Import for export

Great news: either the artistic director of the Mariinsky Theater finally got the time, free from exrasis in the genre “A gentle child of two queens sucks” (we will be merciful: try to explain the features of their own political position, without having lost the confidence of the party and government , the task is not from the lungs), or the stars were so simple, but the first musical theater of the country-the country's first musical theater converged. surprise! -Under the curtain of the season, he nevertheless threw his megamoll into the main counter (whether the joke-three multifunctional complexes with seven multi-format sites), which claims artistic viability.

Nothing, as they say, portended: it was not that the creative tone of the Mariinsky opera troupe of recent years forced to expect special breakthroughs, but the premiere of this season - excluding excluding the well -packed “hotel” by Vasily Barkhatov and Zinovia Margolin - surprised even the views. “Trubadur” Pierre Luigi Pizzi, “a miserable creature covered with ulcers, like Job, dull, tormented by all known and unknown diseases, suffering from the cold and from the heat at the same time” plus “with its own type and texture tone, apologizing for his own existence” “Evgeny Onegin” export crumbs is not a lot: not a lot: to the program. “White Night Stars”, the traditional fair of Mariinsky vanity, this year laid, as they say, special hopes.

It cannot be said that Valery Gergiev justified them completely in full: the concert program “White Night Stars” -2014, which was quite thinly looking against the backdrop of the “big grub” of last years, could definitely turn out to be a little more high-calorie-but the collection of opera evolutions looks quite representative. There are, in fact, two of them - the newly released “Trojans” by Yannis Kokkoos and Graham Vika, which was approaching in July , impending in July . Two requiring mobilization of almost the entire troupe of the epic blockbuster, two iconic for Valery Gergiev, the name to which the Mariinsky Demiurge returns again and again - and two seemingly carefully planned image promotions with an improperic effect.

The target audiences of both are characteristic - by no means the public of the Mariinsky Theater. The “Trojans” are quite frankly sharpened under export-at the end of August they will be taken to the Edinburgh Festival , “War and Peace” looks in absentia in absentia, the fragments of which will fly in different directions, but it seems that Graham Vika’s performance will sound in the West: if Mariinka is still “with the last directness”, the presented British production team of guns Prokofiev without bills and censorship, then with the image of Gergiev- Loyalist it will be finished for a long time- it is not clear, however, what consequences the release of this premiere will turn into the head of the FSUK “State Academic Mariinsky Theater” in his homeland, and even in the current sociocultural acoustics.

The “Trojans” came out with the diametrically opposite situation: they had already managed to deserve (and also, how to drink, they will receive it, they will receive a completely favorable criticism, but it is very, very difficult to predict a reaction to the European premiere - Valery Gergiev, too paradoxical, repertoire gesture once again. Here, apparently, I must say that the St. Petersburg performance by Yannis Kokkos is not an original production, but the most close to the original of the “Trojans” of the “Trojans” of eleven years ago, shown in the fall of 2003 in Paris: collecting an extensive corps of analytical and critical texts and released shortly after the premiere on the DVD , this version presented for the 200th anniversary of the composer Berliozovsky Opus Magnum has long become a milestone in the history of the European Opera House.

The merit of the director is small: the cultural-minolorous, concise-stylistic production of Koccos pleased the eye of the French Operains, not distracting the public Châtelet from the mediastation of the performance-the interpretation of John Eliot Gardiner, who first performed with his “revolutionary-romantic orchestra” the score of Berlioz on historical instruments. The problem here is not even that without a curtain for the conductor’s remote control and without orr in the pit, the performance of Kokkos is simply unprotected - the situation is much more complicated: for every friend with the original 2003, an attempt to install any other performing forces on his space (and therefore completely different meanings) will seem like sacrifices and in any case will work against the wilderness - what good Those were guided by the intentions.

The idea of ​​the authors of the “successor” project, in essence, is clear as God's day-the main carrier of detention in the Paris “Trojans” -2003 was not the director, but the conductor, therefore, the replacement of the curtainer should be found, if not equivalent (which, of course, is impossible), then at least extravagant and simultaneously prudent and simultaneously simple-minded investigation The Edinburgh Festival Jonathan Mills is guessed by the naked look - he has been cooperating with Valery Gergiev for several years, so why not repeat the international success of his “Trojans” in Europe and published in the DVD in the DVD in the Visitor's Visionnaire La Fura Vizionaire directed by the Mariinsky scene. Dels Baus . But this is the catch: Gergiev, with all due respect to his talents, is not a curtainer, but the music of Hector Berlioz is not a repertoire field on which the Mariinsky artistic director can fight competitors from the HIP camp.

Inevitable comparisons with the output version of Orchestre révolutionnaire et romantique are especially offensive that in five years that have passed since the first appeal of the Mariinsky Theater to the “Trojans”, in their relations with this party party, Gergiev has moved far - and if at the premiere of the production of La Fura Dels Baus . On December 2009, it was possible to doubt the stylistic adequacy of the performers of the material, today the conductor, the orchestra, and soloists (excluding unless the chorus is still not pleasing) speak French Berlioz quite confidently, let it with a noticeable Russian accent. Probably, the Mariins could make the same claims that last fall on the pages of The New Yorker In his iconic article “Imperious: The Problem with Valery Gergiev”, Alex Ross, but in general, the new St. Petersburg “Trojans” are fully consistent with the tags that announce the European premiere of the performance on the Edinburgh Festival website: Epic , Thrilling , Traditionalist Foreign Language .