Gyártási vélemények (9)

 
16 - 17 Noll 2021
Roméo et Juliette, Gounod,  
Novaya Opera2 Előadások
19 Lúnasa 2015newizv.ruMaya KrylovaVoices and echoes
The solid performance “Romeo and Juliet” by Gounod directed by Arnaud Bernard gave a number of excellent singing works
08 Nollaig 2014www.operanews.ruFedor BorisovichFrench charm of Shakespearean passions
If we leave out of the scope of discussion a certain oversaturation of the performance with unusually realistic battle scenes, then the New Opera can be congratulated on an interesting production. "Romeo and Juliet" by Arnaud Bernard not only follows the author's intention and relies on the director's concept built into the author's context, but is also saturated with elements of modern staging language: the scenography is metaphorically laconic, the action is dynamic, and the role drawings are quite complex. With the proper level of performance, which the Novaya Opera is able to provide, the performance can be called one of the best works of the theater and will be popular with the public for many years to come.
08 Nollaig 2014www.belcanto.ruAlexander KurmachevA flawless contemporary performance
The Moscow Novaya Opera hosted the premiere of Gounod's masterpiece Romeo and Juliet. Our author Alexander Kurmachev attended the performance and, as always, in an acutely subjective and emotional style, without fear of sounding biased, shares his impressions with the readers. An impeccable modern opera performance has finally appeared in Moscow. What had been expected for so long, what had been argued so much (and often to no purpose!), Turned out to be embodied on the stage of the Novaya Opera staged by Arnaud Bernard . In Romeo and Juliet, as, for example, in Verdi's Rigoletto, there is not a single superfluous passage, not a single superfluous note, not a single inappropriate branch or melodramatic zigzag. This work is so internally harmonious that it would hardly be an exaggeration to call it one of the heights of the opera genre. Here Charles Gounod appears not only as an outstanding melodist, but also as a composer who subtly feels the inner nerve of Shakespeare's tragedy. It is interesting that the staging group of Novaya Opera took a concept that was not far-fetched as the basis of their reading, but simply expressively presented the obvious meanings underlying this masterpiece. A dizzying surge of adrenaline meets the audience even before the first sounds of the overture. After a while, it becomes uncomfortable from excessive screams, the rumble of sabers and swords, but with the first chords of the introduction you understand: the unrestrained riot of testosterone is the very emotional line beyond which comes the inability to delve into and understand, love and forgive, cherish and cherish ... In our traditional understanding of the love story of two warring clans, for some reason there is no place for information about why, in fact, everyone had a fight, what exactly did the Montagues and the Capulet not share? But this does not for a moment interfere with our understanding of the conflict itself, because the reason for the enmity simply does not matter! The chain reaction of blood feud, which sucks out strength and life from the opposing sides, feeds on the free valences of self-sufficient aggression. The reason for this is simple: the lack of productive employment for the young population. It seems to be obvious that a huge number of idlers, whose main task at all times was to defend their zones of influence, will not sit idly by in any society, at any development of rights and freedoms. But this simple thought, for some reason, precisely in connection with Shakespeare's tragedy, never occurs. The story of Romeo and Juliet is not a story of an unfortunate coincidence of circumstances in the fate of two teenagers in love. This is a parable about the opposition of a creative feeling to a destructive feeling. It was this obvious opposition of love and hate that formed the basis of the production by Arnaud Bernard and Fabio Mastrangelo . Of course, without the painstaking work on the realism of the battle scenes of the famous master of acting fencing Pavel Yanchik, the core of this confrontation would not have produced such a detonating impression. But the very mise-en-scene structure of the performance, which in many respects reminded of the best works of Christophe Loy, was completely subordinated to debunking the thoughtless