Winberg effect

Last week in Moscow was the culmination of the new glory of Mecherslav Weinberg (1919-1996), which fell upon him after death, several years ago, and finally reached us from abroad. Four days at the Bolshoi Theater and the State Institute of Art of Art, a representative international conference organized by the newspaper Musical Review was held on the occasion of the composer who is approaching the century. Two recently set “passengers” - Moscow and touring Yekaterinburg - competed among themselves, gaining the status of the Must See , giving rise to enemy camps and supporters. Tickets were asked on the street. And the Bolshoi Theater on the same days released the premiere of the opera idiot. An impressive concert program, which took place in the Beethovensky Hall of Bolshoi and at the Institute of Art of Art, included the world premiere of the first concertino option for cello and string orchestra. Among the honored guests were the English director David Pauntney, the first director of the opera opera (festival in Bragery, 2010), and the Polish writer Zofia thought, the author of the story “Passenger from the cabin 45”. A thin and straight 93-year-old elegant beauty in heels, going on stage in front of a standing hall and pronouncing parting words from a terrible twentieth century, is an exciting ritual, which we are now also involved.

Meanwhile, it cannot be said that before the current unprecedented paper, Wineberg was such an unknown composer. He himself called the 60s with his "star years". “I was surrounded by the best performers of the world, I was friends with them. They played my works. " Rostropovich, Ostrakh, Gilels, Kondrashin, Barshay - this is such a list of names. But in the 90s, the composer ended up on some other, unmarried shelf. Not a protest, not radical, practically not persecuted, and even a younger friend Shostakovich is a clear thing, an epigon. There was not enough something clinging to become recognizable outside the musical community.

Now the necessary identification marks have been sophisticated: a musician, according to which the rink of the 20th century has passed; There is no prophet in his fatherland; The return of the names. In addition, fatigue is felt from the difficulties and emotional zoom of art, called modern. And in opera domestic music, a hole gaps for half a century, or even more - after the “Lady Macbeth of the Mtsensk district” really nothing repertoire. The question is still hanging: as if the story of the opera of the twentieth century has developed, if there weren’t the Pravdinsky article “Skour instead of music”, which in 1936 interrupted Shostakovich’s opera path. And suddenly, in the legacy of the composer Weinberg, a whole opera treasure is found - both for listeners and performers: understandable musical language, honest pathos, bright characters. “Passenger” is the first of the seven operas, asking a new question: how would everything turn, if it was executed in Russia at the same time, in 1968, and not almost 40 years later.

The “idiot”, written in co -authorship with the same librettist Alexander Medvedev, is the last operator, who has nothing to do with Shostakovich’s style. She appeared in 1986, was staged at the Pokrovsky Theater in 1991, in the wake of the popularity of the "passenger" in recent years became known in the West; This summer, her semi -concert version was promptly released by Mariinka. And now he replenished the repertoire with the “idiot” of Weinberg and the Bolshoi Theater, successfully looking for a place for him somewhere next to his ballet “Hero of our time”.

The audience perceives a new score, nevertheless sucked for about an hour, with enthusiasm, does not go in the intermission. The performance staged on the new scene by the newcomer in the opera, an experienced artist of the Israeli Gesher Theater Evgeny Arya and the St. Petersburg scenograph Semyon Shepherd, does not claim new sharp accents in the interpretation of the novel of the Dostoevsky or love quadrangle, on which the composer and librettist concentrated. The cinematography of the opera, where different episodes are dynamically mounted, leads the directors. The video of Asi Mukhina with large plans of the main characters adds stereo. Hello from Gogol and Chekhov, they are ill in the decorative-grootesal silhouettes of the extras. Black and white surroundings, although a little from the 90s, is technically inserted into the narrative, full of passions, as they say, to break the aorta and delicate dreaming hassle. And the Polish conductor Michal Claus highlights these contrasts very well.

Well, the main decoration of the new products of the large are soloists (including very young), who have been gained on two strong compositions and who can turn around no worse than that of Rimsky-Korsakov and Tchaikovsky. Everything is juicy and tasty: the fatal Nastasya Filippovna (Ekaterina Morozova, Maria Lobanova), the helpless-handful prince (Bogdan Volkov, Stanislav Mostova), Brutal Rogozhin (Petr Migunov, Nikolai Kazan), painfully Ironous Aglaya (Julia Mazurova, Victoria Karkacheva), caricature Lebedev (Konstantin Shushakov, caricature of Lebed. Konstantin Lechkov). What would be, an idiot opera did not appear in 1986, but a hundred years earlier, is also a good question.