Aikaisemmat tuotantoarvostelut
6"If there was a hypothetical rating of the success of operas created over the last five centuries, Puccini's" Bohemia "would occupy one of the top positions. Now it is impossible to estimate at least approximately how many deliveries of this work took place on the world's leading opera stages, not to mention those that existed in many Italian, French, English, Polish, Russian, Austrian provincial cities. It was from Puchchin's "Bohemia" that the stellar biographies of many outstanding vocalists began, "wrote Vasyl Turkevych, Honored Artist of Ukraine. In 1891, librettists Luigi Illico and Giuseppe Giacosa drew Giacomo Puccini's novel "Scenes from the Life of Bohemia" by the French poet Henri Murger, read by European youth of the time, and offered his libretto based on the novel's plot for writing an opera. The work was about talented but poor artists - poets, artists, journalists, actors who lived in the cold and uncomfortable attics of Paris' Latin Quarter. The composer liked the libretto. This deeply realistic work was about the fact that Puccini himself experienced in his youth. Starting from the plot of A. Morge's novel, J. Puccini enriched the content of the work with many interesting and very eloquent plot lines, expressive clarifications. The author sought to reinterpret, first of all, everyday moments of the romantic story about the difficult life of the heroes, he selects the most typical for the spirit of the bohemian environment and with new force reveals the hidden sharp conflict - creative youth and man in the street. This is what makes the opera "Bohemia" always modern and relevant. The opera libretto has changed significantly in relation to A. Murger's novel in the ratio of comedy and lyric line, at the same time the composer reveals the tragedy of human destiny. The composer, brilliantly mastering the material of life, subordinated his musical drama, first of all, to logic, dressing prosaic events in beautiful sincere feelings and love, colored by a passionate desire to find their place in this complex world dominated by bourgeois moral principles, customs and traditions. there is no place for sincerity of feelings, purity of relations. Heroes of "Bohemia" are able to sacrifice, suffer, enjoy the sun and life. Perhaps, not only with beautiful music, but also with the moral and ethical principles embedded in the work, the opera remains in the context of changing times and on the verge of moral tests for humanity. The music of "Bohemia", like all other operas by G. Puccini, is filled with sincere warmth. The composer worked on the score for eight months, more and more concerned about the fate of the heroes of his future opera, who, despite all the vicissitudes of poverty, lived with bright dreams and hopes. They were not frightened by cold or hunger, and worried only one thing - to find their place in the great and turbulent world of creative bohemia. They were the children of their time and the relationships that then developed in the society they challenged. The heroes of the opera "Bohemia" had their prototypes, they seemed to come from the streets of Paris on the stage. According to the biographer G. Puccini A. Fraccaroli, the composer fell in love with his heroines - Mimi and Mussetta. In these tender and subtle images of youth and love, he found a source of inspiration. Concluding the opera, he openly wrote in one of his letters to Giulio Ricordi: "I cried like a child." We can say that it was in this opera that the personal destiny of the famous composer was reflected. Світова прем’єра цього твору відбулася на сцені Туринського театру Реджо (Teatro Regio di Torino) 1 лютого 1896 року під керуванням 28-річного Артуро Тосканіні, вже досить відомого в музичному світі маестро, блискучого інтерпретатора насамперед музики Ріхарда Вагнера. Despite the very high marks of Puccini's new work by his entourage - musicians and music critics close to the Ricordi publishing house - Bohemia suffered the same annoyance as most operas of composers of the second half of the nineteenth century. And although the opera was not "whistled", but the Turin audience