outburst of anger. Malice, which devours its bearer and, unlike love, leaves nothing to him in return. The orchestra, for my taste, brilliantly reflected the dividing line between the bravura-pretentious impudence of battle scenes and the touching meditativeness of the lyrical episodes of the score. The choir of the theater showed itself splendidly, although in the proposed dizzyingly complex staged "storyboards" it seemed to me that it was absolutely impossible to sing. But with the title acting works, things were not so cloudless. Unfortunately, I was able to watch and listen to only one line-up, but I am sure that I will return to this production of one of my favorite operas, and then it will be possible to draw parallels and more calmly, without emotion, analyze what I presented to the Moscow public after a forty-year break “ New Opera". Irina Kostina , who performed as Juliet, has an amazingly beautiful timbre: crystal overflows, bubbling transitions flowing with spring water, expressive presentation of extreme notes - well, everything is magical! Besides - a sense of proportion. Not to say that the singer is overplaying: sometimes she just stops playing. This happens when an artist enters the character so deeply, so seriously immerses himself in the situation that he forgets that the actor's convincing presentation of emotion and this emotion itself are phenomena of a diametrically opposite nature. I hope the singer will not take this remark, together with the wish for a more accurate approach to the tessitura of this fantastically beautiful and dizzyingly difficult part, as an insult. Georgy Vasiliev , who sang the part of Romeo, evidently entered the stage not sung. And since Romeo has before the crown “Ah! lève-toi, soleil! " not many sounds to warm up, this wonderful aria sounded almost half-hearted. Of course, top luxury to the singer were in place, but on the background of a "cold" middle turned a little too much for show. For the sake of fairness, it should be noted that Vasiliev performed the third act masterly, recalling the best performers of this part, the brightest of which, for my taste, is Franco Corelli. Perhaps the most well-deserved applause was awarded to Evgeny Stavinsky , who performed the part of Father Lorenzo, and Vladimir Baikov, in the part of Senor Capulet, in addition to his excellent acting work, demonstrated his overtone full-color voice. Veniamin Egorov did the part of Tybald not only organically and absolutely in an original way . In any case, I have never seen or heard a more voluminous and multifaceted interpretation of this image. Ilya Kuzmin sounded great in the part of Merkutsiyo, despite some timbre rustles . Well, Anna Sinitsina completely struck me in the role of Stefano's page . No, of course, from the point of view of academic vocals, you can make a lot of complaints about this performance. But all the roughness, flaws and discrepancies with the orchestra worked so powerfully for the image of a cocky boy, to whom even the staff is not a decree, that I personally do not see any point in seriously examining the technical nuances of this brilliant work. A few words should be said about the set design, but I absolutely do not want to analyze it in detail: this is the best visual embodiment of this opera that I have seen. Here's just the best and that's it. And no photos, no videos will convey the magic into which the viewer is immersed from the very first scenes of the performance. If we are really picky, then the curtain, made either under a scroll of yellowed paper, or under medieval sackcloth, still looks too budgetary, and the rumble during the change of scenery between the paintings does not quite fit into the theatrical technologies of the 21st century. In his interview, Arnaud Bernard noted that you can stage a traditional opera in modern costumes, or you can stage a modern opera performance in an absolutely authentic setting. One can only repeat what was said at the beginning - thanks to the outstanding work of the Novaya Opera collective, a full-fledged performance has appeared in Moscow today, which does not lie against the historical surroundings, does not exercise its own originality, which is not recognizable or identifiable even by connoisseurs. A performance that you believe. And it is fortunate that this luck touched such a magnificent, such indescribably beautiful opera as "Romeo and Juliet" by Charles Gounod.
