Piano hell

Following the Mozartovo Premiere of the Bolshoi, a similar event occurred in the second in rank of the Moscow theater-named after Stanislavsky and Nemirovich-Danchenko. Another masterpiece from the trilogy on the libretto and Ponte - Don Juan. Another competent and brilliant-stupid young western pros for the remote control (as well as for harpsichord) is the Englishman William Leisi, whose successful union began with the theater two years ago, during the Britten Snow on a Summer Night. The soloists, even two compositions, try very hard, the most commendable work in the composition that I saw - Maria Makeeva as Donna Anna. Well, Mozart is no longer quite alien composer for the Russian capital.

The directorial side of the case was taken by the artistic director of the theater Alexander Titel, but his work is not so striking as the scenographic solution of the Lithuanian Adomas Yatsovskis. This decision cannot be noticed and not to stick forever for new products as a memorable label. The main decoration is a steep wall of the 30 ancient piano-piano, protruding from the darkness with their balusters and ledges of keyboards, gleaming with candelabras and frightening with mutilated insides. A spectacular art object with a small volume of applied stage capabilities: you can romantically wave your hands over the keys, you can somehow get on the closed cover of the tool. But its main function is what. In the finale, the cemaries of the piano, along which Don Zhuan climbs from the scene, becomes the door to the underworld, where he, through an empty musical gut in the end, eventually fails. Here it is, a coffin with music.

However, sometimes, in order not to bother the viewer, the piano wall rotates with its back side, covered with mature artificial grapes - the unsuccessful allegory of the sin of voluptuousness. But this topic in the play is just less impressive.

Actually, Don Juan, of course, is not just a womanizer, but a very complex character who arranges for all other heroes of the opera a test of freedom, which none of them passes. There are many levels in this figure. But in this case, only the upper one is read. Don Juan in the elegant performance of Dmitry Zuev is young, built, without a hat, looks like Maxim Galkin, in a hat - Boyarsky. Is it bad? All three female characters placed by Mozart and Ponte between duty and passion, love and hatred, feeling and reason, freedom and social restrictions this time, this time, does not seem to experience any cognitive dissonance. Dad or groom is one thing. The sexual object in the hat is very, very different. If there is a problem with Donna Anna, Donna Elvira and Cerlin - then she is only how to share it. Long live freedom? What is such a freedom? You take a bottle - here you have all freedom.

They drink a lot in the performance, especially in the first action - but without removal, but rather, you know, to relieve stiffness. Around the alcohol is built and one of the successful directorial inventures: Don Juan, especially not bothering to courting, technically douses Win Cerlin in a wedding outfit, which has to be removed immediately for drying. But in the opposite direction, this technique no longer works: the trained Tserlin once again douses the same dress in order to reconcile with the roared groom Mazetto, but he is satisfied with a bottle, and the dress can already not be removed at all. Such a sad, expressive, though some kind of Mozart story.

But it is rather an exception than the rule, in this performance, generally quite static. As a result, he now and then turns into a sort of sandwich from lifeless recitatives; They must somehow be endured in the hope of a beautiful aria, which, however, is not a fact that it will be completely impeccably executed.