Bordel in the circus

The first full-fledged opera premiere in the large (concert performance of the "Orleans Virgo" and the Children's and Gerda Children's and Gerda) is called Verdi completely non-original-"Rigoletto" . But upon closer inspection, the textbook opera opera operators did not appear indecently on the stage of museumliture on the stage - it went here until 1971, then only in the CDS. However, the new products, despite the obvious repertoire of the name (tickets have long been sold to the entire premiere cycle), settled not on the historical stage, but on the new one. Perhaps there are purely technological excuses: the performance, which is the co-product of the theaters of the ex-en-prove, Strasbourg, Brussels and Geneva, was not born in Moscow at all, and the scenery was brought the size that is. But in this case, it’s even calmer. It is still unknown how the traditionally more wild public of the historical scene would respond to the desecration of its sacred spaces. Because how else can one name the fact that the performer of the party of the Duke, in addition to the high tenor notes, must have a decent look with an ass that is not ashamed to show the hall, throwing a bathrobe for several victorious seconds?

So, the Bolshoi Theater took a bold step on the path to stage emancipation. The performers of the parties of two past the Duke's past sexual partners - Countess Cheprano and Maddalen - passed, one must think, a harsh casting for a long -core. And participating in the production of the artist of the Theater "Empire of Angels" and the dance show "Bohemia" - also on unpromigencies: by the end of the ball, the duke of mantuinsky matter on the bodies of the dancers remains two centimeters.

At the same time, it must be immediately warned that Robert Karsen, who staged the performance, is an incredibly prolific and demanded director of Canadian origin, in no way is an outrage of public calm, blind and radical. He knows the measure, feels his shape, knows how to surprise, interest, not let him fall asleep, does not consider it necessary to intelligently avoid the opportunity to arrange a show from the opera and loves to emphasize that the theater is the whole world.

His Laskalovsky Don Juan, brought to Moscow two years ago, was built into gild-purple opera curtains and tiers. The scene of his “Rigoletto” is the Arena of the Circus (scenographer - Rada Boruzescu, costume artist - Mirun Boruzescu). The title hero is a white clown. The royal bed in the center of the scenery, ironically echoing with the one that hangs opposite her over the heads of the public, hides the place of sensual pleasures of its insatiable subscription holder. Rigoletto hides Gilda in a circus mobile van. In dreams of love during the chita “ Caro NOME ” She ascends to the dome at the trapezoid, not forgetting about the Colorators (you can argue, whose testing is worse - her or duke, arranging striptease during the performance of “ Possente Amor " ). Her overseer Giovanna works immediately in the circus, a cleaner. The choir of courtiers in tuxedos is conveniently seated in the audience stands. Well, what kind of circus without acrobats? They entertain the audience no worse than nudity.

BLOSED entertainment is perhaps the main property of this production. You do not need to look for any pain points and serious meanings in it. The opera was once created on the forbidden plot of Victor Hugo, and during its writing to the composer and librettist Francesco Maria Paeva, the censors patted his nerves, we must think much more tougher than Sorokin with the ten’s “children of Rosental”. But in our time, the severity of the topic of sexual licentiousness has somehow completely dulled. The accents have shifted. The father, hiding his name from his own daughter and fanatically locking her into the room hidden from the eyes of the room, just looks very suspicious. While it is difficult to see a crime in the erotic mood of the duke in relation to Gilda, who herself is in love with him. And Karsen does not particularly insist on any such crime. It’s not a shame to appear naked to a romantic girl with a book in her hands, but not so much that the audience is noble, and not mockingly and rather approvingly whistled after Tenor-gammers.

Actually, who loses in this situation, is Rigoletto. He is unhappy, but bored. Against the background of a brothel-cycle animation, the suffering of Dimitris Tilyakos, who sang this party on a premiere evening, was completely lost. In the role of the hero-lover was Sergey Romanovsky, a foreign celebrity who comes home on rare, corresponding to his high tenor repertoire reasons. With some annoying sipes on the upper notes, he nevertheless turned out to be a completely charming duke with a light, shiny voice. The Prime Minister Gilda - Kristina Mkhitaryan from the youth program of the Great, last year’s winner of the Norwegian contest named after Queen Sony, with the timbre of amazing crystatance and purity. It is difficult to say something special about the conductor Evelino Pido, except that the orchestra behaved correctly in relation to the soloists, but Verdievsky drama and saturated theatricality completely bypassed. In general, individually, both Verdi and the circus in these products are not pulled on a high score, but if they are mixed, you can make good money.