How to feed the boot

In the wake of public interest in tango in the house of music, opera was performed, or rather Tango-Ouperita Astora Pyazlla "Maria from Buenos Aires." This work is one of the most important for the composer, in the work of which the academic approach combined with the unconditional love of tango. It is built on different styles of Argentine music and allegorically depicts the story of the tango - what it was seen by the Pyazzoll himself and the author of the libretto, the admirer of the composer Uruguaysky poet Orasio Ferrer.

The author’s version of Piazzolla was written for eleven instruments, singer, singer and reader (his role at the premiere was played by the author of Libretto Ferrer). In 1998, composer Leonid Tenthilov, by order of the violinist Gidon Kreeper, one of the active propagandists of Pyazolla's music, created a version for eight instruments, so many of them were on the stage of the House of Music. The operait was fulfilled by the international composition. The project manager, conductor and pianist Pablo Zinger was born in Uruguay and lives in New York. Argentina was represented by a reader Juan Villareal (also a lot of living in New York), singer Katya Viker and two dancers. Singer Leonardo Granados came from Venezuela, guitarist Michael Partington - from the UK. The rest of the musicians were from the USA and Russia: the bandoneonist Alexander Mitenev, American smuguster John Green, as well as the Seattle Chamber Players quartet, has a native of Russia by violinist Mikhail Schmidt. The sick cellist of the ensemble David Sabi was replaced by Muscovite Dmitry Prokofiev.

“Maria is my column / Maria Church My / Maria Cathedral / Maria Sague of Flower / Maria City of Wenki / Maria Pies of Heaven / Maria ax.” These lines are Nikandra Andreevich Tyvevev, a friend of Harms, recalling when reading the libretto. The heroine of the operates, Maria, personifies tango. In colorful phrases with an abundance of loud and magnificent symbols (“Maria instead of whiskey, Mary with ice ...”, “Maria-mushket, Maria-amin, the red dot grows on the temple”) describes her appearance on the streets of the city, her attractiveness surrounding her dirt, then the death and funeral of Maria, the wandering of her shadow through the city and, finally, the revival, which means the appearance of the appearance "New Tango", a style founded by Piazzolla. In a logical way, Maria is associated with the Virgin - it is no coincidence that the operates are sent to the Catholic liturgy: “Misereere Canyengue” (Kanenge - one of the rhythms of tango), “Milonga de la Anunciation” (“Milonga of Good News”, Milonga - one of the types of Argentine music) and Tangus) and Tangus Dei "(from" agnus dei " -" Lamb of God "), in which birth is accomplished, however, as it turns out, not Jesus, but to the new Mary.

Academic music is reminiscent of the names of the parts "Tocata Rea" and "Allegro Tangabile". In essence, the opera is a series of dances, mainly of different types of tango, less often waltz. The fragment starts significantly different from the rest, starting with the likeness of the fair march, against which there is a choir of either interpreters of dreams or psychoanalysts. Otherwise, the usual tango structure closer to the final becomes somewhat tiring. The reader must recite the text that, according to the libretto, is pronounced by the spirit that loves Mary, as well as old thieves, Banderashi, psychoanalysts, knights of the dough and others. Villareal read for everyone with almost the same intonations, which was why drama suffered. However, the game of musicians (especially Mikhail Schmidt and Flastic Paul Tob) and from time to time the pair of dancers appeared on the stage remained stress. But the most strong impression was made by singer Katya Vicker, although the party of Maria is not so rich. All the phrases were an Argentineal with genuine passion, and especially shocked the imagination in her performance outwardly the ridiculous line “and if no one wants to be born from me, instead of a newborn I will feed at least a boot!”.