Julietta Avanesyan / Recensioni

Strange as it may seem, this was the first time I gathered for the play, which Kolobov himself produced in 1999, but which is now running infrequently (the next performance is already scheduled for March 24), for the first time - sometime I had to get there, but then I was attracted by the cast of performers. However, Tatyana Pechnikova's voice is completely shattered, she dramatically builds the role of Violetta very well, but with vocals everything is not so smooth. Especially next to the evenly singing Alexander Skvarko-Alfredomi, with Ekaterina Kichigina in a small part of Annina and, of course, with Vasily Ladyuk-Germont. Of all the singers officially promoted to "stars" in recent years, Ladyuk more than anyone, if not the only one, justifies the status assigned to him. The father, whitened by artificial gray hair, is either demonically aggressive, or parentally gentle, and to the "fallen", and not to the stupid son, to whom he even gives a slap in the face at the end of the first act - intermission, by the way, follows not after Violetta's escape, but after a quarrel at a party. Evgeny Kolobov's editors, in addition to quantitative cuts (as a result, the performance lasts less than two hours with a break, but there is no feeling that something significant has been lost), also touched on the score itself - primarily in the first act of Verdi, where some of the symphonic episodes were reworked for a chamber band with a soloist piano located on the raised part of the stage. Nevertheless, conceptually, the production is built around the image of Violetta, who at the beginning does not just die in the music of the overture, as in the relatively recent "La Traviata" by Zambella at the Bolshoi, where Ladyuk also participated: http://users.livejournal.com/_arlekin_/2386648. html Here, at Sigalova's, she is already dead, and Alfred mourns her, and with him the orchestra. But even from the first episode, Violetta's illness is constantly emphasized, very clearly - a love fever combines with a painful fever, one turns into another. All this in an entourage (set designer Ernst Heidebrecht, costumes of Maria Danilova), which today just looks good, but for its time it was probably unusual and could shock: black and white costumes, metal and transparent plastic of the scenery, the main elements of which are the bar counter (when she drives off, in the first act, Violetta climbs onto her, sings a "table" literally like a "tabletop") and a folding rotating frame chandelier, plus a bicycle, indirectly hinting that the action time is at the turn of the 19th and 20th centuries (now such transfer is a common place for opera, and for dramatic productions, and 15 years ago, again, passed for an innovative solution) and very well integrated into the picture, unlike the birds and horses in the aforementioned Zambella. And yet - Violetta soars her legs, is ill, suffers, but does not choke on a cough, like the heroine in Zambella's play or like the audience in the hall - that's where the tuberculosis dispensary is, but it's not only at La Traviata, it's everywhere and always.

La Traviata - in Italian "fallen", "lost". I mean that I came from the Novaya Opera Theater with La Traviata”And climbed to look, and why, in fact, the opera is so called, because this word is never mentioned in it and none of the characters is called that. You will say that it was necessary to inquire in advance, and at the same time read the libretto. Of course, it is necessary, but it so happened that I went to a new theater for myself for a new work for myself and for completely unfamiliar actors. Everything from scratch (well, not counting the acquaintance with the original source, "Lady with the Camellias", but that was a long time ago). Not to mention the fact that I generally went to the opera - a genre in which I do not understand anything, because I watched few operas and it was a very long time ago. Realizing this to myself, I chose La Traviata from the suggestion, because the theater's website says that this is a SPECTACLE based on the opera. Excellent, I thought. There will be a gradual immersion, and I will get to know the New Opera Theater, Yeah, of course. No, I, of course, to put it mildly, am not an expert, but it seems to me that it was still opera. For everyone sang, no one spoke)). Yes, the sets and costumes are modern, so what? This does not change the genre. They sang in Italian, but with Russian subtitles, this made me very happy, it simplifies the viewer's task hundreds of times. The scenography is laconic, but at the same time, in my opinion, it is absolutely sufficient. Black dominates both on stage and in the life of the main character. The complex lamp in the focus of the audience's attention fully reflects the state of mind of Violetta. I like it. But the devil is in the details. Tell me why in Paris in the 19th