Posttravinsky, Zostrakhmaninov and Syumak

In principle, premieres at the Diaghilev festival happen almost every day. The most elegant is expected at tomorrow's closure. The three hopes of modern Russian choreography, which have never previously met on the same stage, put three single-acting ballets of Stravinsky: Vyacheslav Samodurov-“Fairy kiss”, Vladimir Barnabas-“Petrushka”, Alexey Miroshnichenko-“Firebird”. Three stars give the final shine - Diana Vishneva, Natalya Osipova and Theodore Krentzis. Without even waiting for the result, we can say that the sensational attraction of a la Diaghilev is provided to the project.

Among the events of not such a facade level, Anton Batagov’s piano cycle “where we are not. Letters of Igumeni Seraphim. " This is a disarmazing and appetizing point of the festival program, which at the same time you do not present any reproaches in bad snotcies. Prooping tenderness and human warmth break through quietly and modestly. The story is as follows. Batagov, an active user of Facebook, once wrote a post about his visit to the Novo-Diveevsky Monastery of B30 KPRO New York, where the cemetery of Russian emigration is located, and received a comment from the great-great-grandchildren of the abympicon of this monastery. They began to correspond. As a result, a thin girl with surprised eyes came to Perm for the world premiere of essays, a form -forming material in which are letters from the archive of her family.

Letters are formed in a simple and bitter history, where the entire XX century is reflected: Petersburg, Tallinn, trips to Valaam, Estonia to join the USSR, war, parents and son, who found themselves on different sides of the border and did not know anything about each other for a long time. The only time Oleg was released from the Soviet Union to America, to meet with his mother Natalia Janson (after the death of her husband, who went to the monastery under the name of Seraphim), only in 1970. Batagov, sitting at the piano, reads these cozy and caring letters - simply and bitter. And between the readings is played by its cool minimalism, in which it is enough to hear the singing third or bell bass in order to immediately finish the Rachmaninov lilac and Russia that we lost in the imagination.

Another festival premiere is also in some way about emigrant reflection and also on the topic of the family. "Wedding" - opera for six female votes a Cappella Serbka Ana Sokolovich, who has been living in Canada for more than 20 years. Popular texts in the Serbian language, protoptals, are dancing with the virtuosity of the composer of the 21st century and with some kind of neoarchic conviction. Bride before the wedding sounds powerful and spicy. Sokolovich does not hide that the role model for her Balkan “wedding” - “wedding” by Stravinsky.

The world premiere took place in 2012 in Toronto. Since then, this composition has been performed a lot in Canada and Europe and was quite rightly chosen for Perm, where luxurious ensemble singing of any complexity has not surprised anyone. True, the fact that the “wedding” was decided to make a full -fledged performance significantly heavier. On the alternative scene of the Private Filarmony of the Triumph, who is near the opera Theater, he was put by the cult hero of the Leningrad underground, the expressive Mephistofel Sokurov, but the newcomer in the Opera Anton Adasinsky. For some reason, he added to six singers, as it were, the dancing dancers and a fucker dancer, who was completely meaningless in this female kingdom. And also organized some kindness - including in the literal sense of the word. In the course of the presentation of a rag, shoes, old photos, iron basins for washing linen, the dust from the chalk, which was drawn for a mesh for playing classics, scattered sniffing tobacco and many other add -up plots and plots clog the space of the play. Which is very disappointing. It is impossible to forgive the mise -enceuscent with a groom, painfully hanging upside down during the most beautiful solo song. Nevertheless, the musical and dramatic feat of six singers simply dumbfounds. Against the background of their goods, which everyone works with amazing freedom and desperate woman’s power, bewitching pagan idol in the central party of the bride, the same hope of Pavlov that was Violetta in the production of Wilson .

And the new star of this festival is Olga Vlasova, singer-actress, conductor, chormaster, head of the Interactive ensemble, who was the first in Russia to perform “ Three Voices ” Mortona Feldman (within the framework of the Diaghilev festival, this music could be listened to at dawn, at 3:30 in the morning, in the company of“ Perm gods ”in the art gallery), in general, the universal miracle of the new formation. In the "Wedding" she was either one of the soloists, then a conductor (in line with Cuorentsis). And at the concert of the Moscow ensemble of modern music, she saluted in another festival premiere - the composition of Alexei Sumak “Alien”. This spectacular and mysterious thing is written for the voice and a small ensemble. More precisely, for a chatty foolish blonde, with a terrible speed of an outstanding comic, but very complex text (first part), and the sounds of the underworld (second part), where the singer requires an other -world inhuman squeak in a very high register. Like the rest of the novelty, this one was adopted by the festival audience with great enthusiasm.