received it quite coolly, which surprised and upset the composer, who did not doubt the success of his new work. The audience was disappointed by the plot of the opera. According to ground music lovers, the plot was very different from the reference standards of the genre, which was based on Shakespeare's passions and no longer authentic texts of German and French historical chronicles. Therefore, fans could not accept such a mundane plot, which in their opinion, which formed the basis of the opera "Bohemia". But very soon theaters began to compete to include this opera in their repertoires. Its premieres in Paris (1898) and Vienna (1903) contributed to the growing popularity of Puccini's work. Bohemia was first staged in Kyiv in 1904. Then there were productions of 1913 and 1958. In 1969 the play was renewed. And then - new productions in 1986 and 1998. Not so long ago, Vitaliy Palchikov staged Bohemia at the Kyiv Opera (Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth). In different years the main parts in Kyiv interpretations were performed by T. Ponomarenko, G. Sholina, K. Radchenko, G. Tsypola, L. Zabilyasta, I. Dats, O. Nagorna, I. Semenenko (Mimi); V. Timokhin, A. Solovyanenko, O. Vostryakov, V. Fedotov, V. Grishko (Rudolf); E. Chavdar, E. Miroshnychenko, M. Stefyuk, L. Semenenko, V. Stepova (Mozetta); M. Vorvulev, B. Puzin, A. Mokrenko, R. Mayboroda, M. Koval, P. Priymak, V. Bazir (Marseille); M. Shostak, O. Zagrebelny, V. Manolov, V. Lupalov (Shonar); V. Pazich, V. Pivovarov, B. Gnid, M. Shopsha, B. Taras, Y. Khomich (Collin); V. Gerasimchuk, V. Lositsky, G. Krasulya (Benoit); O. Chulyuk-Zagray, S. Skubak, S. Matveev (Alcindor); T. Feoktitstov M. Khorunzhiy, M. Shulyak, Y. Khimich (Parpinol). In the new production of the opera "Bohemia", according to the play's directors, the heroes of the opera are in a slightly different time dimension. Their environment was the second half of the twentieth century, which seems to bring modern viewers closer to Puccino's heroes. - It is no coincidence that we chose this work for another joint project with longtime friends from the Italian Embassy and the Italian Institute of Culture in Ukraine, because Giacomo Puccini's opera "Bohemia" is called a "winter fairy tale", - said Director General of Art of the National Opera of Ukraine. artist Petro Chuprina. - This is our holiday gift to all connoisseurs of exquisite opera and, above all, young people, who are increasingly appearing in our auditorium. The main characters of this opera are young people, full of creative inspiration and stormy emotions, sincere and open in their feelings and aspirations. - The Italian-Ukrainian cultural dialogue has many points of contact, but is especially fruitful in the field of opera, as evidenced by our long-standing partnership with the Kyiv Opera House, - said Ambassador Extraordinary and Plenipotentiary of the Italian Republic to Ukraine David La Cecilia. - Every season we offer a rich program of highly artistic projects, culminating in successful joint productions of operas and ballets, which each time become a decoration of the repertoire of the main music institution of Ukraine. This year's production is the result of a fruitful collaboration between director Italo Nunciata and the main conductor of the theater, Maestro Mykola Dyadyura. They have prepared a first-class line-up of performers, thanks to which the heroes and heroines of one of the most prominent and favorite masterpieces of the world's opera repertoire - Giacomo Puccini's opera "Bohemia" will come to life on the leading stage of Ukraine. During one of the premieres, the grateful Kyiv audience did not want to let the Honored Artists of Ukraine Petro Pryimak, Serhiy Kovnir, Tetiana Ganina, Susanna Chakhoyan, Bohdan Taras, Dmytro Ageyev, theater soloists Dmytro Ivanchenko, Oleksandr Boyko, Yuslan, Ruslan leave the stage for a long time. Gorinya. The success of the play was facilitated by the unusual scenography, created with the help of the most modern video projectors, which were already partially used in the premiere of last season - "The Barber of Seville" (set designer Maria Levitskaya).