08 Nollaig 2014www.ng.ruMarina Gaikovich,Revenge is served hot
The Novaya Opera Theater hosted the premiere of Charles Gounod's Romeo and Juliet. The French director Arnaud Bernard became practically the only author of the production: in addition to the directing itself, he created the scenery, costumes and the lighting score of the performance. For the musical part, Fabio Mastrangelo was in charge, who lost the conductor's bridge to Andrei Lebedev on one of the four evenings of the premiere block. The production itself is like a series of vivid illustrations. High gloomy walls here and the impregnable city gates, and the vaults of the cathedral, and the ceilings of the tomb. Scarlet outfits of the Capulet family and black - Montagues contrast with the snow-white dress of the charming Juliet (Galina Koroleva). “Romeo and Juliet” as interpreted by Arnaud Bernard is not so much about love as about hate. Already the first minutes of the performance set the theme of irreconcilable bloody enmity: during the overture, two famous warring clans arrange a sword battle (the theater specially invited a fencing specialist from Hollywood). Friends mourn the dead - and how many were and will be? .. Cruelty, blind, off-scale, overstepping all conceivable and inconceivable limits. The more spectacular is the scene of the death of Mercutio (Alexei Bogdanchikov), when suddenly sobered Montagues and Capulets kneel down and mourn the deceased together - and, it seems, realize the horror of their situation. The choirmaster Yulia Senyukova achieves a tragic sound in this fragment, and not in a full voice, like a scream, but almost in a whisper, in a pianissimo, from which goosebumps creep on the skin. This is how the director anticipates the ending of Shakespeare's play: there is no scene of reconciliation of families in the opera, everything here ends with the death of Romeo and Juliet. The girl is trying very touchingly to catch Romeo's hand, to feel his warmth for the last time - but does not find the strength. Visually - and emotionally - the wedding scene is also impressive. Delicate petals of white roses are flying from the sky, decorating the land on which the young bride of Paris is about to walk. But, as you know, the wedding was not destined to take place - Juliet falls dead, and the shocked father (Vadim Baikov) in despair overturns a heavy cross, raising a snow-white cloud of those very petals, like the last breath, the last goodbye. Conductor Andrei Lebedev - as the director's concept dictates to him - focuses on the tutti moments of the score, on crowd scenes, and brings down the sometimes frightening fortissimo of the orchestra on the listener. Meanwhile, he conducts rather smoothly chamber episodes: in love scenes, the orchestra, although not too inventive and refined in French, is very stable. The New Opera in this performance demonstrated the resources of its troupe, where there were three excellent tenors (a great rarity today). The NG observer listened to the third cast and is convinced that Georgy Faradzhev could apply for the first two as well: his lyric tenor is the best fit for Romeo, his performance has a peculiar charm, subtlety of transfer of nuances, and an inner feeling of a quirky French musical speech, and just excellent French.
05 Nollaig 2021www.mk.ruEKATERINA KRETOVARomeo and Juliet at the New Opera About fierce hatred and holy love
One of the finest classical operas - Romeo and Juliet by Charles Gounod - was staged at the New Opera. The complex score, which is rarely mastered on the Russian stage, was interpreted by musical director Fabio Mastrangelo and director (who is also an artist, including lighting) Arnaud Bernard. The directors reacted to the magnificent music with undisguised love and even delight. The music, and the whole performance, responded in the same way. For a long time there has not been an opera performance in Moscow in which they would have played and sung about love so clearly and sincerely. And about hate. The director and artist Arnaud Bernard used these two polar colors so brightly and expressively that the amplitude of emotions takes your breath away. Many crowd scenes with impressive battles of various kinds - from quite professional fencing (a special group of fencers is involved) to a fierce fight - become that aggressive background against which love was born by some miracle. Red and black are the colors of Montagues and Capulets, the walls covered with copper go under the grates. So houses were not built, so in ancient times they upholstered gates through which it is impossible to break through, not to reach the lovers who have become victims of age-old and senseless enmity. A huge wooden cross, which Juliet's father crashes to the