Dear Theo, dear patricia

Night, candles, Tverskaya outside the window are drawn by curtains, Dancing sounds in the neighboring hall of the fashion cafe are blocked by powerful columns with Tchaikovsky and Stravinsky. The black silhouette of Theodore Cuentsis with some incredible pompons on boots grab flashes of fans when he sits down to one or the other (the audience is predominantly female and young), to answer the eyes asked to his eyes. Sometimes maestro asks questions himself, asks to answer sincerely. He is fascinated and compared with a fabulous Gamelnsky rat with a pipe in his hands.

The Spiritic format “The Night with Theodor Custezis”, known for the approximate circle of faces for a long time, has recently acquired official status and is popular in both Perm and Moscow. The necessary component is the listening of music in the presence of the maestro with its parable comments and a high -voltage energy background. As a rule, his notes sound.

The current Moscow “Night” was held on the eve of the mask tour of the Perm Opera and Ballet Theater and Ballet, the obvious headliner of the festival, which starts on February 12, Don Zhuan in the production of Valentina Karrasko (tickets were sold out in a record term). The previous series of the Perm trilogy of the operas of Mozart - yes Ponte (“Figaro's Wedding” and “All Women do”) are already shown at the previous “masks”, and their audio recordings on Sony Classical has already excited Europe.

The release of "Don Juan" is expected in the fall. In the meantime, the other two albums of the Musicaeterna Perm collective on the same label who quickly knocked out into the international stars of the Perm group of the Perm group. Their presentation in the extremely informal setting was the main theme of “Night with Custezis”. The presentation is almost secret. No television cameras and information agencies, no superficial hype. Only for those who understand. Groves of brand new discs, by the way, also never lay anywhere. Access to cherished knowledge can only be obtained directly, from the hands of the maestro, twisting the volume on the player.

Both albums have the intention of turning their heads and successfully do it. One is completely given to the “Spring of the Holy” Stravinsky - only 30 minutes of music, but perhaps the most important in the 20th century. The second is the “wedding” of Stravinsky and the Tchaikovsky’s violin concert with Patricia Kopachinskaya. Having stormed the proud bastions of old musical Europe, Kurentzis is not afraid to take hits and compete with reference records.

On the contrary, it flaunts it. He proposed to love his “spring”, putting Moscow admirers for comparison also recording Bouleza. Indeed, incredible contrast. An engineering sparkling masterpiece of a French master against a flowing overflowing Greek-Perm Shamanism. And Kopachinskaya pushed the charming hooligan with David Ostrakh, playing the main Russian violin concert to the accompaniment of Kirill Kondrashin. The tall Soviet style, porticoes and chandeliers, inevitably pop -up in memory of the Tchaikovsky contest, summer, poplar fluff, sports excitement, ran, jumped, took weight, cheers. And suddenly, instead of all this, Kopachinskaya has a hurricane, fun, sadness and complete freedom, it is in a way that has settled here.

A separate theatrical value of the “wedding” album with Tchaikovsky and Stravinsky is a cover and a booklet with a b/b photographs of a staged rural wedding of Kurentsis and Kopachinsky against the backdrop of the Ural nature with texts of gentle letters in English, German and French, begining the words “Doraho” and “Dear Patrice”. There is no Russian text. As there is no Russian capital in the list of a large European tour tour in support of the disk. Nothing of this is accepted, there is no such culture, a disk who needs to, and they download it so free.

Meanwhile, large-scale and aggressive advancement to the west of young passionaries from Russian depths is in full swing and, as if in some parallel reality. So far, the meager dull news of the Kurentzis has not yet been signed from Perm as the Brush Contract as the artistic director of the theater (the previous contract has expired on January 10), graters with the local Minister of Culture Gladnev and frozen construction project, the fountain of reviews and awards from Europe looks much more elegant.

The nearest Diaghilev festival is nevertheless oversized. It opens with "travia" in the production of Bob Wilson on June 17. The sixth symphony of Mahler is closed on June 30 performed by the festival orchestra. And here's what I want to say, seriously. Take outfits prepared for Salzburg or for what, and go to the Diaghilev festival to Perm. Because Salzburg - he will not go anywhere. And about Perm I'm not sure.