February, 27, 2014. Issue No. 243February 25 - 28 - the Bolshoi Theatre will present the productions that have been nominated for "The Golden Mask" Russian National Theatre Award in the "Contemporary Dance" section February 25 - debuts in the ballet "Kvartira": Yanina Parienko - "Strange Game", Andrei Merkuriev - Embryos"The Tsar's Bride" at the BolshoiVladimir Matorin and Vladimir Urin. The premiere of the opera "The Tsar's Bride". Photo: Damir Yusupov"The Tsar's Bride" cast after the premiere. Photo: Damir YusupovThe seventh production of the legendary opera was presented at the Bolshoi The Bolshoi Theatre continues the implementation of the program that has the motto "faithfulness to tradition guarantees the box office". After the restored version of "Boris Godunov" was presented on the Historic Stage together with two very conservative productions of "La Traviata" and "Don Carlo" by G. Verdi, the audience saw another Russian masterpiece. That is, "The Tsar's Bride" by N. Rimsky- Korsakov. Contrary to the expectations, the production created by Gennady Rozhdestvensky (he is the music director and the conductor), Julia Pevzner (the director) and Alyona Pikalova (the set designer) turned out to be not a revival of the long-playing 1960s version, but rather an original production that has been staged in a strict traditional style, though. The critics are yawning, the audience is excited. The "Moskovsky Komsomolets" reporter is on the audience's side. Once, having watched the result of yet another opera vivisection at the Bolshoi (it was either "The Golden Cockerel" or "Ruslan and Lyudmila"), one very talented musician said: "We need to have our own model Russian opera. Traditional and classical. Like operetta in Vienna or like the kabuki theatre in Japan". He must have had second sight! Anyway, this production of "The Tsar's Bride" is exactly the case: the production team did not aim for the questionable fame of the authors of a Meyerhold-style performance, but rather took a modest and decent place for the team that has interpreted the author's idea. "Moskovsky Komsomolets" profile The opera "The Tsar's Bride" was composed in 1898. It premiered at the Mamontov's Private Russian Opera in Moscow a year later. The opera was first staged at the Bolshoi Theatre in 1916. Later this most popular opera was staged at the Bolshoi numerous times: in 1927, 1937, 1944, 1955 and 1966. The final version was performed until 2012. The current production of "The Tsar's Bride" is the seventh. The set for this production follows the design of Fedor Fedorovsky. This means that the ideas of the wonderful set designer were brought to life using modern technologies. There is dimension and wonderful palaces; the stylized historic interiors are made using stiff materials. Everything is real and very theatrical at the same time; it is not movie-like, but rather conventional and very beautiful. The costumes by Elena Zaitseva are beautiful as well; there is historic brocade, velvet and silk of impeccable colors. Good taste is the most important constituent of the good visual image of the production. The same can be said about Julia Pevzner's directing; she worked with every artist on creating his or her character. Thus, all characters turned out to be very bright; they have unique personal qualities and make the audience sympathize with them. Vladimir Matorin (Sobakin) is number one; his wonderful charisma sets a high level for the emotional temperature of the performance. Alexander Kasyanov (Gryaznoy) is very dramatic, Agunda Kulaeva (Lyubasha) is expressive and psychological. Magat Gali (Bomelius) and Elena Novak (Dunyasha) are wonderful in terms of both acting and singing. Of course, Marfa is the character that expresses the main idea of the opera. Her part is unique not because it has top notes that, of course, should be sung beautifully. It is unique because this is one of the most reverent and dreamy characters in the world opera literature. Unworldly charm is required to perform this part. The young Olga Kulchinskaya is only on her way to embodying this part, which is very difficult both in terms of acting and singing; she is on the right track, though. Marfa is the main plot- forming element in this production; she takes the action from the light lyric in the very beginning (when she peacefully swings on the swing to the music of the overture) to the dramatic culmination in the scene where she meets Ivan the Terrible (the real horse that the tsar is riding excites the audience, as usual) and then to the tragic finale in the last scene. Newsletter Photo: Damir Yusupov Here Marfa wears make-up that demonstrates what the poison, ordered by Lyubasha, has done: she is dead pale, her hair is thin and gray and she really does lose her beauty, which is scary. By the way, in the final scene the director allows herself a departure from the libretto: Malyuta Skuratov kills Gryaznoy. There is a good reason behind it: the head of the oprichniks did not forgive his fellow for the death of his goddaughter. A lot can be said about the orchestra, conducted by Gennady Rozhdestvensky. To start with, the maestro took the risk to edit the score a little: he cut instrumental voices that duplicated the vocal line. The main thing about Rozhdestvensky's