Sing, friends

Our solid opera theaters are more and more serious to Christmas products. The best forces are fighting for the attention of little spectators. But no matter what inventive Kai, Gerda, Genzeli and Greteli were born on theatrical scenes, there is still one name that is outside of competition - a “click”. To get tickets for the December “Nutcracker” in Bolshaya (Mariinsky, Mikhailovsky, Perm, etc.) is actually this kind of professional sports for Russian mothers. It would seem that all the possibilities from the masterpiece of Peter Ilyich have long been pumped out in full. However, the Moscow Theater "New Opera" (where they still do not dance, but sing) made a decisive somersault and found another unused resource for this music. The girl Masha, her parents and brother, a fairy -tale prince, a mysterious wizard of a throttle, dolls, guests and even the mouse king stopped twisting and sang in pure Russian. The ambitious and elegant project is called - “Nutcracker. Opera".

This is not a simple gift
Do not throw him and do not forget him;
He is a brave hero
Maybe one day
He will show you the right path.

This is not a simple gift
You do not lose it;
Maybe once
He will be a soldier
If it becomes very bad
He will show you the right
If the severity is exorbitant
He will console and help
The right will indicate the path to you
It will become more expensive
will be kind and good
He will be an approximate friend;
Everything is clear, and probably
I sing the same thing.

For example, so, giving Masha (Victoria Shevtsova) a strange red doll, Sings the throttle (Andrei Breus) on the motive from the Fairy dance dance. Propets and other textbook melodies or, conversely, extracted from the depths of the score of the bait. A completely new number one - composed of the motives of the Tchaikovsky Aria of the Mouse King. The orchestration is sometimes facilitated so that the orchestra under the control of Dmitry Yurovsky does not drown out the singers. The sequence of numbers is slightly changed in accordance with the updated libretto.

The experimental theater composer Igor Kadomtsev was engaged in overcoming the music of Tchaikovsky. Her verbalization is the poet Demyan Kudryavtsev. So that freshly and fairly intricate poems do not suffer from the shortcomings of vocal diction (which, what to hide there, have a place to be), they are duplicated by the credits above the stage. However, it is not easy to lift your head often, since you still need to keep track of what is happening directly on the stage. And there the main events are costumes from Pavel Kaplevich (he and the director of Alla Sigalova are the authors of the idea), the extravaganza of wigs, corsets and caps for characters of all ages. The decoration of this action is touching children's choirs with circle, ruffles and informal festive words, which, knowing, may well in the future enter into everyday life of children's Christmas events.

There is no better triumph
than the threshold of Christmas.
Feast of faith and hopes,
Night of love and witchcraft.