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  • Repertorio (9)
Compositore e OperaRuoloProduzioni
Dvořák,A
RusalkaJežibaba2
Musorgsky
Boris GodunovHozyaika korchmy1
Mamka Kseniyi2
Puccini
Madama ButterflySuzuki1

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Recensioni

As if anticipating the onset of a dreary and long autumn-winter period, the Moscow New Opera decided to please the audience with a new production - cheerful, lively, dynamic.For the first time in its history, the theater took on Rossini's "The Barber of Seville" - an absolute hit of all times and peoples. Recently, the theater has increasingly turned to the mainstream repertoire, which seems to be somewhat contrary to the concept of its founder. In a sense, the New Opera loses its face, ceases to be “new” - the one that has mastered works hitherto unknown to Russia / Moscow, such as “Maria Stuart” by Donizetti, “Two Foscari” by Verdi, “Valley” by Catalani or “Hamlet” by Tom. On the other hand, for any theater to pass by the most significant works of world opera literature is difficult: singers want to sing popular, listeners want to hear the same. The famous Elijah Moshinski, a director who has long established himself on the world's leading stages, including the most prestigious, was invited to the production. The no less famous Eri Klas, now the artistic director of the Moscow theater, took over the conductor's stand. I want to start with the main thing, and I think that I will not greatly sin against the truth: the performance turned out well. You can disagree with certain mise-en-scenes, some interpretations, but without a doubt before you on stage - it is "The Barber of Seville": a comic opera, cheerful, representative of bel canto with its enchanting melodies. Perhaps this is already the second success of the New Opera in this field - "Love Potion" from Yuri Alexandrov last spring was distinguished by exactly the same qualities: unrestrained fun, invention, humor - both subtle and rude, a motley palette of stage design. The director transfers the action of the opera to the first half of the 20th century, but for the timeless problems of Beaumarchais's comedy this, by and large, has no meaning. We see heroes dressed in the costumes of Italian cinematic neorealism, on the graph Almavive and his henchmen - the “outfit” of the Italian mafia of the pre-war period, and army clothes (when soldiers appear on the stage or when the count himself dresses in uniforms) clearly sends us back to the days of the Duce. The solution to the images of the main characters does not raise any particular complaints, but still there are small questions. It is not by chance that the figure of the barber is included in the name of the opera - it is he who is the catalyst of all processes, it is thanks to his ingenuity that everything ultimately works out in the best possible way. Moshinski's Figaro turned out to be pale, and the whole initiative was in the hands of the count. Figaro's dynamic appearance on the stage with the famous cavatina, during which he shaves three clients at once, as if promises the same drive from the title character and further, but this, alas, does not happen. Perhaps, for our time, when the social contradictions of the antithesis "Lord - Servant" are not so relevant and such an interpretation is permissible, but in principle, this somewhat distorts the idea of ​​the authors of the opera. Rosina's “bitchy” notes are already very emphasized and the lyrics are not enough - the heroine turned out to be too modern, too emancipated. But the images of the "old men" - Bartolo and Basilio - were a success: they do not break with tradition either, and in themselves are very bright, which, of course, is also the merit of the artists who performed these roles. not happening. Perhaps, for our time, when the social contradictions of the antithesis "Lord - Servant" are not so relevant and such an interpretation is permissible, but in principle, this somewhat distorts the idea of ​​the authors of the opera. Rosina's “bitchy” notes are already very emphasized and the lyrics are not enough - the heroine turned out to be too modern, too emancipated. But the images of the "old men" - Bartolo and Basilio - were a success: they do not break with tradition either, and in themselves are very bright, which, of course, is also the merit of the artists who performed these roles. not happening. Perhaps, for our time, when the social contradictions of the antithesis "Lord - Servant" are not so relevant and such an interpretation is permissible, but in principle, this somewhat distorts the idea of ​​the authors of the opera. Rosina's “bitchy” notes are already very emphasized and the lyrics are not enough - the heroine turned out to be too modern, too emancipated. But the images of the "old men" - Bartolo and Basilio - were a success: they do not break with tradition either, and in themselves are very bright, which, of course, is also the merit of the artists who performed these roles. too emancipated. But the images of the "old men" - Bartolo and Basilio - were a success: they do not break with tradition either, and in themselves are very bright, which, of course, is also the merit of the artists who performed these roles. too emancipated. But the images of the "old men" - Bartolo and Basilio - were a success: they do not break with tradition either, and in themselves are very bright, which, of course, is also the merit of the artists who performed these roles. The musical side, perhaps, was even more successful. First of all, this concerns the orchestra under the direction of a venerable conductor - the tempo, dynamics, ensembles, the sound of individual groups of instruments - everything indicates that the professional of the highest class is at the console. The orchestra of the New Opera is generally not noticed in failures, but this evening it clearly surpassed itself. I was especially pleased with the lightness of the sound, the absence of ponderousness, which is what they often sin with when performing operas of the early 19th century, trying for some reason to bring them closer to the Verdi-verist standard. Among the vocal works, there is good luck. The young tenor Georgy Faradzhev showed himself perfectly in the part of the count - a real tenore di grazia, referring to the blessed times of Skipa and Alva. Perhaps, there is still not enough skill in everything, but the application is serious - there is cantilena, and skillfully sung passages, and sweetness in tone, and understanding of style. Rosina was sung by soprano Galina Koroleva - thank God, not pure coloratura - there is a "meat" in the sound, which is simply necessary for this heroine, since the mezzo has not been chosen for the role. With the exception of a few top notes, which came out flat and therefore ugly, on the whole the singer performed the part more than worthily. Ilya Kuzmin in the role of a barber would be good for everyone, if not for the lack of sonority in the climaxes: more than once the orchestra covered the singer, as they say, with his head. The image of Basilio was especially successful for Alexei Antonov: Although the aria about slander was not at all standard, later, due to the game and various vocal colors, the singer was able to become the real center of the performance in the scenes assigned to him by the composer. Anatoly Grigoriev (Bartolo) was also remarkable - you rarely hear a good baritone in this age role, and even with an acting talent. The new opera this time demonstrated a very good level in all respects, an understanding of the tasks set by the composer and librettist. The actualization of the plot only benefited the comedy, and the decent musical level made the production a real holiday.
Alexander Matusevich

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