God forbid, not the last time

At the final festival party, the Governor of the Perm Territory Maxim Reshetnikov appeared in a T -shirt with the inscription "Do not let Krentzis leave." What it was - following fashion trends or manifestation of their own intentions - everyone decides based on their own level of optimism. But the situation around the Curensis and his team, growing rumors about the move to Moscow or St. Petersburg, now (especially when the shadow of Vladimir Kekhman loomed over the construction project of the new scene) is really heated. The feeling that the Perm miracle could not last forever was never so financially. Although all the previous nine years that Krentzis is here at the helm, we, of course, also remembered this.

The Diaghilev festival, started by George Isaacan in 2003, was held for the 13th time. It lasted 11 days and 11 nights at several venues in the city at the same time (and the pianist Mikhail Mordvinov even went for 60 km to the city of Okhansk and played there the world premiere of the compositions of Boris Filanovsky), demanding from all the strengthened Besonnon wakefulness, obedience, reverence, love and a certain amount of sadness. A gloomy black square has been hung throughout the city - a visual symbol of the current festival. Key programs are one another farewell. From the traditional Maler performed by the festival orchestra - the ninth symphony (that is, the last completed), it opened the festival. Closed - the German requiem with the participation of the soloists of Nadezhda Pavlova and Dimitris Tilyakos, the Chora Musicaeterna and the guest Malera Chamber Orchestra with Permians interspersed into it for fidelity. To get the baroque Bakhov’s ease of late romanticism. Kurentzis will not be Kurentzis if he leaves a proven masterpiece on a distant familiar pedestal. Before Brahms-the five-minute play by Morton Feldman “Madame Press died last week at the age of 90” (wooden winds are pronounced 90 times “ku-ku”). Before Feldman is sacred darkness in the hall and an angels choir not declared in the program from behind the doors. And after the final note of the requiem - a long tense silence, when the conductor does not give up and it is still impossible to clap. Kurentzis is great to stretch this silence.

With applause here, it is generally not easy. It seems that the general atmosphere of adoration requires applause. But even during the concert performance of the Mozartovsky “Idomena” with bubbling of the overh fields and voices from the sky sometimes clapping somehow embarrassed. Although the performer of the title party, Sergei Godin, and Eleanor Buratto (the daughter of King Agamemnon Electra), and the watercolor yin Fan (daughter of the Trojan Tsar Priam Elijah), and the choir with the Musicaeterna orchestrana orchestrana. “Idomena”, in the plot of which one can see the future Verdievskaya “Aida” and the biblical story of Abraham’s sacrifice of his son Isaac, is the early and infrequently performed Opera of Mozart, marking the transition from the traditions of the old Opera-Seria to the new drama. This summer she will be delivered at the Salzburg festival. Director is Peter Sellar, conductor - Theodore Krentzis behind the remote control of the Freiburg Baroque Orchestra. Of the Perm participants in Salzburg, the choir and Yin Fan will go to Salzburg.

It also happens that the musicians do not bow at all. Because they are not musicians, but priests. And the theater is not a theater, but a temple. And the listeners are not listeners, but flocks. And all this is serious, without a grin and postmodern quotes. And the most amazing thing is that you almost always believe in it. The central event of the festival was the joint performance of two chores dedicated to Arvo Pyart- Musicaeterna , under the direction of Vitaly Polonsky and Byzantiaeterna under the control of Antonios Kutris, Honorary Right Cathedral of St. George in Venice, and a co-student of the St. Petersburg Conservatory. If the Magic team of Polonsky has long been in the status of enduring value, then 12 graduates of Greek schools of Byzantine music (slightly fond of the plane from the plane to the May Perm frost, but weaving in the legendary "dumpling No. 2") - newcomers. Byzantiaeterna choir was founded in 2018 on the initiative of Kurentsis. In the Festina program Lente (“Hurry slowly” (lat.)) The groups could only be recognized by ear - darkness, all in the cassoons, the Perm Theater scene resembles an altar, the ancient Byzantine chants are mixed with Pyurt’s music, shading its sterile purity with their rough earthquakes. Humility in the hall is violated by few departing, humility on the stage - some meaningful excesses in the ministration. Applause are not provided.

It was not without a meeting of Byzantium with the Perm Gods on traditional night vigils in the art gallery (Spaso-Preobrazhensky Cathedral, 3:30 in the morning, candles, Perm wooden sculpture, dawn in Kama). Another participant in the night concerts for the gods this year was Cecil Lartigo, a performer on a tool called “waves of Martino” ( Romeo Castelculucci made friends with her during last year’s “Joan at the stake”).

The festival audience has their own, from year to year, repeated formats and artists-for example, gala concerts in the Diaghilev gymnasium with pillowing in pillows after midnight, Clavirabends of the minimalist Anton Batagov and oldman Alexei Lyubimov, ultramodern music from Masma, exclusive from Alexei Harabol (this year-the evening of German lied With local prima Nadezhda Pavlova). But there is always more new and unusual. Whether the play “Old Man and the Sea” Anatoly Vasiliev or the Oratorio of the predecessor of Bach Heinrich Schytz “The History of the Resurrection of Jesus Christ” performed by the French ensemble La Tempole with early trousers, sakbuts and a singer from the Melkitsky church community, who communicate the Tenor Party of the narrator (something seems to be something like something likes Bakhovsky Evangelist) The vigorous eastern flavor.

Of the other novelties of the festival, this time was most important, the cultural cluster “Shpagin Plant”, arranged in the former railway workshops, where the festival club was located, in the past years, which had been euthanized during the dormorous in front of the theater. Huge workshops in the style of Loft lived a creative youth life that does not know about any farewell mood. Children on scooters watching how the famous Austrian composer Georg Friedrich Haas rehearses his difficult music with Masm, the “eight-day choir” for non-professionals and teaching all the Lindi-Hop dancing, Nadia Pavlova as a model at the show of Perm designers and an impressive educational program. And sometimes Kurentzis himself looks-it will give a conducting master class, it will perform in the industrial genre with a drill in the hands in the Hammerschlag project. It is difficult to imagine how everything will be here if he is still given to leave.

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