ground at the sight of his dead daughter, The director does not try to bring the time of the action closer to us, does not translate the pathos of the lyric French opera into the psychologism of existential drama, and is generally not puzzled by the "modernization" of the classical primary source - literary and musical. Not for the first time (Bernard staged two wonderful performances at the Mikhailovsky Theater in St. Petersburg - Galievi's Jewess and Puccini's Bohemia), the director demonstrates his adherence to the author's meanings laid down by the composer and librettist. And if he allows himself directorial searches, he directs them into the field of strengthening these meanings, and not imposing their crazy fantasies. But the main thing in this performance is music. So beautiful, which can only be found among the great French, to whom Charles Gounod undoubtedly belongs. Conductor Andrei Lebedev confidently picked up the baton baton from Fabio Mastrangelo and conducted a score rich in polyphony and timbre contrasts. Copper, which has an important place here, did not fail. And the string ensembles also sounded expressive and intonationally flawless. The opera features the most difficult parts of high voices - a lyric-coloratura soprano and a lyric tenor. They were performed by Galina Koroleva and Georgy Faradzhev. They performed convincingly and firmly, allowing the ear to fully enjoy the melodiousness of this opera masterpiece. And they also played very touchingly an almost childish, enthusiastic attitude towards each other. Their partners did not break the harmony - they were good Veniamin Egorov (Tybald), Irina Romishevskaya (Nurse), Vladimir Baikov (Count Capulet). Evgeny Stavinsky (Father Lorenzo) and Valeria Pfister (Stefano) sounded especially expressive, who not only sang their parts beautifully, but also created vivid individual images. However, the rest of the artists also showed themselves interestingly in this rare (in the midst of a rampant director's opera house) paradigm, Romeo and Juliet is not a short story: three and a half hours with two intermissions! It would seem a test for the modern public, striving for laconic forms. But no: not a single spectator left the theater without seeing the world's saddest opera finale.
05 Nollaig 2014www.vedomosti.ruPyotr Pospelov"Romeo and Juliet" at the "New Opera" - a performance for listeners and spectators
The premiere block of Romeo and Juliet took place at the Novaya Opera. Charles Gounod's masterpiece is well played and sung and is only partially spoiled by the direction At the beginning of the year, “Romeo and Juliet” was already performed at the Novaya Opera - in a concert performance, promising a full-fledged performance by the end of the year. The promise is kept: moreover, instead of the guest performers who sang the two main characters in January, now Russian singers appeared in the roles of Romeo and Juliet, who turned out to be a wonderful couple - exactly what the viewer imagines in the story, which is not sadder in the world. Irina Bozhenko, however, is not listed in the "New Opera", but we already know her from the Yekaterinburg "Count Ori" - and not only. The light-footed charming girl flies around the stage at first, having turned into her 14 years old, but events develop too quickly, a happy young wife is going through separation and is preparing to stage death, but she herself does not know what to expect from the staging: the aria with a bottle, brought to the fore, turns out to be an actor's the culmination of the performance. The artist plays death at the wedding strongly, and real death in the crypt, near her beloved, is irresistibly touching. But the best, of course, is the voice - warm, unstrained, easily overflowing in coloratura. Bozhenko has a suitable partner - also cute and enthusiastic, tuned in to a peaceful mood, but turns out to be the killer of Romeo performed by Georgy Vasiliev. Sometimes it seems that the singer's voice is small, choral, but very stylistically neat; in lyric scenes it easily goes upstairs and sounds like a real hero-lover. A successful pair of heroes is the lion's share of success. The hot hugs of the newlyweds set an emotional tone for the performance, which is not harmed by theatrical convention - like the scene in the bedroom where Romeo is on the wedding bed in boots. True, by the end of the performance (the author of these lines was on December 3), the artist was noticeably tired: after all, the opera has dramatic climaxes that require an expenditure of energy, and it goes not with four intermissions, as during Gounod's lifetime, but only with two. However, it would be necessary to start with Vladimir Baykov in the role of Count Capulet - this is who showed