Diva and queen

It is a little unfair to call the Perm star Nadezhda Pavlov the main character of two important and quite crowded opera events that took place in Moscow one after another. But you can’t get anywhere from this. On the stage of the theater of Stanislavsky and Nemirovich-Danchenko respectfully, they issued the presentation of the Russian opera Award Casta Diva , having gathered laureates in the last few years. The concert was noble by the People's Artist of the RSFSR Sergey Petrovich Leifcus - a thoroughbred villain in the Aria of the Iago, the gallant non -Don Juan in a duet with Tserlin (one of the transformations of Natalia Muradymova that evening). In the hall and on the stage, the first persons of the leading Russian opera theaters were present in one or another capacity - the director of the Bolshoi Vladimir Urin, Khudruk from the host, Alexander Titel, Director of New Opera Dmitry Sibirtsev, Perm Director Andrei Borisov. The most indistinguishable repertoire (from Carmen, Queen of Spades, Tsarist Bride, Bohemia, etc.) to the accompaniment of the local orchestra and conductor Andrei Lebedev sang demanded Russian soloists, whom the organizers managed to catch between aircraft flights: Nadezhda Babintsev, Oleg Ladyuk, Alexei Tatarintsev. But repeatedly described shock from the Violetta party performed by Nadezhda Pavlova (Aria “ E Strano ! " ) Even against this radiant background, he did not at all lose his severity.

A day later, from the celebration of the opera mainstream, the singer easily moved to the music of English Baroque, where she was no less success. Conductor Philip Chizhevsky fulfilled his dream and together with the Moscow Orchestra and Chorus Questa Musica introduced to the students the Great Hall of the Conservatory “Queen Fei” Henry Persella - more precisely, musical numbers from this Semi - Opera (that is, a dramatic performance with music). A few years ago, Vladimir Yurovsky carried out this in his summer cycle of concert-lectures. In the version of Chizhevsky, there was no detailed comment (cost a small introductory word Artyom Vargafik), but there was a full -fledged baroque tools.

Soloists - Soprano Anastasia Beluchakova, counteratraper Vasily Khoroshev, tenor Boris Rudak, bass Oleg Tsybulko - demonstrated quite established relations with Persella's music. But Pavlov invited to this team overshadowed everyone with a barely audible ethereal piano, in which there was nothing from Verdievskaya Violetta at all, but there were a lot from the branded meditation of Kurentzis with his prima donns.

The 33-year-old long and thin maestro Chizhevsky with ballet hands, a demonic haircut and a repertoire from ancient and ultramodern music is doomed to comparison with Custezis and, judging by its brutal stage boots, trampling the conservative scene, and not too much avoids these comparisons. “Queen Fey” - after still alive in the memory of the Kurentsis fans of the “Queen of the Indians” ; Nadezhda Pavlova in the Moscow Persella - after Nadezhda Pavlova in the Perm “Travate”.

Well, let. But a competent stylish baroque with ancient nasal wind and black lute, with an exact, unexpected chorus and delicious coloristic details from the drummer - almost not exclusive, but the usual concert Moscow life.