Creative young people rent a loft under the roof, wander around the cafes wrapped in scarves and coats, drink wine from local producers. A thought leader wrapped in branded stuff gives vocal lessons, and a novice copywriter falls in love with a handmade girl. The Italian director and masters of the National Opera imagined what Puccini's classic plot would look like in Paris in the 1950s. And Weekend went behind the scenes to make sure that such "Bohemia" will definitely become close and understandable to modern Kyiv. The production is a Ukrainian-Italian project created in collaboration with the Italian Embassy and the Italian Institute of Culture. Directed by Italo Nunciata. Viewers already know him well from a number of performances in the National Opera - it's "Macbeth", "Manon Lescaut", "Love Drink", "Cinderella". Italo NUNCIATE Italo Nunziata told Weekend how the fifties changed Europe, why the choir became one of the main characters in the play, which could provoke the director's stormy emotions during the general run. - We hope to attract more young people to this production, because the plot is about what worries her. The characters have occupations that are understandable and close to the young, they are fascinated by feelings of youth, but dramatic things happen to them. I think this opera is very modern. Verdi's operas, which I staged at this theater a few years ago, were more static. Puccini's plots are definitely operas with more movement, dynamics, alive and lively in the theatrical sense. It seemed to me that the repertoire of the National Opera of Ukraine needed it. We have been preparing a play for almost a month, it was a very intensive process. I have already had to work with some artists on previous productions, other actors are new to me. It is nice to see young people who want to work, to move more on stage, not as is customary in traditional static opera. This is inspiring, because we are trying to bring the opera closer to the present in all aspects. And in terms of drama and theatrical action, and in the time we took as a basis. We want this to be perceived not as a classic of gunpowder, far from us.
This is not the first attempt to launch Tsar Salatan into the permanent repertoire of the Kyiv theater. On September 1, 1911, on the eve of the official opening of the next theatrical season, a festive performance "The Tale of Tsar Saltan" was shown in the Kyiv Theater. In the hall - distinguished guests of the capital, led by Russian Emperor Nicholas II, who arrived in Kiev on the occasion of the unveiling of the monument to Alexander II. In the intermission after the second act, Russian Prime Minister Peter Stolypin was assassinated and mortally wounded… Since then, one of the brightest operas has been associated with tragedy. The next premiere of "Tales of Tsar Saltan" on the Kyiv stage took place only in 1917. Subsequently, the theater repeatedly turned to the masterpiece of M. Rimsky-Korsakov. The last time was in 1949, when the anniversary of Alexander Pushkin's birth was celebrated. They decided to break the 64-year-old break only now. - The repertoire of the National Opera of Ukraine includes many serious dramatic performances. Today we are turning to the Children's Opera, which we hope will be a bridge to future generations of opera fans, - says the theater's chief director Anatoly Solovyanenko. Vrubel and Vasnetsov conjured for children Rimsky-Korsakov once granted the Russian private opera the right to stage the first production of The Tale of Tsar Saltan. The success of the audience was ensured by the careful work of the conductor Mikhail Ippolitov-Ivanov and participation in the premiere performances of the best artists of the troupe. In addition, Mykhailo Vrubel undertook the artistic design of the play - scenery and costumes. Apollinarii Vasnetsov (brother of the famous Russian artist Viktor Vasnetsov), who was then a theatrical artist, wrote on the basis of his sketches of the scenery. For several seasons, the best and most outstanding "adult" masters of classical art worked on the Kyiv stage on the children's "Fairy Tale": conductors Eugenio Esposito, Mykhailo Shteiman, directors Mykola Bogolyubov, Oleksandr Ulukhanov. The voices of Leonida Balanovska, Mykhailo Donets, Mykhailo Mykysh, Maria Tesseir, Borys Hmyra, Larysa Rudenko sounded powerful and bright… Anatoliy Solovyanenko, the director of the modern version of "Fairy Tales", sees no differences in the approach to the work: "Despite the fact that this is a children's play, the attitude of the troupes to it is very serious. We work like adults: the best creative forces of the theater are involved, leading soloists of the opera troupe, chief conductor Mykola Dyadyura, chief artist Maria Levitska, chief choirmaster Bohdan Plish, ballet dancers. Now we grind the last details. I'm not afraid to brag - we have a very clear scenography. " The main trick is to invent a style To create all the scenographic splendor, the main artist of the theater Maria Levitskaya studied ancient icons and clothes, looked through hundreds of books, specially went to the Armory and other museums in Moscow. - "Tales of King Saltan" has a