Name: Benvenuto Cellini
Start: 2021-11-10T00:00:00.000Z
End: 2022-07-29T00:00:00.000Z
Location: Mariinsky-2

Organization

Stage director

Alexei Frandetti

Conductor

Valery Gergiev

Lighting designer

Gleb Filshtinsky

Costume designer

Viktoria Sevryukova

Choreographer

Irina Kashuba

Singer

Tenor

Mikhaïl Vekua

Benvenuto Cellini

Egor Chubakov

Francesco

Christian Knapp

Set designer

Vyacheslav Okunev

Multimedia director

Chorus master

Konstantin Rylov

Pavel Teplov

Repetiteur

Natalia Mordashova

French language Coach

Ksenia Klimenko

Alexander Mikhailov

Ivan Gyngazov

Soprano

Anastasia Kalagina

Teresa

Antonina Vesenina

Violetta Lukyanenko

Baritone

Yaroslav Petryanik

Fieramosca

Sergei Romanov

Viktor Korotich

Bass

Oleg Sychov

Balducci

Nikolai Kamensky

Denis Begansky

Mezzo-soprano

Evelina Agabalaeva

Ascanio

Irina Shishkova

Yekaterina Krapivina

Stanislav Trofimov

Pope Clement VII

Mikhail Petrenko

Yuri Vorobiev

Mariinsky Theatre

Others

The Mariinsky Chorus

Orchestra

Orchester des Mariinski-Theaters

franska

Saint Petersburg

Russia

Mariinsky-2

Benvenuto Cellini Berlioz

Public

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Chorus Director

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass-baritone

Countertenor

Contralto

Alto

Child vocalist

Continuo

Silent

Spoken

The first premiere of the 239th season at the Mariinsky Theatre is to be Hector Berlioz’ Benvenuto Cellini. On 10 November at the new theatre stage director ...

As in a colorful Italian carnival, Berlioz's Benvenuto Cellini mixed the comic and the tragic, deep feelings and play, ironic hypocrisy and piercing spiritual nakedness. The operatic first-born of the great French romantic composer belongs to a rare breed: it is an opera semi-serie, that is, a “semi-serious” opera. Its main idea is quite serious: it is about genius and creativity, about the place of an artist in society, about the price of a work of art. In the figure of the famous Florentine sculptor Cellini, Berlioz saw his alter ego - a genius who, as they say, walks on the edge, but this is the only way he can create masterpieces. At a certain moment, the matter takes a very serious turn: a murder is committed on the stage, and then the hero himself is on the verge of death. But Berlioz is not a moralizer: seriousness here is adjacent to the comic, lyrical heroes - with buffoons, living people - with masks. There are extended arias of reflexive heroes, astonishing, Mozartian ensembles, and magnificent choral scenes, including the grandiose finale of the first act, about which Franz Liszt said that it was written with "flaming notes". "Benvenuto Cellini" is also a celebration of the orchestra; Berlioz, with his desire to associate the opera with the symphony, created an absolutely dazzling score, full of brilliant timbre finds. The volume of the opera seemed to Liszt, who staged it in Weimar, redundant, and large fragments went into bills. The new performance of the Mariinsky Theater is based on the full, Parisian version. including the grand finale of the first act, which Franz Liszt said was written in "flaming notes". "Benvenuto Cellini" is also a celebration of the orchestra; Berlioz, with his desire to associate the opera with the symphony, created an absolutely dazzling score, full of brilliant timbre finds. The volume of the opera seemed to Liszt, who staged it in Weimar, redundant, and large fragments went into bills. The new performance of the Mariinsky Theater is based on the full, Parisian version. including the grand finale of the first act, which Franz Liszt said was written in "flaming notes". "Benvenuto Cellini" is also a celebration of the orchestra; Berlioz, with his desire to associate the opera with the symphony, created an absolutely dazzling score, full of brilliant timbre finds. The volume of the opera seemed to Liszt, who staged it in Weimar, redundant, and large fragments went into bills. The new performance of the Mariinsky Theater is based on the full, Parisian version.

"Benvenuto Cellini", with its crowded street scenes, drinking in a tavern, a farce theater, the pope as a deus ex machina and other spectacular situations, provides any opera director with a tempting field of activity. Moscow director Alexei Frandetti saw parallels between the history of the creation of the legendary statue of Perseus and the history of filming Federico Fellini's cult film 8½. The director moved the action of the opera to 1963, to a Roman film studio, where, as you know, the greatest film masterpiece of the 20th century was born with great difficulty. Crises and insights, the alternation of procrastination and hectic activity, financial "swings" and dependence on the customer accompany artistic creativity at any time. Christina Batyushina

English

Как на пестром итальянском карнавале, в «Бенвенуто Челлини» Берлиоза перемешались комическое и трагическое, глубокие чувства и игра, ироничное лицедейство и пронзительная душевная обнаженность. Оперный первенец великого французского композитора-романтика принадлежит к редкой породе: это опера-семисериа, то есть «полусерьезная» опера. Ее главная идея вполне серьезна: речь идет о гении и творчестве, о месте художника в социуме, о цене произведения искусства. В фигуре знаменитого флорентийского скульптора Челлини Берлиоз увидел свое альтер эго – гения, который, что называется, ходит по краю, но только так и может творить шедевры. В определенный момент дело принимает совсем серьезный оборот: на сцене совершается убийство, а потом и сам герой оказывается на волосок от смерти. Но Берлиоз не морализатор: серьезность тут соседствует с комизмом, лирические герои – с буффонными, живые люди – с масками. Здесь есть и развернутые арии рефлексирующих героев, и умопомрачительные, моцартовские по духу ансамбли, и великолепные хоровые сцены, в том числе грандиозный финал первого акта, о котором Ференц Лист сказал, что он написан «пылающими нотами». «Бенвенуто Челлини» – это еще и праздник оркестра; Берлиоз, с его стремлением породнить оперу с симфонией, создал совершенно ослепительную партитуру, полную блестящих тембровых находок. Объем оперы показался Листу, поставившему ее в Веймаре, избыточным, и большие фрагменты ушли в купюры. Новый спектакль Мариинского театра основан на полной, парижской версии.

«Бенвенуто Челлини», с его многолюдными уличными сценами, попойкой в таверне, балаганным театром, римским папой в качестве deus ex machina и прочими эффектными ситуациями, предоставляет любому оперному режиссеру заманчивое поле деятельности. Московский постановщик Алексей Франдетти увидел параллели между историей создания легендарной статуи Персея и историей съемок культового фильма Федерико Феллини «8½». Режиссер перенес действие оперы в 1963 год, на римскую киностудию, где, как известно, с большими трудностями рождался величайший киношедевр ХХ века. Кризисы и прозрения, чередование прокрастинации и лихорадочной деятельности, финансовые «качели» и зависимость от заказчика сопутствуют художественному творчеству в любые времена. Христина Батюшина

русский

Benvenuto Cellini by Berlioz, fös 17 des 2021, Frá (2021/2022), Leikstýrt af Alexei Frandetti,, Hljómsveitarstjóri Valery Gergiev, Christian Knapp, Mariinsky-2, Saint Petersburg, Russia

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