century (well, even in the modern one, if the director wanted to) Alfredo throws ... dollars in Violetta's face? !!! Was it difficult to draw the Franks, or what was there, louis? Well, then I would have thrown the euro, or something ... In general, I did not see the performance. Well, in the sense in which I perceive dramatic performances. But the opera - yes. And I liked her. Wonderful music by Giuseppe Verdi, fascinating, exciting, deep. And two amazing voices. The singer, who played the main role of Violetta, Maria Buinosova. How beautiful she sang, I wanted to listen and listen. It was not for nothing that I called him an actor, for he is the only one who played on this stage in such a way that he believed. I liked it very much. And the voice is beautiful, the best of those that I heard today (in the sense that I liked it most of all, and from the point of view of professionalism - not for me to judge, but I am delighted), and acting skills are at their best. No wonder he was the only man who received flowers at the bow. Deservedly. Bravo! I would like him to play Alfred, because the singer who performed the main part, Nurlan Bekmukhambetov, disliked me catastrophically. How could you give the main role in the play to such a person completely devoid of acting skills! And his voice seemed to me weaker than all the others. But that's okay, I'd rather keep quiet about this, because I don't understand anything in the voices, I judge by the principle "I liked it - I didn't like it", I didn't like it in this case. But I can still appreciate the acting skills. For it's easier. Either I believe the character or I don't. And here he sings about love, about happiness or suffering, and his body directly shouts to the audience: "He's lying, he doesn't care at all." Awful plastic, completely inconsistent with what is happening. Suffering falls on the hero - the actor leaves the stage almost in a leap, goodbye grabbing the scenery and going around it halfway, holding on to his hand. Getting off the bus. After parting, he meets with his beloved - sings, without looking at her at all. And it would be okay, at least I looked to the side, otherwise it was clearly straight into the hall, like at a concert. And the posture, and the gait! What the highest Parisian society is there, the son of the steppes - you can see from a mile away. I have nothing against the son of the steppes as such, but Alfred is a Parisian dandy, and in this role the steppe should have been forgotten. Here his father moved and looked completely different (well, in the sense, the wonderful Vasily Ladyuk). And he hugged his beloved like Alfred - well, it was hard to believe that he loved her. And because of him, it was hard to believe that she was in love, that she could love such a person. Although Maria still somehow acted out the role, not only sang. Yes, not in the way that dramatic actors do it, rather, exactly as operatic (in my view), that is, somewhat hypertrophied and constrained at the same time, but still incomparably better than her partner, and I was ready to forgive her everything for her wonderful voice. Although Maria still somehow acted out the role, not only sang. Yes, not in the way that dramatic actors do it, rather, exactly as operatic (in my view), that is, somewhat hypertrophied and constrained at the same time, but still incomparably better than her partner, and I was ready to forgive her everything for her wonderful voice. Although Maria still somehow acted out the role, not only sang. Yes, not in the way that dramatic actors do it, rather, exactly as operatic (in my view), that is, somewhat hypertrophied and constrained at the same time, but still incomparably better than her partner, and I was ready to forgive her everything for her wonderful voice. Therefore, he did not touch the finale, because even over the body of his beloved Alfred was sitting, ... making himself comfortable on the floor. Well, where is the director, Alla Sigalova, looking, eh? In general, it’s probably too early for me to attend the opera. She loved dramatic performances all her life, so you have to go to them. Of course, I was glad to expand my theatrical horizons, listened with great pleasure to live beautiful music and no less beautiful voices of Maria and Vasily, but because of the main character I hardly saw the performance. Although at some point Vasily almost made him cry. He would have a partner just as cool, and there would be a piercing performance that takes out the soul. I liked the theater itself very much. All so graceful, in the patterned railings of the stairs, with nooks and crannies of cupboards, with a fountain, with a mosaic marble floor. And with friendly staff, from security guard to receptionist. I want to come back here again, see (and listen, yes) something else, but only now take a closer look at the program, take into account the performers.