Holocaust live

A few months ago, a bold Yekaterinburg sensation looked for the “passenger” of Mechylava Vainberg for the first -time “ passenger” in Russia. And now - a new production of this important opera, telling about the most terrible goal of the twentieth century and has been waiting for the Moscow premiere of 40 years. Even more amazing than this unforeseen popularity, the name of the producer of the new project is Joseph Kobzon. He found both money, and a staged team, led by the master of television show Sergei Blesov. Contrary to expectations, the ominous shadow of show business and an unusual for the opera world, the increased level of PR did not harm. The "passenger" - now Moscow - again well -deserved success. Soon he will come to Moscow on tour and Yekaterinburg (dedicated to the international conference dedicated to the work of Weinberg), so there will be an opportunity to compare.

The date of the Moscow premiere was chosen on January 27 - the day of the liberation of Auschwitz, since 2006 celebrated in the world as International Day of Memory of the Holocaust Victims. Actually, the memory is the main and very intelligible message that the performance broadcasts in Journalist in catching and professionally. The author of the scenery is Larisa Lomakina, known as the permanent co -author of Konstantin Bogomolova. The author of the costumes is the famous fashion designer Igor Chapurin. Dancing was set by Oleg Glushkov.

The play involves a complete set of relevant theater. The curtain -screen with the staging major plans of the main characters, configurated videos and live -broadcast from the scene, which is leading from two cameras on the sides. A gesture with a naked one by stripping prisoners of both sexes (about which there is no squeak of an offended viewer in the quiet hall) and a ditch arranged on the forefront with real water, in which the director sends the surviving prisoner of the Marta concurrent to sing his final monologue and painfully clutch the conscience of Lisa's former supervisor.

The most reliable scenic spaces: expensive cabins of the ocean liner, camp bunks and prickly wire are cinematic. And they are not inhabited by opera characters, but quite living people. Documentary bulge is added by the fact that the heroes of the catastrophe, expanded by the composer and his librettist Alexander Medvedev, are singing, and sometimes speaks in different languages ​​- German, Russian, Czech, Yiddish, French. Unlike Yekaterinburg, where the original Russian -speaking version of the passenger was chosen, the New Opera used the one that was done for the world premiere in the Austrian Bregogen (2010). There are no problems for the public - as in the ailled cinema, there are credits. The artists, who heroically defeated emotional, staged, musical and language difficulties, are a huge respect. First of all, Valeria Pfister (Lisa) and Natalia Krelina (Martha).

You can reproach the directors that they use the stitches for the opera Theater somehow too easily, unfortunate and undeveloped. That the video sequence is sometimes redundant and distracting from music, which does not need constant supports at all. That shots with heart -wiring shepherds can not be repeated, and birch trees during the song of the Russian prisoner is a little from the weather forecast. But the “passenger” is not a very ordinary opera: she is also a document, and a poster, and a movie machine. And the television straightforwardness does not insult her, on the contrary, it can help reach all those sitting in the hall.

And certainly no chance of remaining indifferent to them leaves the main conductor of the theater, Yan Latam-Kenig, standing behind the remote control. Maestro won another victory. He is not afraid of a hard and ugly sound, the bestial copper and the whistle of the whip in drums. He hits the hollow, pulling out of Winberg out of Vineberg’s music all her uncompromising sharpness, the crushed beauty and luxury of a direct statement, almost impossible in our time.