TATYANA LARINA GAVE BIRTH TO DAUGHTER

Zholdak always thought of music: the specificity of his dramatic productions - subordinate drama special rhythm of emotional heat and downs, do not coincide directly with the verbal text. He needs shocking images, sometimes not understandable from the point of view of ordinary logic, but I keep in memory and create a surreal world, from which the brain can carry. Going wild emotion - is the main feature of the director Zholdak. In Tchaikovsky's music is easily found an ally. Of course, correct that the original idea of the placement of the Mikhailovsky Theatre "Life with an Idiot" has degenerated into a "Onegin": cold cynicism Erofeev and Schnittke - not zholdakovskaya element. Zholdak - very sincere. So harrowing story, which Tchaikovsky turned ironic Pushkin's text, adequate aesthetics director. And the story really is incredibly sad, that, perhaps, no other statement of this opera has not been expressed so vividly: the young people will not doom, not as a result of dramatic external events, but by his own stupidity, naivety, carelessness ruin your life . What could be worse than this here frivolous youth somersault, turning death, loneliness, emptiness and lack of love?

Introduction to the opera - the prologue, in which the pure white space (set design Pormale Monica and Andre Zholdak) little girl pours black grains. So there are the first in a white black spot. It also set the tone of the play and the music: expression, vivid contrasts, mobile rates - conductor Michael Tatarnikov degree increases emotional scores to the limit, however, it is appropriate to Tchaikovsky. Four characters of the opera - Tatiana (Tatiana Raguzova), Onegin (Janis Apeynis), Lensky (Eugene Akhmedov) and Olga (Sophia Feinberg) - innocent souls living in his freshly painted white world, hungry for love, passion and adventure. They behave as our contemporaries, fooling around, pushing, hugging, pedestrian quarreling and easily reconciled. Zholdak exhaustively working with actors, trying to get them to transfer the dramatic credibility subtle nuances of the characters and states. Young artists embraced and implemented the great challenge - without prejudice to the vocals to concentrate on dramatic play. Heroes' live and feel in a hurry hurry ", not realizing that the signs around the gathering dark, at first seeming ridiculous - sinister bearded dwarf (Alex Ingelevich), giant, thorny stems of roses, horned faun. Scattered in the beginning of the opera black grain yield seeds - the world is gradually turning black and covered with soot, as covered with soot souls of heroes.

A lot of details - sometimes with over: it is tempting to talk about each zholdakovskoy chip, reading it in the context of the overall concept of the play. For example, household appliances - microwave, washing machine, fridge ... Why? Then there is a world of simple, real, and there is another in which a dwarf - pink spikes, breaking into a window bush with white flowers. There is a falling stream of water on the face, creates the effect of the cooling stream to extinguish raging passion. There are pieces of ice, which at the date instructive to Tatiana comes Onegin - 'learn to control yourself. " There is a second fawn-devouring porridge pots during the almost realistic, but, in fact, an art-house duel. And of course, the final. No, not a replica of "Shame, depression, about my pitiable fate!" Ends the play. After these words of a textbook that Onegin sings in the dark, the music returns to the entry. White world was completely black walls, ceiling, costume characters - all black. Such is the sad family idyll Grameen-Larin. But the little girl (daughter Tatiana) again pours onto the stage of grain - now white. And maybe new heroes would get maturity not miss the happiness that is "so maybe so close?"