version is the very sophisticated interpretation of the polyphonic nature of Rimsky-Korsakov's score. Each sub-voice and each counter-theme is heard and presented with pinpoint accuracy and that particular musical joy that the audience cannot fail to hear. There is, of course, the issue of tempos that disappointed many "experts". Yes, Rozhdestvensky uses slow tempos; moreover, he uses ritenuto. It is difficult for the singers. But this is a technical challenge. The conductor is absolutely right from the musical point of view: these tempos are adequate for the images that are established in the score. This is especially true about the part of Marfa, were super slow "hanging" are impossible to perform in a lively manner. The production has to ripen. Mainly, from the vocal point of view. But if it does, it will occupy a very beautiful niche in the Historic Stage repertory that is still empty. The niche of a classical Russian opera which the audience will gladly buy tickets to. The Tsar's Bride" has returned to the Bolshoi Theatre /…/ "The Tsar's Bride" is one of the most popular operas in the Bolshoi Theatre repertory. The new version is based on the classical production of 1955 that starred Elena Obraztsova and Galina Vishnevskaya and had a set by the famous Fedor Fedorovsky. Fedorovsky's set had to be modernized, since in the light of the powerful modern projectors it would have looked flat. The authors also tried to make the production easier and more understandable for the modern audience. Although there are historical characters in "The Tsar's Bide", history is only the background. The main character is a merchant's daughter Marfa Sobakina, who has been chosen to be the wife of the Tsar Ivan the Terrible. The oprichnik, Gryaznoy, also likes the girl. Marfa has a fiancé, so she is not happy with the courtship by the new beaus. Two weeks after the bride-show Marfa suddenly died. Karamzin mentioned this episode in his "History of the Russian State". "The Tsar's Bride" stands out from other operas by N. Rimsky-Korsakov. Its individuality was determined by its idea: epos and philosophy gave way to the study of human passions. In this particular opera those passions are really charged", - as it was mentioned at the Bolshoi Theatre.The opera "The Tsar's Bride". Photo: ITAR-TASS "The Tsar's Bride" that was presented at the Bolshoi Theatre can hardly be called a premiere: this is a 60-year old production that was created in 1955 with a set by Fedor Fedorovsky and has now been brought back to the Historic Stage. The orchestra is conducted by Gennady Rozhdestvensky. The production team: Julia Pevzner (the director), Alyona Pikalova and Elena Zaitseva (designers) But for the sudden demarche of the Bolshoi Theatre music director Vassily Sinaisky, who abandoned not only the production "Don Carlo" right before the premiere in December, but also "The Tsar's Bride", there probably would not have been any excitement about this production. This was what happened two years ago, when the renewed "Boris Godunov", which also has a set by Fedorovsky, was moved to the Historic Stage. But in the case of "The Tsar's Bride" the dramatic collision of the urgent search for a new music director worked very well; the guest director Julia Pevzner, the assistant of Francesca Zambello, promised to create a new adaptation of the opera. Photo: Maxim Blinov/ RIA Novosti .ria.ru In the end there was no original adaptation: the director limited herself to the patterns of the old production that had impressive theatrical effects: feasting oprichniks with horsewhips, who start dancing wildly, aggressive games and mead, terrible parades of oprichniks wearing monks' gowns, the tsar Ivan the Terrible riding a prancing real horse and ceremonial blunt bobs on the boyars at the palace, which frame the outcome of the love tragedy, just like at the ancient theatre. These "patterns" work very well for the audience, like, for instance, images and mise- en- scenes in the paintings of Repin and Surikov. Thus, Fedorovsky's set in this production is not a background, but rather a lively theatrical essence: there are monumental interiors of rooms and palaces with glazed tile stoves and painted pointed arches, monastery walls with gilded holy pictures and landscapes, which charm with their autumn beauty. February, 272014Newsletter Photo: Maxim Blinov/ RIA Novosti .ria.ru But what the designers Alyona Pikalova, who created a stiff and dimensional version of the set, and Elena Zaitseva, who renewed all the costumes, following the sketches, did in this new version, gave the production the taste of not mechanical, but rather artistic reconstruction. The artists also tried to get away from the image of a "museum" production; they all succeeded to a different extent, though. At the premiere one could not fail to notice Olga Kulchinskaya (Marfa) with her shining colorful voice, clear sound and tender maiden-like reactions, Agunda Kulaeva (Lyubasha) with her beautiful and deep sound that was pulling in emotions and the spectacular acting of Marat Gali (the healer Bomelius). Photo: Maxim Blinov/ RIA Novosti .ria.ru Photo: Maxim Blinov/ RIA Novosti .ria.ruThe orchestra, conducted by Gennady Rozhdestvensky, surprised: the sound was transparent, almost never going beyond