Alexei Parin, Newspaper Novaya
November 10, 2012
The premiere of "Eugene Onegin" at the Mikhailovsky Theatre
Mikhailovsky Theatre continues to find its own place in the landscape of opera and ballet in Russia. Their reading of "Onegin" - a sensation.
Long since I have not watched with such intensity on stage action. Andriy Zholdak, director-radical, then frightening, then lure the audience (so far only in the Drama Theatre), coming to the opera stage, bound themselves with chains music and managed to squeeze in a metered beats him Tchaikovsky adequate measure of symbolism, expand it into a coherent, but terrible chain of internal events. First action: teenage hope, desire to take all at once, the invasion fatal errors creeping tragedy of life as an inevitable component of existence. Second action: the catastrophe unfolding in all its power, blows life. Act III: Life after death, where the storm is not possible, beyond the fate of destroyed only sluggish movement towards ironic idyll.
Steel construction symbolic Zholdak acquires a strict and well-esthetic external forms - Decorations (Zholdak Pormale and Monica) and costumes (Riga design duo MAREUNROL'S). Music that creates a very concentrated Orchestra talented conductor Mikhail Tatarnikov, fused with a theatrical reality. Never mind that the young and highly professional singers mostly vocal not grow to the scale of the tragedy (except Janis Apeynis, Onegin is confident step to the top of the bar). As actors they selflessly given to their images, and knocking on doors to contemporary musical theater (bravely denouncing his stepmother - Opera Ivanovna).
House, where the action is - all the same to the final. In the first - white room with the wires from the ceiling torn chandeliers. Through the windows suddenly bursts into the lush blooming apple branch. In the second act the ceiling and two walls were black, light is not too grand chandelier, flowering apple trees is not over. In the third - all in the house was black, dark winter outside, flying black snow - Russian sign of the apocalypse.
Suits also exist in the bipolar system of black and white. Cheren always just Onegin, through his life intrudes element of destruction in a black color is a sign of a Pyrrhic victory.
Dumb as expand on the action. The house has an "old servant," his old man's ragged movements trying to keep the world in balance (Viktor Krylov). His enemy - the servant of Onegin, "Karla Black Sea", is changing the face, each one worse, Cold and manipulative, cynical and vicious as the current officer (Alex Ingelevich). And there is Faun, which appears on the sound pastoral horn sviristyaschego wrote a letter to Tatyana, handsome playboy with a chic hat markhor (Paul Malashenko). This type of work is also on Onegin, but it is one at all, sit in it "explosive particles, electrons passion" (Zholdak), sexual basis accident.
Throughout the first act Zholdak teaches the viewer's language. We see that in this house as a particularly fondly refer to milk, it is stored in a special refrigerator. The same special relationship to the ice - only it is more malicious, death to the beginning. Water connects us directly to sincerely express emotion - a thin stream flowing from it grates on the face of the character singing, first as the sweat from the effort of sincerity, then as a cleansing moisture truth. This is part of a system of particles, the characters you want to express Zholdak great thought.
We loaded the entire volume of the details of his world in the first act, the second act Zholdak arranges non brake leap into eternity. We are used to verify the reliability of the measure today's "Eugene Onegin" performance Dmitry Chernyakov with its vital and exciting piercing lyricism. Zholdak sculpts the characters in a different way, but they appear to us human beings, and not signs-symbols. His Tatiana, Olga and Lensky - ardent, impulsive, drunken teenagers life, which are so easy to get into a dark, impenetrable thicket of universal grief. Before dying aria Lena Olga gets black whirligig, alluding to the childishness of quarrels, but Lena turns the toy with the call, insisting on the "seriousness." In Larin Onegin ball playing with a gun, broke from company-drunk, as if looking at the performance Chernjakova (dialogue with scenic images of other directors adds performance of "meat"). But Zholdak with honor out of the game - in this bare, essential world duel - no nonsense, and the dry reality. Diagonal trail servants black carpet (bottom white), and they remain in the hands of white nedoraskatanny roll (whether to unwind the breadth of values of black and white?). Before the fatal blow on the stage quietly Tatiana appears in the "little black dress" and when a shot smash hits the floor vase with a plant in it fostered. Lena falls into the grandfather clock lying around with the lid open, and a howling band at the last picture of the dead ticks fifth Lena rabid milk poured on his head, and on the floor someone throws a wild roar pieces of ice.
After the expulsion of ... Onegin home Grameen-Larin give us another final entry on the music: that happy life of Tatiana and Gremin, their charming daughter, they celebrated with a silver Christmas tree. Once all this is happening in the "velvet world of emptiness," as M., shines only the "black sun". And we understand how timely this "Onegin".
Premier 2012 - Opera EUGENE ONEGIN
Opera EUGENE ONEGIN premier in 2015
LETTER TO ACTORS
THEORY / LECTURES OF ANDRIY ZHOLDAK