The most important of the arts

The Golden Mask ceremony-2015, set by Nina Chusova on the stage of the theater of Stanislavsky and Nemirovich-Danchenko with the delicate participation of his orchestra, passed with minimal operative excesses (the aria of the Shamakhan queen performed by the Mariinsky Coloranture of Olga Trifonova-and in general), but at the same time somehow very much) emphasized the increased role of music in our lives. All the most remembered moments were somehow connected with her. I would allocate three.

Well, firstly, a bright mise-en-scene, self-proclaimed around the Minister of Medinsky. True, then among the public there were then the playful praises of the directorial luck of the Chusova, but still a protracted thunder of applause and whistles, which erupted in the hall after a distinct girl’s shout “Return“ Tangiazer ”!”, Was rather a spontaneous reaction against the background of the events of the last two months, which had erased the entire theater community. The long -awaited and joyful, like the May thunderstorm. Once from the very beginning of the evening, when such concepts as a court, censorship, freedom and even the opera, reactedly reacted to this in the speech of the speakers, reactedly reacted with hot applause, went to this. And finally it came. Somewhere closer to the end of the ceremony, Medinsky presented the award for the support of theatrical art in Russia. And at the same time Vagner's opera sounded inaudible, but inevitable background.

Needless to say, the minister at the mask ceremony was Jesuit is overlapping enemies on all sides. Director Michael Talhaimer left the scene right in front of him, who said everything that he was thinking about the freedom of creativity in German (the western news agencies quoted him the next day, also mentioning the approving reaction of the hall). Before Ingeborg, Dapkunaite charmingly and Kolko recalled the Moliere Tartuf, banned 350 years ago under the influence of the religious organization “Society of Holy Gifts”. And where is now the “society”, and where is Tartuf? Next to the minister, they came up with the actress Daria Moroz, who, by the way, was the wife of the director of Bogomolova. And the name of the award handed in the hands of a person who managed to shake two completely prosperous opera houses of the country-Novosibirsk and Mikhailovsky-looked somehow mockingly.

The second memorable event is the decision of the musical jury, headed by the former director of the Latvian National Opera, director Andreis Zhagars, on non -administration of the prize in the nomination “The Work of the Composer in the Musical Theater”. The jury had two options, both names were quite loud. The cult associate of Peter Greenaway Michael Naiman Posochinil of the music for the Persellovskaya “Didone” for the DIDO project “New Opera”. And perhaps the most popular of the middle -generation domestic composers Dmitry Kurlandsky wrote “Nosferata” for Perm, and its Moscow show aroused nostalgic memories of the times of Schenite, when it was impossible to get to modern music. Of course, it is not necessary to write off the attractive charisma of Kurentzis, the attractive charisma, but the work of Courland is a completely obvious, powerful and uncompromising breakthrough somewhere beyond the usual boundaries of art, which the jury, as it turned out, turned out to be much less than the public gathered at the ceremony (which were taught, the bets were made precisely at Courland). So, not one of the nominees to the musical jury or most of its members (2/3 of the vote is enough to decide on non -bonus). And as a result, a small, but very important, not so long-long “mask” and the composer nomination that had not yet really rushed to his feet was beheaded, and from this decision it blows some unforgivable infantilism. The loud and not at all indifferent “ah” of the hall was an expressive response to an empty envelope.

Well, the third event is the simplest, understandable and pleasant: the unconditional victory of the Perm “Queen of the Indians”. Five “masks”, including a particularly valuable “prize of criticism”, which usually leaves the dramatic performance. It seems that this is not an event, but a statement of an obvious fact. But, you know, there are such times that the recognition of white white, and black black is also a great joy.