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what is wrong with the opera the ball masquerade at the bolshoi theater

What is wrong with the opera “The Ball-Masquerade” at the Bolshoi Theater

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What is wrong with the opera "The Ball-Masquerade" at the Bolshoi TheaterOpera “Ball-masquerade” at the Bolshoi Theater. Photos – Damir Yusupov / Bolshoi Theater

In the new production of the masterpiece Giuseppe Verdi, excellent voices, but bad with music.

A masterpiece by Giuseppe Verdi was put in the Bolshoi theater three times, we learn from the booklet: in 1880, passed 3 times, in 1891 – 12 times, in 1979 – 108 times.

In the latter, all the stars of the Greater Sotkilava, Milashkin, Obraztsov, Voroshilo sang. He went until 2004, when he turned into a dilapidated costume play and was removed as morally obsolete.

Hardly prepared for the new job as an honorable fate, although it would be better to err: anything can happen, the prime minister can go badly, the more that half of the invited artists at the Bolshoi did not sing before.

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

No one of them complaining about not want to: George Berrudzhi pleasant tenor and easy zvukovedenie Oksana Duc is not always pleased with a beautiful timbre, but it at least audible, Vladimir Stoyanov lead baritone role confidently and firmly – that is, a love triangle like.. picked up on the conscience.

Nadia Krasteva in the role of the witch Ulrike (she was once in the Great excellent Carmen) is good by one hundred percent. Its artists also did not disappoint: That there is one tiny Nina Minasyan, chirped trouser party’s page Oscar, or touching Nicholas Kazan in passing the role of Silvano sailor whose bass became a recognizable timbre Big troupe.

There was not only Verdi’s music at the premiere, and most of the questions here are directed by the conductor Giacomo Sagripanti. If the notes were sung at a steady and slow pace, it still does not go anywhere.

But the composer had to choose a slightly more mobile metronome, as the total non insieme began (in Russian, nicht tsuzammen).

The whole relish of Italian opera music is concluded in agogyk, ie, in changes in tempo, part of those prescribed in the score, part of which are observed by virtue of tradition. But each such moment became a problem, as the singers and the conductor held different versions on how to overcome it.

The authority of the maestro was enough for an orchestra that played cleanly, accurately and on hand – while for singers this same hand was not a decree. Verdi hoped that the singers and musicians would sing and play synchronously, but with Giacomo Sagripanti in the orchestra pit these hopes had to be buried.

Delivered and designed by the compatriot of the conductor – director David Livermore. In the booklet he says:

“I’m lucky: I’m not a genius.”

Such sincerity could be bribed if the director really created a product that opposes the individual author’s theater, which is not always distinguished by genius. But the author’s plan for Livermore was after all. He decided to convince us that Verdi’s opera corresponded with the style of noir of the 1950s.

The compilers of the booklet developed his idea and stuffed pages with portraits of Humphrey Bogart and frames from Hitchcock. They give the impression, especially when combined with images of kings (one of them wanted to kill in Verdi, but censorship is not given), Toulouse-Lautrec and a detailed history of masquerade balls.

Thank you, the announcement is hidden.
Thank you, the announcement is hidden.

Reading such a booklet, immersed in a cunningly arranged history of world culture and feel yourself either in the Louvre, or in the Paris cinematheque. But you raise your eyes to the Historical Stage of the Bolshoi Theater – and remember where you are.

Birds who flew from the movie Hitchcock, sit on wires and sets – computer projection technically works flawlessly and does not even make a noise. But the entourage resembles the Moscow style of the era of the mayor Luzhkov – gilded railing and stairs, along which the elegant ballroom audience paces. If noir is a thoughtful style, then the “Masquerade Ball” in the Bolshoi Theater is its complete opposite.

Not even American flags helped out. The enamored governor of Boston explained to the lady of the heart in front of the indifferent public, then the old friend discharged the barrel into it. The governor went to the stage and, having forgiven everyone, died. Not a single teardrop in the hall was spilled.