mezzo-forte, going against the depth of tragic feelings in the opera, but not dampening the voices of the singers and ensembles that were often not harmonious. Some singers managed to find the relevant emotion in this story about four hearts (Marfa, Lyubasha, Gryaznoy and Lykov), while the monumental and dramatic panorama of the "Russian lifestyle", created by Fedorovsky, and remained a souvenir in this production. By the way the first time that Fedor Fedorovsky created the set for "The Tsar's Bride" at the Bolshoi Theatre was in 1927 (conductor - Nikolay Golovanov). In 1955 "The Tsar's Bride" became his last production at the Bolshoi (conductor - Yevgeny Svetlanov). Photo: Maxim Blinov/ RIA Novosti .ria.ru Anna Aglatova: "Russian projects are very important for me" The opera singer, the Bolshoi Theatre soloist Anna Aglatova (soprano) was on air with the radio "Orpheus". Prior to celebrations of N.A. Rimsky-Korsakov 170 birthday Anna talked about her participation in various projects dedicated to these celebrations. We talked with the singer about the challenges of the Russian vocal school and many other issues. - I am glad to welcome in our studio the singer and Bolshoi Theatre soloist Anna Aglatova. She represents the new generation of vocalists. She started her career in the beginning of the 20 century; in 2006 she had already become a Bolshoi Theatre soloist. - Officially- yes, but the first time I performed on the Main Stage was in 2005, before it was reconstructed. When I was a first year student of the Gnessin Russian Academy of Music, I became a Bolshoi Theatre guest soloist. - Since that time your career has been very remarkable; the steps that you took have also become more confident. The reason for our meeting is the upcoming 170 birthday of N.A. Rimsky-Korsakov that will be celebrated on the main opera stages throughout the world in the end of February… - For example, "The Tsar's Bride" premiered at the Bolshoi Theatre Historic Stage. We say that it premiered, although it is a revived production. It was performed on the New Stage, and it was performed with some changes. It is clear that as the time goes by, the initial ideas of directors change. This production was no exception; over the years it has lost a lot, energetically as well. That is why we all were looking forward to the premiere. I was very excited in the first place. I perform the title role of Marfa.РЎРњР? Рѕ Театре February, 272014Newsletter Anna Aglatova. Photo: .nforblog.ru - I know that on March 5 you will perform arias from operas together with The National Philharmonic of Russia. This will be a part of the jubilee festival "Music by N. A. Rimsky-Korsakov" that will be organized at the House of Music… - I am always very happy with such projects, because when I participate in them, I can demonstrate my knowledge of not only the foreign repertory in French, Italian or German, but also of the Russian one. The Christmas Festival was a great project; for example, the choral symphony "The Bells" by Sergei Rachmaninoff was performed. Today for different reasons Russian music is not performed as often as I would like. The audience prefers foreign classics. That is why Russian projects are very important for me. I am grateful to Vladimir T. Spivakov for the opportunity to work with this music with him being my teacher. A concert hall is an absolutely different system for communicating with the audience, the conductor and the orchestra. This is a very important experience for a singer. Maria Guleghina and Fabio Mastrangelo. Russian-Italian union onstage at the Kremlin On February 26 Maria Guleghina will sing her favorite arias at the State Kremlin Palace. Playbills with the picture of the world-famous opera diva, who conquered "Teatro alla Scala" and "Metropolitan Opera", are all over Moscow. Prior to the concert the "Vecehrnaya Moskva" reporter talked to Maria Guleghina and the conductor Fabio Mastrangelo. The Russian audience has not had many chances to listen to the dramatic soprano. The concert at the Kremlin is supposed to fix this situation: maestro Fabio Mastrangelo will conduct The State Academic Symphony Orchestra of Russia (Svetlanov Symphony Orchestra), The Grand Choir "Masters of Choral Singing" (artistic director - Lev Kontorovich) will also take part in the concert, and the opera - Maria, the program of the concert consists of your favorite arias. What is the love for an aria made of? Is it the fact that you can relate to the heroine, your love for a composer, a particular piece, or something else? - Love is a feeling that is impossible to dissect. If love exists, it exists. Music and an image is something that captures your soul and you keep singing for your whole life; every time you discover some new aspects. I had a hard time choosing. Of course, I cannot imagine myself without Russian music, although for my whole life I have been mostly singing Italian opera. - Are there "naughty children" among your favorite arias, which you have had troubles mastering? Are there "nice and smart children" that just come out easily? Which parts are more valuable? - My most difficult "child" was Violetta; I was getting ready to sing this role for about fifteen years. The role of Norma and Aida were also very difficult, because they demand