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“Queen of spades” was dedicated in the masons

Opera “Queen of spades” got a new form, a new genre so that there is just a new life in an old estate of the goncharovs-Filippov on the embankment of the Yauza. Director Alexander Legchanov, artist Polina Bakhtina and composer Nikola Melnikov turned the classic score of Tchaikovsky’s the equally classic story of Pushkin in an immersive Opera in which the audience was blindfolded, the story told Alexander, and the role of Herman (or Hermann – as you like) played the hero of “Eurovision – 2010” Peter nalitch.


photo: press service of the performance

This is a very beautiful mansion. It was built by architect Ivan Egotov. It belonged to the grandfather of Natalie Goncharova, but Pushkin had been visited: Afanasy Nikolayevich gave the house for the debts. Card, as you might guess. Oh, that silly game in the Pharaoh whom only it did not lead to loss of status and sometimes of mind. Pushkin, too, played and also lost . Pushkin Herrmann (with a name ending in double “n”) the result of the game was crazy. The hero of Tchaikovsky’s name is Herman with one “n” – shot. The Opera promenade “Queen of spades” directed by Alexander Legchanov (author of the once popular hip-hop comic book “Cops on fire”) has decided not to lag behind the play and still “return to Tchaikovsky Pushkin.” Perhaps, I would be envious – so, impressive and modern did his successors. Directing your project to a young target audience, not burdened with reverence to the classics, but reading Dan brown and are able to appreciate entertaining topics like ritual of initiation into the Masonic Lodge or mystical transfermanager travel immortal count Saint-Germain, they guessed: we have such an audience and such a side to her in a rush – even Tchaikovsky.

We enter the mansion and get a threatening warning not to take pictures, not to talk, not to go back will be impossible. Dark-haired young man in the Masonic free Mason apron with monogram “G” blindfolded black velvet blindfold. The initiation ritual for the Freemasons, executed strictly according to the rules (at least we like to think so) we only hear. But when the blindfold allowed to shoot, we see initiates of the young Pushkin. Actor Gladstone Mahib very similar to a young poet (again – what we imagine). He leads us through the magical interiors of the mansion, past the endless mirrored corridors, randomly scattered pieces of furniture, telling the story of the novel and stopping of the participants at key points of the Opera: the ballad Tomsk (Basil Corsair), Aria Lisa (Alena Funtikova), duet of Lisa and Polina and Polina’s romance (Natalia Mishina), the scene of the Countess (Sofya Efimova), the scene in the Grooves, the scene in the gambling house. The main figure is, of course, Herman(n), which Pushkin called Herman, with the accent on the “a” in the French manner.

Peter nalitch in the role of good in all respects. Nervous, strange, beautiful, charismatic and frightening at the same time, especially when the magic of the Countess, a very impressive glass risen from the grave, zombifies him. And Nalitch sings very well. No wonder he studied academic singing at the Gnesin’s Academy. Perhaps slightly mannered softens the vowels, which gives a subtle touch of folkloric, but it is slightly. All sing very well. Orchestra (Nikola Melnikov adapted the Tchaikovsky’s classic score for the reduced composition, however, does not change the style) is located in one of the halls. In other rooms of the mansion, where the action develops, the live sound of the orchestra is broadcast. Of phonograms is not. The singers sing with headsets. And here, perhaps, the weakest link of the play. Once again I want to call heaven with the plea that they have sent down to our musical theater a divine gift in the form of a competent sound designer. Would this blessing ever? Perhaps “I only wish to live in this time of great need is not so neither I nor you…”

Not enough, perhaps, and tricks. Still, the genre requires. And abundantly used video projection was not surprised at the magic of augmented reality that we already have the pleasure to indulge in the theater. Some things even seemed strangely outdated: for example, a portrait of the Venus of Moscow. So what you can do as viewers to scare you! But the Countess only with the mechanical frequency of winking his right eye, resembling fashionable in 60-e years of last century the Japanese calendars.

However, the performance lacks (mainly technical) is forgotten, when it came to a head. We were back in the hall with the orchestra. A Capella men’s ensemble without any miking sang the closing hymn, “Lord, forgive him”, the sounds of which appeared in a black veil, the Countess took German in infernal wedding procession. Happened is ordained the sacrament Venus reunited with Saint Germain. And I must say – it is a strong solution, which does credit to the authors of the play, which surprisingly managed to combine the mystique ironic Pushkin devoid of irony lyricism of Tchaikovsky.

Of course, the zealots of the purity and integrity of the classics, would disagree. They will only give you one argument: this performance absolutely does not “reduce” the message of the original. Yes, it translates to another language, transpose into a different genre. But not mocks, not stebetsya, not travestied. Everything is very serious. Sincerely. And beautiful.

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