mature skill, character and understanding of French manners. In an excellent line-up, the brisk, fresh timbre, Anna Sinitsyna (Stefano's page), and the soft-voiced Evgeny Stavinsky (Lorenzo's father), and the one hundred percent reliable Ilya Kuzmin (Mercutio), and - in his own way - the owner of vicious charm Veniamin Egorov (Tybalt) stood out ... Conductor Fabio Mastrangelo and choirmaster Yulia Senyukova have done an exemplary collaboration: it was crowned by the gloomily solemn choir with the ensemble in the finale of the third act. The director was Arnaud Bernard, whom we know from his work at the Mikhailovsky Theater. Romeo and Juliet is better than them. Bernard also appeared here as an artist and an author of light, and this turned out to be his strong point. The majestic construction that goes up the stage, reminiscent at once of the facade of a palazzo, tower walls and vaults of the crypt, is thought through and enlivened with details. At the right moment, the light grabs the hero; at the right moment, a shadow hides him. As a director, Arnaud Bernard had enough taste and ability to build lyrical scenes. This cannot be said about the staging of crowd scenes, in which the director's favorite bustle and bustle is too much. What is completely inappropriate: the Hollywood director of combat choreography Pavel Yanchik obsessively demonstrates his professionalism. Endless fights with daggers and swords, and in particular the accompanying screams, perhaps
03 Nollaig 2014www.kommersant.ruJulia Bederova,Cheerful cruelty "Romeo and Juliet" by Gounod in the New Opera
The Novaya Opera Theater again decided on a bold repertoire move. "Romeo and Juliet" by Charles Gounod, although the opera is a world hit, has not been seen in Moscow for several decades. Stage director Arnaud Bernard showed her to the audience cheerful and fresh, which Yulia BEDEROVA was convinced of at the premiere of the performance. The French lyric opera Romeo and Juliet is not the first appearance of Arnaud Bernard in the Russian theater. Several years ago, his works significantly diversified the St. Petersburg opera landscape: at the Mikhailovsky Theater, first appeared "Judeika" by Halevy, and then "La Bohème" by Puccini, generally one of the most graceful productions of this opera. Bernard's method is a combination of the unassuming charm of traditionalism with a special way invented and constructed spontaneity in mise-en-scènes. So the performance can look like a completely conservative costume solution and at the same time seem completely modern. Neither the place, nor the time, nor the meaning of the characters' actions change, but a light flair of conceptualism is still present, allowing well to warm up the director’s seemingly orthodox analysis. In the case of Gounod in Moscow, Bernard's concept not only looked picturesque on paper, but also added intrigue and cheerfulness to the performance. The director explained the idea in detail in advance: "In comparison with Bellini's Capulet and Montague", Gounod's libretto wins. The composer is truly faithful to Shakespeare's text, his version of the arrangement is very accurate. which is heard in Shakespeare. The essence of my performance is to restore, to show this cruelty inherent in the play. " Bernard declares cruelty, not love, to be the subject of his worries, and the first thing we hear in the play is not music at all, but the loud cries of the epee players: with the complete silence of the orchestra, the warring clans of Verona converge for life and death in cinematically spectacular skirmishes. The wheezing of the dead, the rage of the living accompany even the orchestral introduction and, I must say, do not particularly spoil it. All this Hollywood-chic traced determination and athletic mobility of the chorus (as in the best houses, here everyone has their own role drawing) persists throughout the action and makes the heroes also run statues. To put it simply, against the background of a magnificently flowing, richly instrumented score, everyone here cheerfully runs and jumps, disappears and appears, almost no one ever goes on stage - they certainly run in and, without even catching their breath, In the Moscow landscape, Bernard's mixture of conservatism and conceptualism looks quite impressive and, with its lean style, acts as a morning exercise, as an exercise for quality, especially since the physical education aspect is important to decorate the performance itself, and there are no other original ideas in it as unnecessary. To the extent that the principal elements of the scenography look borrowed from famous productions from Vienna to Paris, and, curiously, not from Gounod's Romeo and Juliet, but just from Bellini's Capulet and Montague. Even if