Prefire without megasmos

The Perm opera season, striking in saturation against the background of global lull, reached its scandalous climax. “Carmen” in the production of Konstantin Bogomolov initially did not promise lovers of the respectable opera theater. So it happened. However, even the most advanced audience, which increased here under Kurentsis, radically dispersed about the fresh premiere. Many more copies will be broken. Many battles of musical and theater-dramatic lobby are still ahead. A lot of quotes from the performance will be dispersed into memes. But the fact remains: the listeners of this opera Bizet had never laughed like that! And the laughter in the opera is worth a lot. Perhaps more expensive than tears.

Of course, the question arises - what is ridiculous in the opera "Carmen"? But for the connoisseurs of Bogomolov’s work, this is a rhetorical issue.

Nothing personal! Only posteronia! Bogomolov is fervently trollit in his performance of everyone - feminists, gays, Ukrainian nationalists, fighters with domestic violence, and especially Jews and Orthodox. Well, and the music lovers are spinning somewhere under their feet. He all steps on the corns. He walks along the most dangerous land. But it does not break into the abyss. Here he has both the Odessa pogrom of 1914, and “ Arbeit Macht Frei ” on the doors of the tobacco factory, and a naked stranger with horns and tail next to the icons, and the Russian soldier Hose, who, praying, takes out a bloodied swab from under the jewel of the Jewish-he will come in handy for him to perform“ Aria with a flower ”(Video artist is Alan Mandelstam, a scenographer and the production of Larisa Lomakin).

Where does the fighter with the innocent Novosibirsk Tangaiser look Vladimir Kekhman? Here he is glamorously sitting in the box! They flew, they say, to Perm on a business jet. In every possible way shows that he is not a stranger to this theater. And the whole hall is laughing at him - it was planned or not, but now it is also part of the performance.

Yes, some jokes are rude. Many are cynical. But most of them shoots completely luxurious and far from always explainable. It is clear that the news that appears in the credits that on the stage is now “sings the choir of the Odessa Sea Port named after Comrade Kehman” cannot but cause the explosive joy of the hall. However, why from the modest message “you watch the opera“ Carmen ”at the Perm Opera and Ballet Theater”, highlighted in the midst of some other bacchanalia, are you falling from laughter under a chair? But this is true very funny!

So, credits. Bogomolov, of course, is more than credits. This is a powerful manipulation tool. Having pretended to be a translation from French, they broadcast a provocative and at the same time delicate directorial fun, which cannot not be succumbed to. The author’s version of the opera with conversational dialogs, allegedly chosen with authentic goals, but actually unleashing the director’s hands, also helps. What is not put into these conversational cracks! In addition to opera heroes, experiencing their national, sexual, religious, revolutionary, communal, household and age dramas (at the end of the performance, the main character is 40 years old, she has children, a senseless husband of Hose and wilting leather, and life passes ...) in an understandable and intelligible Russian language, for example, there was a place for Isaac Babel, Hedgehog-European and dexterity A filmmaker who endlessly making films about the Toreador. A serious landing of dramatic actors capable of portraying a small-eyed accent is taken from the local theater-theater . Hasid dancing to the music of the overture was placed by the choreographer from Panfilov’s Ballet Aleksey Rastorguev (and they got there, I must say, like praised). The matter, if anyone has not yet understood, is happening in Odessa somewhere in the first decades of the 20th century. But actually this is not the main thing.

The premiere soloists are all of their own, local, which is very touching. Of the four main characters, Nadezhda Pavlov in the role of Michaela was predictably the most sweet and ringing asterisk. Bogomolovskaya Carmen Natalia Lyaskov - an expressive, confident blonde with a matte voice (yes, the director’s wife came to the premiere) - just a hero and well done. At the Escamillo, the star hour occurs when, fulfilling his purchases, he gets drunk and cannot connect one note with another. And Enhbat Tuvshinzhargal completed this directorial task with a bang. “I’ll send a letter to the drill, and we will begin everything to see” - this is also sings in this performance by Boris Rudak - Hose, and, perhaps, it comes out even more convincing than “Aria with a tampon”.

In general, it is clear that Bizet’s hit numbers are muffled, and sometimes another unexpected music is crowded. Authentic Russian crying by the deceased performed by the local folklore celebrity Marina Sukhanova (she depicts the dying mother of Jose, who, I recall, the Russian soldier from the hinterland) is beautiful, like the Perm wooden sculpture. The brilliant exit of the head of the opera troupe of Medea Yasonidi with a song about Deribasovskaya will forever remain in the history of the theater. And from the credits we will learn that the friends of Carmen are embedded in Zionists and leave for Palestine, where under the sky the city is golden, and there are crocodiles, hippos and a green parrot in it. Proceed yourself.

But the most unfair is to reproach Bogomolov in deafness. He is just an incredible rumor. He does not achieve serial fascination and unusing stress with some particularly outstanding acting solo or freshly faced with a parallel plot, namely the subtle work with musical time, taking it away from Bizet and completely taking it into his own management. And Maestro Philip Chizhevsky is apparently that unique musician who is also sincerely interesting. This is heard.

The score of Bizeta is reduced, cut and seized, ethnographic alien overflows of guitars are reported from the orchestra. This is no longer a rebel, but rather a retail. But it does not smell about deadly here-even despite the final rather dumb maniac-hose with electric saw. This is all very lively and juicy. It is clear that the project turned out to be loud, controversial and fashionable, that is, it was a success. It is clear that the actors are happy. Disassembly is an opera or a drama with music, which shelf is put on on - they do not make sense and are a shaking of air. It is simply necessary to admit that the era of the sacred of the musical text ended, ended and ended. For some time we know this for some time, but we are afraid to say about it.