Verdi's unfamiliar opera

At the opening of the Diaghilev festival in Perm, the main opera premiere of the Russian season took place. This status of her was clear long before the event, it simply couldn’t be - “Travate” by Verdi is put by the great Bob Wilson! The classic reformer with his team arrived to rehearse to the Urals, wilted compliments to the Perm opera and even held a month and a half meeting with the public. The feeling of an event of incredible importance hung in the air, there were a long time to get tickets for three performances, airplanes, trains and cars from different cities and countries brought the audience in evening dresses. I have never seen what was happening with the screaming and whistling hall at the end of the performance.

I must say right away: the performance is unlikely to reach Moscow - too complex technologies, a minimum week is needed to rebuild lighting equipment. The following shows in Perm are planned in November and February. On August 24, the opera will be held in the cinemas of Moscow . In September, Traviata goes on tour to the Bavarian city of Füssen.

The idea to give a warm and sentimental Verdievsky masterpiece in the hands of a prudent master of chilled theater belongs to the deceased Gerard Mortier . The production was planned for Madrid when he headed the opera there. But in the end, there was a co -product of four other theaters of different countries, where Perm is the second in line after the Austrian Linz. In Linz, the performance was already shown at the beginning of this season, and its main difference was that it did not have theodor Custezis behind the remote control.

It can be assumed that it was a completely different performance. Because the deafening impression that this work produces comes from the tension that arises between music and a well -known, branded Wilson picture.

The creators of both are perfectionists. Wilson is, first of all, an alien void of the scene with a few mysterious crystalline objects and a light score, which is more allowed by characters with tanned faces and rigidly prescribed puppet postures and movements. Individual strokes are rare, memorable and in no case directly related to the text of the libretto. Of course, Wilson does not fall before the consumption cough in his conditional world: Violetta reports his unhealthy, sharply folding to the side of some diving movement. And the street carnival outside the dying window is dancing exclusively with the help of a flexible hand of her hand in a white glove in the ray of light.

The calm humor of all these settled legs and pulled handles (familiar to the Moscow public on Pushkin's Tales in the Theater of Nations, and here is especially cute in the performance of the beautiful Spanish Tenor Airam Ernandez, who spent the party of Alfred) does not cancel the general hypnotic impression. In the last action, the main character from the doll turns into a woman with her hair loose, but still not quite lively, but rather an ancient heroine. She sings not about personal ups and downs, but about love, life, death, light and similar concepts with a capital letter. And you believe her. It supports it at the most responsible moments that flares up behind her and every second - the Musicaeterna orchestra with Theodor Custezis.

It was time to say the banality that Maestro was painfully familiar to the score of the scheduled score. But this is true. And, perhaps, this affects even more than the troupe, firmly exhausted to Wilson's style, Wilson himself, who arrived at Perm, and the Perm public, with such delights he took him. What is new can be found in the music "Travias"? How can each sound be taken as a gift, so that the most simple -minded accompaniment is so significant so that from the ethereal piano and the uncompromising ritual fort, it is so breathtaking?

Together with the new outstanding conducting interpretation of the Verdievsky score, a new star was also gained. The young soloist of the Perm Opera and Ballet Theater with a sonorous ballet name Nadezhda Pavlov was found a couple of seasons ago in Petrozavodsk and was already seen as Donna Anna in the production of Don Zhuan, who came to Moscow to the Golden Mask this year. Her strong, pure and bold voice works miracles along with the hands of Kurentzis, who is turning in the orchestral pit, and acting talent fills the heroine constrained by directorial prohibitions with enormous internal content.

The reasons for which you need to go to Perm arrived. Verdi was added to Mozart and Baroque.