the famous performance by Robert Carsen, with its trademark dominance of height over latitude in the scenery and the contrast of red and black in costumes, did not serve as a model for Bernard's production team, in his play, Veronese families deal with each other in the same red and black velvet. And Juliet's white dress is a spot against the background of inconsolably high walls extending to the ceiling, except that here they have windows cut through, from which periodically someone looks out. Probably, Arnaud Bernard, constructing conservatism on the stage, also treats the history of the performances of the plot as classical material - playfully. The performance is also refreshed by the fact that, despite the endless mobility, it is convenient for everyone to sing and play in it. And if Alexey Tatarintsev - a very worthy Romeo vocally with a strong top and confident cantilena - was the only one who moved across the stage with a wide step on slightly bent legs, as is customary in the traditional genre (which did not prevent him from remaining touching and ardent), the rest painted their roles mostly lively and plastic. And Irina Bozhenko in the wonderfully played part of Juliet, showing the versatility of her voice - from lyrical coloratura lightness to drama - deservedly became the heroine of the premiere. The only reason why the performance, high-quality and smooth in its stage and vocal elements, sometimes still looked a little like a handmade pepelaz, is the conductor's work by maestro Fabio Mastrangelo. He managed to lay the undisguised luxury of Gounod's speech with such unexpectedly simple square blocks-bricks that the choir and soloists now and then found themselves among the laggards or, conversely, fleeing. And the orchestra, as we know, capable of accurately sounding either Wagner or Purcell, began to amaze with either a straightforward sound or a shaky balance. But, on the other hand, nothing prevented the stage action from keeping an elastic rhythm, as it happens when Rachmaninov behind the scenes does not in the least interfere with the on-screen murder of Tom and Jerry. However, cruelty in any case requires not only rhythm, but also virtuosity.
01 Nollaig 2014www.colta.ruEkaterina Biryukova,Fight club ROMEO AND JULIET AT THE NEW OPERA
Far ahead of its competitors, Novaya Opera, taking either the European or the Ministry of Culture course towards intensification, is offering its third premiere of the season. After Britten and Mozart - French lyric opera. And we can do that too. And all on their own. Almost. For the first time in 40 years, one of the main operas of the French repertoire, Romeo and Juliet by Charles Gounod, has been staged in Russia, the frothy beauty of which hides two completely overwhelming roles of the main characters. And "New Opera" found someone to sing them to. She already has two pairs of Veronese lovers ready. The premiere performance was entrusted to local Alexei Tatarintsev, who each time triumphantly demonstrated his tenor prowess on top notes, and to the invited craftswoman Irina Bozhenko, who flashed a couple of years ago on a masked tour of the Yekaterinburg Opera in Rossiniev's "Count Ori" and now engaged by the Bolshoi Theater. The most famous number of the opera, confidently sung by her - the virtuoso Juliet's Waltz, a splendid soprano calling card - immediately demonstrated that there was nothing to worry about. The most valuable contents of this opera are four love duets, including the final one in the tomb, for which Juliet must wake up faster and Romeo die slower than usual. So if there are two good main performers, then the job, one might say, is 90 percent done. Nevertheless, the rest of the ensemble did not disappoint, and, say, a small number of a page boy performed by Anna Sinitsyna deserves separate applause. The high-quality and fresh vocal force, which Novaya Opera regularly trumps with without unnecessary noise, is perhaps its most attractive quality. Another thing is that a thin and exquisite frame will not interfere with these forces at all. And in several of the last works of the theater, conducted under the direction of the chief conductor Jan Latham-König, she was. This orchestra copes with both Wagner's languid metal structures and Britten's finest graphics. But now, in Gounod, evenly cut and roughly sewn in some absolutely unsuitable square-nesting way, the orchestra led by the invited maestro Fabio Mastrangelo was unrecognizable. All the whimsical tenderness of this score was smashed by the rumble of an orchestral tutti, and precious French sauce spread over the smooth boxes of fast food. As for the turnkey performance, made by no stranger to us by the Frenchman Arnaud Bernard (this is his third work in Russia