The defeat of the prodigal son

To the sounds of fanfare and clicking cameras along the red carpet of the stalls to the stage, a glamorous procession from guests of the prestigious Wartburg Film Festival is paced to the stage. On the stage, a well-trained black-and-white maintenance staff is fussing. Microphones, water bottles - everything is ready to start the struggle for the main prize: a figurine in the form of a blossoming papal staff. Minnesingers of our time - filmmakers - represent their new films.

The Juan’s Wolfram von Eshenbach talks about the real historical figure of the 16th century - Huan the First, the queen of Castile, who could not reconcile with the death of her husband and for a long time did not betray his body to the earth in the hope of finding a means for resurrection. The “fidelity” of Bitherolf tells about the events of our time - the American Marine Corpcter Tyler Siegel was seriously wounded in Iraq, suffered 30 operations, survived, but lost his left hand, ears, half blinded and actually left without a face. Nevertheless, his bride restrained the word and married him. And finally, a poster of the third film appears, in which the canonical figure with spread hands is placed between the huge female legs: the “grotto of Venus” by Heinrich Tangayzer raises the question of the so -called lost years of Christ, about which there is no information in the gospel texts. According to the creators of the picture, Christ spent them in the grotto of the goddess Venus, experienced all carnal pleasures, but realized that he had to return to the real world, where suffering and death were waiting for him.

Not so much because of the risky content of the film, but due to the very informative behavior of its author, a serious scandal, reaching the assault, bursts out on the film forum. It is stopped only by the intervention of Elizabeth, the art director of the festival, as well as the mother of its two heroes-a neatly successful tungsten and a non-battered tangiaser.

Filming of the film “ VenusGrotte” , in fact, are shown in the previous scene - as detailed as possible. The pavilion with an ancient colonnade is highlighted by sofitis, a camera drives along the rails, strippers take off their robes and turn into Botticelli natives, dexterous Venus try on a white, black and red outfits, stopping on red, there is a curious daughter of a deceased behind her back, a caring assistant of a dull, caring assistant to a dull The director-Genia, without any hopes for reciprocity, pours him kefir.

After the festival scandal, the genius, and so suffering from sociopathy, falls into a completely difficult depression and, despite the efforts of mother and brother, no longer comes out. The mother, who has long been moving for a long time, no longer see the point of clinging to her life. The brother of the tungsten, meanwhile, seeing what is happening, loses his prosperous gloss, rushes in reflection, languishes with bouts of inspiration, begins to crush real life with his hands, as it happened, he did a tanger, and in the end moves to where only the art of confusion with madness lives, for which, he is staggering, the main prize - the main prize - the main prize - the main prize - the main prize Vartburg Film Festival.

If anyone did not find out, this is the opera "Tangaer". Just set in the Novosibirsk Opera and Ballet Theater. The performance with intermission lasts almost five hours, and it is impossible to break away from its redundancy for a minute. What does not fit into the music, climbs into the booklet and into the explanatory text on the curtain before the start of each scene. And it’s not even very well how dashing this story is overcoming, but how clearly it is conveyed, it is detailed in a detail and, most importantly, emotionally dontoned, and completely not across music.

Let the girl’s girlfriends are replaced by maternal, but the touching clumsiness of their meeting after many years of separation, when two middle -aged people begin to play the past and rush around the table, scratching the spectators from the viewer, which necessary. The game against the rules that the director allows itself at first causes annoyance, but in the end, respect. For example, he is not afraid to stop music - the conductor stands in the pit, hands with his hands, waiting for the shooting of the next scene of farewell to Jesus with Venus. He is not afraid to distribute one batch between the two characters and demand two dramatic tenors for the performance at once (when one is worth its weight in gold!)-one sings for a tangiser, the other for an actor playing the role of Jesus in the film “ Venusgrotte” .

So, it seems that a new director who knows how to cope with the opera was born - Timofey Kulyabin. This is not just an unknown name in the theater world. 30 years, graduated from GITIS, has been working a lot in the Novosibirsk Red Turel, for Onegin in which the mask special prize received last year. But in the opera is a debutant. The Novosibirsk "Prince Igor", whom he had a chance to insert into ready -made scenery, did not count. Now the whole team is its own, part is related to the “Red Torch”: the scenographer Oleg Golovko, the artist Denis Solntsev, costume artist Galya Solodovnikov.

The theater took up Wagner for the first time in 50 years, of course, there is no Wagnerian tradition in it. But there is a young chief conductor of Ainars Rubikis from the Wagnerian city of Riga, who provided the directorial maximalism with a high -quality musical basis. Despite the size of the hall and the scale of the orchestra, from Wagner he managed to sculpt almost chamber music, the heightened psychologism of which was especially flourished to the final - in full accordance with what was happening on the stage. Both tenors were invited - the venerable Danes Steig Andersen (Tangeyer) and the young Latvian Andris Ludwigs (Jesus); One pleased more with charisma, the other in a voice. Dmitry Ulyanov invited from Moscow, the Siberian Coliseum’s spaces and noble, filled the spaces of the “Siberian Coliseum” (the Landgrave of Thuringia by Wagner, the chairman of the trusteeship of the Vartburg Film Festival near Kulyabin). In Mayram Sokolova (Venus) from Mariinka it turned out worse. But two beautiful singers-actors, who, in fact, gave this huge, complex, crowded performance a very important human dimension, were found inside the local troupe-Irina Churilova (Elizabeth) and Pavel Yankovsky (Tolfram).

10 years ago, I sat right there, in a huge Novosibirsk amphitheater, and breathing caught the importance of what was happening from the consciousness of the importance. It was a story of military love and inner freedom, the legendary “Aida” of Chernyakov and Kurentsis, then ruined by a show in the Moscow Sarai KDS, a theater feat, the impossible tension of all the forces concentrated in this almost mythical monster, spread out in the middle of Siberia, which was felt on both sides of the ramp. And again - the scale of the statement, the theater feat, the impossible tension of all forces, several months of rehearsals, standing ovation.