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Alexander Zhurbin, without eroticism there is no creativity

In a break between rehearsals in Musical theatre of a name of Stanislavsky and Nemirovich-Danchenko, the famous composer Alexander Zhurbin gave an exclusive interview to an observer of “Moskovsky Komsomolets”, speaking about his Opera triptych “Metamorphoses of love”, which will premiere on may 25. During the conversation past that and it ran quite recognizable people: Friedrich Nietzsche, Sigmund Freud, and even Johann Wolfgang von Goethe….


photo: Sergei Ivanov

— Alexander Borisovich, what is Goethe?

Here not only the Goethe — all the characters of the triptych, in which three one-act operas, — famous people. Goethe — the hero of the first Opera, which tells the story of his last love. The great German poet was 74 years old, and a young girl, Ulrike only 19. It was a real passionate affair. Goethe wanted to marry, but the mother Ulrika prevented this marriage. The wedding took place, and soon the Goethe died . The most incredible thing that Ulrika kept him faithful to the end of his days — and she has lived for 95 years! She never married, no kids, no plant novels.

— Who are these people similar to Nietzsche with Freud?

— It’s a secret. The mystery of Dr. F. and philosopher N., who lead the play, commenting on the plot, revealed only in the final.

Three odnakovi United only by the theme of love?

— Not only, of course. Opera triptych, a difficult genre, not invented by me. Suffice it to recall the three one-act operas by Puccini that are made to execute in one evening, although there may be individual performance. I wanted his triptych as a whole. Each of them occurs at a specific time. The first in 1823, the story of Goethe. The beginning of the twentieth century. This is the story of Gustav Mahler, the Austrian composer, and his wife Alma, who cheated on him and driving him to breakdown and death in 51. But the third, which is called “Erotica” occurs in 20 years. Her heroine — an unusual woman, Lou Andreas-salomé. Among her lovers was Rilke, Nietzsche, Freud. In the art of love she was not only a practitioner but also a theorist, wrote a treatise called “Erotica,” in which he explained that art and erotica are one and the same. Without eroticism there is no creativity, in turn, without creativity isn’t erotic.

— In addition to the love theme of the Opera is still United and Germany…

— I love German culture, music, German. By the way, there are fragments in the Opera, where the characters move on the German, and on the screen we see the Russian translation. The musical language of the triptych also has a direct relationship to German music. Because generally it is impossible to imagine the musical culture of the Germans or the Austrians. The first Opera is based on music styles of the first third of the XIX century — Beethoven, Schubert, Weber. Second — of course, the language of Mahler, the German-Austrian expressionism. There are even quotes. “Erotica” is dedicated to the era in which already blossomed jazz, and here I use the style of Kurt Weill, jazz standards and arrangements: chamber Symphony composition join, drums, bass guitar and keyboards. Well, interludes between parts of the triptych is built on atonal structures in the spirit of the second Viennese school. So here fully implements the technique, committed of which I am a long time ago: polystylistic.

And where does the composer Zhurbin?

Everywhere. In all the arias, duets, ensembles, instrumental fragments, latteman. The essay was written as an Opera, according to the laws of the operatic musical drama. Very few conversational moments, though they are present. There are cross-cutting themes — in an optimistic final they are synthesized into a unified whole.

— Those who put this play take love seriously?

— A very. The conductor Felix Korobov, stage Director Tatiana Plain, a student of Alexander Titel, who oversees the project. We have a very talented artist, young, but already a lot of and incredibly bright made in the theatre, Maria Tregubova. She created a wonderful world on stage, stunning costumes that seem to belong to a particular era, but completely modern. The cast consists of great actors.

— Do you think Opera is relevant today as a genre?

— I think that today, the Opera moved to the forefront of world art. A huge number of operas put around the world. Many of the major Directors working in this genre. Opera can be very different. I propose my variant — “Metamorphoses of love”.

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