Ex-en-provans-2014

“Salzburg moved to Provence”-the place occupied today by the French forum in the hierarchy of opera festivals in Europe, aphoristic-memorially designated the headline of one of the Austrian newspapers, with enthusiasm (and not without obvious envy) of the Provences of the Provence of the Provence of Bernard Fokrrule. In the eighth year of reign in exse to the former owner of Brussels La Monnaie It was finally managed to realize his old dream-the festival in ex-en-provence seemed to have achieved the position of one of the most status opera forums in the world. And it is no wonder: it was in the exse - and precisely thanks to the efforts of Fokrrul - many iconic productions of recent years began their way along world scenes, from the “nightingale and other fables” of Robert Lepage to the “nose” of William Cantryge, not to mention Don Zhuan Dmitry Chernyakov. The recipe for the success of Fokrrul this year has remained unchanged - the balance between the intellectual brilliance of the poster and its democratic openness to the public plus the highest musical level of the festival program that concentrated the European musical elite of the early 21st century: the status of the “best opera festival of the world”, assimilated by the prestigious Operaa, Awards , Fokrrul confirmed this summer not without a fairly shine.

Against the backdrop of the ostentatious Rabezian redundancy of Salzburg, the Poster of the Festival in exse looks, at first glance, much more modest: five premieres, of which one is the “magic flute” of Simon McBberney - is already familiar to the European viewer in the Amsterdam De Nederlandce Opera , and a concert block, traditionally perceived not so much an independent a dish, how much a sophisticated side dish to the main opera program. The power of the Ex - - not in quantity, but as: against the backdrop of the sequential sense of the opera program of the Salzburg festival, after leaving the intensive detective post of Gerard Mortier, which gradually turned into a fair of vanlavia, Bernard Fokrrul managed not only to turn the forum entrusted to him into the “place of force of opera European, but to make the Provencal Festival intellectual center.

At least the list of Dramatis Personæ this year is eloquently evidenced by the priorities of Fokrrul: in the main characters of the opera program - the outstanding South African artist William Cantryge and the rapidly making career Katie Mitchell constantly resident in Provence. The Centridge presented the French premiere of the play “Winter Way” on the Winter Way on the same vocal cycle of Franz Schubert (if with anything you can compare at the same time the stage and reference interpretation of Baritona Gerne, except with the legendary notes of Dietrich Fisher-Discu)-he already thundered on Wiener Festwouchen and Holland Festival , but, however, did not become a breakthrough that could compare in force with the new aesthetic horizons that opened up new aesthetic horizons with a “magic flute” of eight years ago. The Grand Dame of the English directing Katie Mitchell in opera stages is engaged in the search for a new theater language no less eagerly than in the drama-its “Trauernacht” , composed for a couple with HIP supernova, Raphael Pishon of one and a half hour installation of chorals, reatitepers and arias from the Bakhovsky cantatas, formed along with the “winter path” The cattle of a semantic diptych, setting two trends important for the European theater agenda. Judging by the “Trauernacht” , that according to the “Winter Way”, protagonists of the modern theater perceive the territory of the drama as scorched land, more often purposefully migrating to musical stage, where they prefer not to work with operas, but with obscene genres like a vocal cycle or spiritual cantata.

Having provoked the influx of theatrical tourists from neighboring Avignon, Ex-en-Provence this summer simultaneously confirmed the reputation of almost the main in the European festival market of the supplier of musical sensations. The main and, perhaps, the most anticipated of them is the performance of the ex-Petersburger Olga Peretyatko in the Turkish in Italy Joakkino Rossini, Christopher Olden and Mark Minkovsky . Favorite Ex-ex-a graduate of the local European Academy of Music, four years ago debuting here in the Nightingale and other fables, turned back to Provence not as a debutant who was giving hopes, but as a young diva, quite capable of taking Anna Netrebko, which is transitions to the more difficult category of the sex symbol of the world opera.

It is quite obvious, however, that the singer has every chance of becoming something big: unlike her compatriot, who took mainly natural naturalness and for the time being seductive Couleur Locale , Mrs. Peretyatko, in addition to everything, is also unusually smart. She, perhaps the only career that made a career in the West, belonging to the type of singer-intellectual, rare in our latitudes, was lucky to work with large directors from Robert Lepage to Dmitry Chernyakov and with large conductors from Pablo Eras-Casado to Markovsky Markovsky. Judging by the engagement in the Turkish in Italy, each of them studied something from them: last year's “Sullah” in Salzburg and the “royal bride” in Berlin demonstrated her ability to organically exist in a difficult conducting and directorial drawing, but she achieved genuine stage freedom precisely in “Turkish in Italy”. Charisma without a shadow of vulgarity, Stage Pressence , style impeccability and cosmopolitan quality of vocal training: 34-year-old Olga Pereshko has all the characteristics necessary for the potential opera superstar of the early 21st century.