primary scenographic authorship, - says Levitskaya. - This is Ivan Bilibin. A master whose hand is unmistakably recognizable. Our task was to create an interesting and completely independent version, without repeating a single stroke. I say "we" because it is a complex and exciting process that involves many people. Our costumes are really handmade. This is probably one of the most beautiful performances we have ever performed. More than 350 costumes and more than 5,000 meters of paintings have been created for "The Tale of King Saltan"! "You can wrap and even cover the Kyiv Opera," smiles Maria Levitska. The choir is about 150 singers, they will change clothes twice during the performance. The costumes of the soloists are regally rich, "with fiction". "Precious stones?" This will not surprise anyone now. Sticking "sapphires" is not a trick. The trick is to invent a style so as not to end up in the royal chambers of Boris Godunov, says the artist. The fairy tale needs an expanded palette of colors, special decor and imagination. Bumblebee will dance and Chornomor will become a cartoon One of the director's fantasies is choreographic episodes (choreographer-director - Victor Yaremenko). Mythical characters, flowers, bumblebees - will be recreated in the language of dance. The famous scherzo, known as "Flight of the Bumblebee", has withstood many adaptations for many instruments, has become an independent and popular work. I wonder if the same popularity awaits the choreographic version? Other surprises await the audience. Some of the characters, such as Squirrel, Blackbird, Swan, Kite will be animated. So the main theater of the country is going to take another step towards the use of the latest stenographic technologies. "This is the first time we have used visual and graphic effects on this scale. We hope that this will be a successful creative experiment, "says Anatoliy Solovyanenko. The theater is convinced that "The Tale of Tsar Saltan", which will be one of the most expensive productions of the NOU, along with the most expensive premieres of the past two seasons - the ballet "Bayaderka" and the opera "Don Carlos". The play is planned to be shown during the day on weekends, so that it is convenient for the youngest spectators. In the modern version, the number of actions has been reduced from four to two and each will last no more than 50-55 minutes. We hope that the tale will appeal to both adults and children.
This performance (libretto by Vladimir Belsky based on the fairy tale by Alexander Pushkin) is designed for a family cultural trip to the theater and, first of all, for the youngest audience. Let us recall that in the capital, on the stage of the Municipal Opera for Children and Youth, a version of this wonderful musical fairy tale adapted for perception by children is successfully staged. But the directors of the National Opera: conductor Nikolai Dyadyura, director Anatoly Solovyanenko, artist Maria Levitskaya, choirmaster Bogdan Plish and choreographer Viktor Yaremenko, hope to amaze their audience not only with singing, but also with fantastic scenography, ballet and visual and graphic effects. Soloists are working on the embodiment of the main characters: Taras Shtonda, Sergey Kovnir and Andrey Gonyukov (Saltan), Victoria Chenskaya, Lesya Alekseeva (Queen Militrisa, younger sister), Daria Knyazeva, Irina Petrova (Weaver, middle sister), Natalia Nikolaishin, Tamara Kalinina, Olga Matushenko (Cook, older sister), Anzhelina Shvachka, Tatiana Piminova (Matchmaker Babaricha), Lilia Grevtsova, Olga Nagornaya (The Swan Princess), Sergei Pashchuk, Dmitry Kuzmin, Sergei Skochelias (Tsarevich Gvidon) and others. The history of productions and performances of The Tale of Tsar Saltan since its dedication to the 100th anniversary of the birth of the author of the original source, A. S. Pushkin, is interesting and varied. The right of the first production in 1900 was granted by the composer to the Russian Private Opera (conductor - Mikhail Ippolitov-Ivanov, artist - Mikhail Vrubel, and the role of the Swan Princess was played by the outstanding singer Nadezhda Zabila-Vrubel (our countrywoman, who received her musical education at the Kiev Institute of Noble girls at Nikolai Lysenko's.) The action takes place partly in the city of Tmutarakan, partly on the island of Buyan... The Tale was first staged on the Kiev stage in 1908. It was this production that was also staged in the fateful 1911, when Russian Prime Minister Pyotr Stolypin was mortally wounded during a parade performance for the court and ministers of Emperor Nicholas II... The next premiere "Tales of Tsar Saltan" took place in 1917. Subsequently, the theater turned to the masterpiece of Nikolai Rimsky-Korsakov more than once. The last time was in 1949 (when the 150th anniversary of the birth of A. Pushkin was celebrated). And soon the audience will see a new reading of the classics. “We are turning to children's opera, which, we hope, will become a bridge to future generations — admirers of opera art,” says director A. Solovyanenko. - "The Tale of Tsar Saltan" by Nikolai Rimsky-Korsakov is a very interesting work both on stage and musically.