after "Zhidovka" and "La Bohème" at the Mikhailovsky Theater), it was cobbled together tightly, without unnecessary fancies and reflections. Arno himself handled the directing, the stage design, the lighting, and the costumes. Capulet in red, Montague in black. She is in white, he is in gray. The crushing walls of Verona, surrounding the heroes in various combinations, are made of rusty iron, eaten away by a designer fungus, rather than stone. There is no balcony. There is a laconic window from an Italian postcard. Father Lorenzo, represented by such an advanced renaissance thinker, brings a short pacification to this airless, inhuman world. In its nook, framed with antique capitals, there is no crucifix, but there is a globe and a telescope. The huge cross then appears in the scene of Juliet's failed marriage to Paris; seeing Juliet's imaginary death, her father theomineously throws the cross to the ground - this is perhaps the most striking director's gesture in this performance. On the whole, the only Russian production of Gounod's opera quite unexpectedly turned out to be good not at all with love scenes, but with fights. If Romeo and Juliet love each other in a very operatic way, not knowing where to put their hands, and thinking intensely about the most important thing - a high note, then their warring relatives fight right like a cinematic, thrust swords, ingeniously without falling into a vampuche heap-mala , yell with enthusiasm and freeze in spectacular poses. The famous Hollywood master Pavel Yanchik and a whole team of Russian craftsmen were involved in staging fencing brawls, and in order for him to have somewhere to turn around, a large battle scene before the overture was added to the opera - it is with her that the performance very promisingly begins. It's even a pity that the idea of ​​turning a melodrama into an action movie is completely forgotten by the end.
01 Nollaig 2014rg.ruIrina Muravyova,Red and black The Novaya Opera hosted the premiere of "Romeo and Juliet"
For the first time in the last forty years, the opera Romeo and Juliet by Charles Gounod appeared on the Moscow stage. The famous score was staged with the New Opera troupe by French director Arnaud Bernard (aka set designer, costume and lighting designer) and conductor Fabio Mastrangelo (Italy). There are hardly those who remember the Moscow opera Romeo - Sergei Lemeshev, who performed in the Bolshoi Theater in 1941. Nevertheless, the performance on the stage of the New Opera refers the viewer to examples of stage classics. This "Romeo and Juliet" is an elixir for those who are unnerved by "actual" direction in opera houses, but who are not satisfied with the routine of outdated productions. The performance is unlikely to excite intellectuals, it will not amaze with the latest technologies, there are generally many "not" - not "fashionable", not "conceptual", not inventive. It was deliberately made using traditional means - in the "old fashion" style, but it turns out to be completely not old-fashioned. The curtain opens, and in the deathly silence on the stage, a sword fight begins. The Montagues are fighting the Capulet: murder, blood, into the harsh rhythm of which the orchestral overture flows. Behind the stage, the choir prayerfully broadcasts: "The enmity of the past days, bloody discord ..." It seems that everything is simple. But the Montagues and the Capulet fencing in such a way that you remember the professional stuntmen. And it is no coincidence: the battle director Pavel Yanchik worked with John Malkovich and Luc Besson. He filled the world of French opera with melodious arias and duets, an atmosphere of a tough fight. His swordsmen hurricane rush onto the stage, fight with swords, carry away the victims from the stage, including Mercutio (Ilya Kuzmin) and Tybald (Veniamin Yegorov), showing the wonders of swordsmanship in combination with vocals. Having parted, the choir sings a requiem over the corpses: "Oh, mournful day!" The director Arnaud Bernard does not invent anything in the play, does not change the meanings, does not expand the contexts of the score. He just tries to be faithful in everything: stylizing in a laconic monumental decoration the walls, leaving an iron massif under the grates, and the Renaissance military fortress, and the Renaissance military fortress, and the facade of the palazzo with a window opening, and the terrible crypt, majestically illuminated by candles burning like stars ... Bernard also stylizes the costumes "under the Renaissance", albeit with a straightforward division into "red" Capulets and "black" Montagues For the first time in the last forty years, the opera Romeo and Juliet by Charles Gounod appeared on the Moscow stage. The famous score