Be in the lullah

It is difficult to find another female character in opera history, who does not mean causing your sympathy and sympathy. Bitch, bitch, “herself does not know what she wants”, a libido without a heart, the fruit of painful male fantasy. In his second (and last) opera, Alban Berg turned to Frank Vedikenda about Lula - “The Pandora's Box” that had long been the scandalous dilogy. The composer managed to completely complete the two acts out of three. In such a double form, Lula was first set in Zurich after his death in 1937, not that having delighted the then artistic artistic environment, which is depicted in the opera, well, without breathing out, with hints of its real participants (Alma Maler is most clearly visible).

Further four decades passed in hot disputes (nevertheless, Berg was one of the key figures in the music of the twentieth century, and his previous Votzek was a loud success) about the need to complete the opera, the composer’s widow stood to the last, for some reason, rejecting such an opportunity, but after her death the third act was still very quickly arising-the Austrian composer Friedrich Kurch completed. The premiere took place in Paris in 1979, Pierre Bulez stood behind the remote control, Teresa Stratas sang the title party, Patrice Sherro put. The performance went down in history, and then the trekact version was established. In the final, Lulu, having survived the German and Parisian stages of his career, turns out to be a prostitute in London and die at the hands of Jack the Ripper. In the way, she pulls into her deadly pool several men and one woman.

The theme of love and death, which is not surprising in the post -tristan era, is very important here. But Berg was one of the first (in the same years he was joined by Shostakovich with Lady Macbeth of Mtsensk district), the conversation “About this”, about the most carnal sides of love, their non -expense and inexplicability on the opera stage.

Chernyakov, for whom Lulu became the fourth production on the stage of the Bavarian state opera after Khovanschina, Dialogues of Carmelite and Simon Bokkanegra, is least inclined to consider his Lula as a mysterious irrational rubbish in Latex. He shows her to a normal person; Together with the main man of her life, Dr. Schyon, she comes out in the first scene from a mass of other pairs of different ages and physique. And these couples whose movements were set by the leader of the Russian Contemporary Dance Tatyana Baganova, then incredibly fascinatingly illustrates those stages of relationships that happen in Lulu and which, in principle, can happen among any other men with a woman: dance-wishes, love dance, dance-fairy tune.

At the same time, Lula, of course, is special-its absolute, some kind of developed freedom. Chernyakov admires her, makes her victims in the play and spectators in the hall, using the magnificent capabilities of Marlis Petersen, an unconditional star of the production with a delicate, hardy, accurate voice and a beautiful, flexible, not afraid of the body. For three hours, she reigns almost irrevocably on the stage by a snow -white head -legged spot, from which she can’t look away from her eyes - playing, depraved, slaughtered, shameless, exhausting from desire, desirable, but inaccessible, drunken, lost, insensitive, loving.

All this fits in one woman, there is also love there, it beats with a filamentous pulse. Dr. Schyong performed by the irresistible Bo -Klokhus, their long, painful connection, which ended with a shot Lula in a loved one (because freedom is more expensive than love), is the best that was in her life. And her touching recalls of movements and touches, which saturated the final scene with the last client, who turned out to be similar to the main thing, is such an island of Chernyakov's past with all his sacrificial heroines.

As in the other Bergov work of Chernyakov - “Votzke” in the large one, there is no socialist and chernukha in “Lulu”. On the contrary, everything that is around Lula and her relationship with several main characters is sterile, transparent and conditional. The scenery (as usual, Chernyakovsky) is a minimalist glass labyrinth, on one of the panels of which different hands, the whole performance finishes their dash to the elusive portrait of Lula. Through this labyrinth, everything seems to be visible, hide and seeking from the curtains can be canceled, but it glance, confuses, deceives (light-Gleb Filstinsky). Somewhere in his depths, the motionless Lula dances in front of Schyon and his unfulfilled bride; Blinding, blinding, a police flasher; From an elegant crowd (costumes of Elena Zaitseva) a brand new potential lulu is fashioned with the same recognizable bright red hairstyle and is again sucked back; An exhibition of frozen male and female bodies in one underwear makes out the last truth of the finals.

In addition to Petersen, Skomkhus and Chernyakov in this grand products there is another star - perhaps the most beautiful. This is a musical chef of the Bavarian opera, one of the most reputable German conductors, Bayroitsky idol Kirill Petrenko, a 43-year-old native of Omsk, completely unknown to the Russian listener. The least of all the music of Berg in his hands seems difficult. It is difficult to imagine something more delightful and vast. The transparent graphics of the scene continues with the cool transparency of the orchestra, gleaming with different marvelous colors, including the piano - each time like a cold champagne. In general, she is not so bad, this lulu, if such music is written to her.