repertuarnym to names (at the expense of popularity in Europe), “ the Cinderella “ Massne - a curiosity. This year it goes only in three cities of the world: Perm, Bruxelles and Denver.
Meanwhile the slob from Massne deserves the best fate. In it is not present either shrill determination prokofevskoj music, or Rossini`s masterly balancing act. “ Sinderella “ - the child of time, and there was it on light in 1899. This epoch of eclecticism and a bourgeois glamour is recreated on a scene by the director together with artist Vyacheslav Okunev. The drawing room in the house of Zolushkinogo of father Pandolfa quite could appear dwelling of contemporaries of Massne, anything magic in it is not present and in pomine. Even less fantastic in a royal palace: the king enters into a ballroom in a usual raincoat and resembling gets on on a head a crown, and inconsistent dances court are capable to cause a smile.
Nevertheless “ Sinderella “ it appears the real fairy tale. It is created by three characters: the Cinderella, the Fairy and Prince Sharman. In these roles three tonics of the Perm opera are occupied: Tatyana Poluektova, Tatyana Kuindgy and Nadezhda Babintseva (the party of the Prince is written by the composer for a female voice). Occurrence of the Fairy in the first certificate is arranged by a detailed masquerade of magic beings, and it leaves on a scene on the present pony. Final travel of the Cinderella and the Prince to the country of fairies becomes leaving in the world illusive, unearthly. The smooth overflowing from a reality in dreamland is transferred by gentle sounding of an orchestra under control of Vyacheslav Platonova and masterful work of chorus (chorus master Vladimir Nikitenkov).
Near to “ the Cinderella “ and in obvious polemic with it “ the Water-nymph “ dares as an antifairy tale. The opera is written practically at the same time, as “ the Cinderella “ - Dvorak has finished the work of all one year later. But voleju the director action time moves more close by our days. If in “ to the Cinderella “ The fairy tale hides behind a facade of trite daily occurrence, in “ to the Mermaid “ it not to make out at all. From the water world the main heroine still has only a bath from which it comes up in a playtime, a wet rag of the cleaner yes not drying out father - water.
the World of people is even more regrettable: the Water-nymph who has accepted a human image gets to a madhouse where its Prince pines also. Dances with droppers, pricks and tablets - everything that remains from romantic surroundings. But here founders of performance, in my opinion, go too far. uvlekshis an aesthetics ugly, they together with water splash out also many necessary elements of a plot. The course on which, possibly, many spectators and do not pay attention appears much more radical. chetyrehaktnaja “ the Cinderella “ Massne comes to the end after the third certificate, the fourth does not sound at all. With the found shoe we will not see a traditional happy end. The Cinderella and the Prince and remain in the magic dream, and we will need to guess, in what degree it is possible to consider this open ending optimistical.