Translated material
Safe kulyabin
Some time ago, the Bolshoi Theater decided to replenish his repertoire with a light and uncomplicated, useful for young voices by the comic opera Gaetano Donitani Don Paskual, the last time on its stage, which was staged in 1872, and invited Timofei Kulyabin to the cooperation of the Novosibirsk director. While it came to the current premiere, a lot has changed: there was an opera cataclysm called “Tangaiser”, Kulyabin turned out to be a “scandalous director” known throughout the country, and “Don Paskual” - one of the main intrigues of the season.
True, the opera itself from this did not become more thoughtful and provoking a serious statement. Funny the old man decided to marry a young modest, for that he was learned with the help of a false marriage contract and who fell upon him overnight marital hell with modists, accounts and jealous suspicions, came to his senses, realized his wrongness and finally stopped raising obstacles to the wedding plans of his nephew. In this airtight masterpiece of Belcanto, the main note of tenor, the tongue twister of the bass, the cantilen soprano, the dizzying ensembles and the special skill of the conductor do not make everything so that this simple music does not sound simply simply.
© Damir Yusupov / Bolshoi TheaterQuite a lot in this regard, the Bolshoi Theater succeeded. The Polish maestro Michal Claus, however, did not take out anything precious, but holds discipline. The impressive baritone Igor Golovatenko is confidently shining in the role of a tricky and cynical malatesta, around which everything revolves. His gullible elderly cartridge is masterfully plays and sings the invited Italian bass Giovanni Furlanetto, and his no less trusting friend Ernesto, fighting with his uncle, is somewhat monotonous but vocaling Spanish tenor Selso Albelo. The quartet of the characters adorns the soprano of Venus Gimadiev as Norina - the fake wife of Paskual, the bride of Ernesto and, one must assume, mistresses of the Malatesta.
The last circumstance is one of the few freedom of the director, who is nowhere to turn out here. Kulyabin has not yet been noticed as a joker, but in this case the laws of the genre require this, and the hall really rejoices in the youth outcome of the protagonist who believed in the wedding of the protagonist, either by poster gaggas, then a disco chaos, who unexpectedly bursts into a noble room (scenographer - Oleg Golovko, artist of costumes - Galya Solodovnikov, an artist in the light - artist in the light - artist in the world. Denis Solntsev; along with the playwright Ilya Kukharenko, this team migrated to the big one of the Novosibirsk Tannhaiser).
© Damir Yusupov / Bolshoi TheaterThe performance takes place today at the University of Roman St. Jerome, preparing for the 70th anniversary of his president, laureate of the Prize of the Society of History and Archeology, Don Paskual. Instead of the servant - the vice -rector for administrative work, the secretary of the rector, the manager and graduate student, reinforced by all the rest of the gray -haired, shy and indecisive pedagogical composition in dull costumes and with portfolios in their hands. They are opposed by young and arrogant Malatesta with Norina, an aggressive whiner of Ernesto and the screaming, uneleous parade of magicians and other long-legged animators invited for the holiday.
Actually, this cheerful inflatable nightmare, breaking the cozy life of the old man, is the most memorable outcome of the performance. Themes of senile loneliness, the cruelty and coldness of the young, appearing a little, remain unpredictable. The audience is satisfied, the soloists are drowning in ovations, there are not even close scandal, and the old man-sediment asks me: what could this beautiful director in Novosibirsk put me? You can’t even say whether it is success or not.