Garden of diverging paths

In the ski Sochi ended the XIII Winter International Art Festival under the artistic leadership of Yuri Bashmet and the directors of Dmitry Grinchenko (Russian concert agency). There are not so many festival days - 12, approximately as in the winter "Mozart week" of the ski Salzburg. But so much fits into them that, it seems, and no summer Salzburg will be enough. These are the stellar ones - the most multi -ghost - performances for a wide audience (theater with Khabensky and Mironov, ballet with Osipova, jazz, ethnicus, classic and highlighted this year in a separate column of Baroque), and reporting concerts of vocal, instrumental and folk departments, competitions of young poets and composers, lectures at least the author of Colta.ru Lyali Lyali Kandaurova, at least the author of Zavtra . RU Alexander Dugin, video art laboratory, photo school and a seminar for young journalists.

And the point is not so much in the amount of everything, as in multidirection. It is very difficult to navigate in this area and find logic there. The copyright of the curator, which leads you according to the festival program by the hand, cannot be caught here. Well, except "let all the flowers bloom." “We like to bloom, / We like to sink” - these are very suitable lines from Brodsky’s poem, which the booklet meets us. However, further with his jambs with layout and editing, he only exacerbates the festive obstruction of the festival maze.

Marina Brusnikina puts a performance for Evgeny Mironova by Van Gogh’s letters to his brother, Mikhail Durnenkov writes Libretto for the new choral opera Alexander Tchaikovsky “The Tale of Boris and Gleb”, and Eduard Boyakov and the seven actresses, led by Alika Smekhova, do the documentary and musical project “Sochi. Non -industrial novel ” - this is how the festival manages to work simultaneously on diametrically opposite theatrical poles? Or why is the participant of the Awesome final gala concert-the gray-haired Swedish cellist France Helmerson plunges his game? Despite the fact that everything is super around the corner. You will come, for example, for an evening with a dangerously sounding name “Following the traces of Marco Polo”, and it is wildly nice. The Italian ensemble La Magnifica Comunità plays on the old instruments of Handel, Hasse and Vivaldi without an authentic gloss, with sweet falsehood and very similar-it is like a restaurant with Italian cuisine not for tourists, but for himself. Rafaella Milanesi conquers the Mezzo-soprano of Rafaella Milanesis, with stylish sensuality and stylish clothes selected for exotic locations of baroque operas, the arias of which she sings. The screen behind the scene informatively complements the music with the ancient beauties of Venice, Turkey, Persia, China and India. The narrator Grigory Siyatvinda correctly is responsible for the function “face from the TV”.

Or you will look at the composer contest that does not claim to be the general public, and there are four strings from the “soloists of Moscow” (violinists Kirill Kravtsov and Mikhail Feichman, Altist Andrei Usov, cellist Alexander Lunetov) and super -pianist Oleg Khudyakov confidently clicks one difficult score after another. The results of the competition, held within the framework of the festival for the sixth time, are such. Of the seven works selected on him, I most liked the tough, rhythmically inventive piano trio “ Work of Time ” Kirill Arkhipov (he was awarded the second prize). Representative international jury (Krzyszhtof Meyer, Patrick de Clerk, Valery Voronov, Oscar Bianca, Kuzma Bodrov, Alexei Syumak, Tosio Hosokava), under the unchanged leadership of Alexander Tchaikovsky, preferred Ilya Marfin’s quintet, starting as a composition of Pavel Karmanov, but then quite a lot of where he was still helping.

For some time now, the composer line has become more noticeable and fatter at the festival, you meet living authors here not much less often than at the Diaghilev festival of Kurentsis or the “other space” of Yurovsky, the elegant public of the Winter Theater, world premieres this year, had seven pieces. The Khudruk will not be said in offense, but on the final gala concert the main event this time was not the sweet singing of string-soloists, but the contrasting new scores, perfectly executed by the All-Russian youth symphonic orchestra and conductor Claudio Vandelli. Especially for the festival, the Swiss-Italian composer Oscar Bianca wrote “Etual”, where the solo electrihitar (Nico Cowk), as if an alien from another civilization, is trying to contact with the orchestra. Two more world premieres are the meditative play “ UZU ” by Japanese Tosio Hosokawa and the cheerful first symphony of Italian Nikola Kampogrande, winning Prokofiev’s symphony with the same ordinal number. The youth orchestra of the Bashmet (the age of the participants - up to 22 years) should not be confused with the youth orchestra of the Moscow Philharmonic (age - up to 30 years), which on the same days in Moscow played the Russian premiere of Vladimir Tarnopolsky “ B @ Thoven - Invocation ” . It is like the youngest and senior group of kindergarten. But both steps on the heels - including those who are not at all afraid to get lost in music of the 21st century.