lightness and ease that I had to work on a lot. Of course, I have never had problems with the parts that are between soprano and mezzo-soprano. But I do not take the easy way! My motto is: "And the eternal fight! Repose is what we only dream of…". I have everything that is mine not because of something, but in spite of something. - Fabio, do you have favorite arias, performed by the wonderful Maria Guleghina? - Not wonderful, but spectacular! We are Southerners! All Maria's arias are very different, it is difficult to choose… She has amazing interpretations of "The Queen of Spades"; Maria performed the role of Lisa in a charming manner. But I mostly know Maria as a singer, who has interpreted the Italian music in a very correct and competent way. By the way, at first I heard Maria singing Puccini, and only then - Verdi. In 1992 Maria performed the role of Tosca in Teatro alla Scala; I like this part, as well as Maria. 15 years later, at the Mariinsky Theatre, it was Tosca again. I conducted the orchestra and Maria sang… it was a first love that lives forever! This is why I am looking forward to performing with her. No other singer sings the aria "Vissi d'arte" from "Tosca" better than Maria. I will tell you a secret: I was very pleased when Maria discussed the program with me and asked me what pieces I would like to conduct. Usually such divas just say: "Here, Maestro, conduct this!" I even did not expect this! What?! I am ready to conduct any piece you want! But Maria asked me to participate in choosing the repertory and I asked her to include in the program the aria of Elisabeth from "Don Carlo" by G. Verdi. I consider "Tu che la vanita" to be the best Verdi aria. Even if we do not perform it at the Kremlin, we will still perform it together for sure! - Maria, what is the role of a conductor in a "singer-conductor" tandem? - A solo concert is just a name. In order for everything to work out, it is necessary to have a "captain of the orchestra". He should be able to navigate the ship in a calm February, 272014Photos: Damir YusupovNewsletterMask" Russian National Theatre Award. /…/ In 2013 Tatiana Baganova was invited to stage "The Rite of Spring" at the Bolshoi Theatre to mark the 100 anniversary of the great ballet by Igor Stravinsky. This production has been nominated for the main theatre award of the country in three sections: "Contemporary Dance/Best Production", "Ballet/Contemporary Dance - Best Ballet-Master/Best Choreographer" (Tatiana Baganova) and "Best Designer" (Alexander Shishkin, Saint Petersburg). The cast starts the Bolshoi Theatre artists and five dancers from the Yekaterinburg theatre "Provincial Dances". From February 25 till February 28 "The Rite of Spring" will be presented on the Bolshoi Theatre New Stage. This is what Tatiana Baganova says about the production: "Our ballet is about thirst. It is about the complete lack of water when people's conscience changes just because they are so thirsty. They are in enclosed space. We do not know how they got there; they have to communicate. They also have to find water, this is a matter of surviving. My people are squeezed within four walls. This is an enclosed society that is completely occupied with looking for water. There are two parts in the music; there are two parts in our ballet as well. At first, just like in Stravinsky's music, there are some ritual games, everyone is still happy and waiting for something. In the second part no one is thinking about games: it is clear that in order to maintain life and in order for a renewal to happen, a great effort should be made". On the Bolshoi Theatre official pages in the social networks we have uploaded the pictures from the premiere performances of the opera "The Tsar's Bride" on the Historic Stage. All pictures are available here: Pevzner, the director The Bolshoi Theatre in the Internet February, 272014Newsletter Digest has been compiled by The Bolshoi Theatre Press Office Photos: Damir Yusupov and Mikhail Logvinov Design layout: Vladimir AndrusenkoAll materials used in the digest are the public domain of information agencies, mass media, civil society organizations and government International press analysis Analysis of articles published February 25, 2014 The Australian publication The Conversation writes about the huge and expensive Sochi Winter Olympics closing ceremony which included performances by the Bolshoi and Mariinsky ballets. The New York Times announces that American Ballet Theatre has commissioned Alexei Ratmansky to stage a production of The Sleeping Beauty to celebrate its 75 anniversary based on the 1921 Diagliev Ballet Russes production. The Times (UK) interviews Ukrainian conductor Kirill Karabits: who has previously conducted at the Bolshoi Theatre in Moscow about the situation in the Ukraine.In brief N.A. Rimsky-Korsakov Music Festival will take place at the House of Music from February 26 till March 11 On the first day, February 26, The Moscow City Symphony - Russian Philharmonic will present the opera "The Tale of Tsar Saltan" at the Svetlanov Hall; light-projecting technologies will be used.
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Main Stage
1 Teatralnaya ploschad (1 Theatre Square), Moscow, Russia
New Stage
Bol'shaya Dmitrovka Street, 4/2, Moscow, Russia