"New Opera" will present the prime minister of "passenger" Weinberg

On January 27, the premiere of the opera of Moses Winberg “Passenger” will be held at the Moscow Theater of the New Opera in the production of director Sergei Shirokov. The musical director is the main conductor of the New Opera Jan Latam-Kenig.

The performance is also operated by conductor Andrei Lebedev, production designer Larisa Lomakina, costume designer Igor Chapurin, chormaster Julia Senyukova, light artist Aivar Salikhov and choreographer Oleg Glushkov.

It was no coincidence that the premiere was chosen: on January 27, 1945, Soviet troops liberated the prisoners of the Auschwitz concentration camp (Auschwitz), and since 2006, by decision of the UN General Assembly, on January 27 it became the International Day of Memory of the Holocaust Victims.

Moses Weinberg (1919–1996) wrote to Passenger in 1967-1968 by order of the Bolshoi Theater. According to the plot, on the transatlantic liner, 15 years after the end of World War II, the former Owencim Lisa and surviving in the conclusion of March are found. The plot based on the memoirs of the former prisoner of the concentration camp turned out to be close to the composer who lost his family during the Second World War.

The world premiere of the stage version of Passenger took place in 2010 at the Musical Festival in Bragery (Austria), the Russian premiere in the fall of 2016 at the Yekaterinburg State Academic Opera and Ballet Theater.

“The mission of our performance, in essence, is formulated in the epigraph of the opera - the words of the Elyuar field:“ If the echo of their votes stalls, then we will die ... ”. - says Sergey Shirokov. - We turn, first of all, to young people who do not know those circumstances, that horror, and we want to tell them this story in modern language. “Passenger” is a tremendous emotional stress, it is an absolutely “direct” statement, sometimes very touching and even sentimental, and at some points - insanely cruel. This is almost an ancient drama - very clear, despite the complexity of the orchestral texture and the superspress of vocal speech. ”