was staged with the New Opera troupe by French director Arnaud Bernard (aka set designer, costume and lighting designer) and conductor Fabio Mastrangelo (Italy). Photo: Alexey Danichev / RIA Novosti www.ria.ru The premiere of Verdi's Troubadour took place at the Mikhailovsky Theater in St. Petersburg There are hardly those who remember the Moscow opera Romeo - Sergei Lemeshev, who performed in the Bolshoi Theater in 1941. Nevertheless, the performance on the stage of the New Opera refers the viewer to examples of stage classics. This "Romeo and Juliet" is an elixir for those who are unnerved by "actual" direction in opera houses, but who are not satisfied with the routine of outdated productions. The performance is unlikely to excite intellectuals, it will not amaze with the latest technologies, there are generally many "not" - not "fashionable", not "conceptual", not inventive. It was deliberately made using traditional means - in the "old fashion" style, but it turns out to be completely not old-fashioned. The curtain opens, and in the deathly silence on the stage, a sword fight begins. The Montagues are fighting the Capulet: murder, blood, into the harsh rhythm of which the orchestral overture flows. Behind the stage, the choir prayerfully broadcasts: "The enmity of the past days, bloody discord ..." It seems that everything is simple. But the Montagues and the Capulet fencing in such a way that you remember the professional stuntmen. And it is no coincidence: the battle director Pavel Yanchik worked with John Malkovich and Luc Besson. He filled the world of French opera with melodious arias and duets, an atmosphere of a tough fight. His swordsmen hurricane rush onto the stage, fight with swords, carry away the victims from the stage, including Mercutio (Ilya Kuzmin) and Tybald (Veniamin Yegorov), showing the wonders of swordsmanship in combination with vocals. Having parted, the choir sings a requiem over the corpses: "Oh, mournful day!" The director Arnaud Bernard does not invent anything in the play, does not change the meanings, does not expand the contexts of the score. He just tries to be faithful in everything: stylizing in a laconic monumental decoration the walls, leaving an iron massif under the grates, and the Renaissance military fortress, and the Renaissance military fortress, and the facade of the palazzo with a window opening, and the terrible crypt, majestically illuminated by candles burning like stars ... Bernard also stylizes the costumes "under the Renaissance", albeit with a straightforward division into "red" Capulets and "black" Montagues. Photo: Yuri Belinsky / TASS The BDT put "What is to be done?" Гражданство Словении до 3 месяцев Реклама Турбо-страница Passive 13% earnings on staking! Реклама nominex-online.ru On the other hand, it is easier for the artists to distinguish each other in a whirlwind of battles. Here Romeo and Juliet meet at a ball, and not, say, in a pub, spend the night of love on a bed in the arms, listen to the lark, discussing, like the heroes of Wagner's "Tristan and Isolde", the evil fate of the rising sun separating lovers .. They kneel on their knees before Father Lorenzo (Evgeny Stavinsky). Lorenzo here is a Jesuit, surrounded not by prayer books, but by a globe and a telescope. He gives Juliet poison, and from that moment on, the action of the play takes on tremendous tragic energy. The wedding ceremony takes place to the sound of an organ, during which Juliet loses consciousness - a slow orchestra, the general horror: "dead!" A giant wooden cross crashes onto the stage. The final scene in the crypt, where Gounod made it possible for the lovers to meet before death, develops just as simply and dramatically. They sing their last duet of love in a dim space, illuminated by the lights of eternity, and, dying, stretch their hands to each other. Will not reach. The orchestra is filled with weary, almost Mahler's adagietto. It seems nothing new: it was all there. But as impressive as a favorite old movie. And this also happens because in the performance all the musical beauty of the score is miraculously released. Fabio Mastrangelo easily guides the orchestra through the huge five-act score, without missing a beat, be it a beautiful melody or instrumental paint. The sound of the orchestra envelops the warmth of the strings, shimmers with timbres of wood, captivates with the contrasts of dances, fights and love duets. But even so, if the play did not include Juliet - Irina Kostina, the wonderful duets of Juliet and Romeo - Georgy Vasiliev, excellent vocal works of other soloists, such an exciting performance would not have happened. But in the current situation, "Romeo and Juliet" promises to become a hit with the Moscow public.