Faust by Gounod, šeš 05 lap 2022, Nuo (2022/2023), Režisierius Ekaterina Odegova, Dirigentas Andrey Lebedev, Jan Latham-Koenig, Anton Torbeev, Novaya Opera Theatre, Moscow, Russia

The Novaya Opera plays Faust in an unexpected twist. The German-French matrix will appear in a dialogue with Bulgakov's Faustianism (he watched his favorite opera dozens of times and did not part with the clavier!). The culturology of The Master and Margarita is largely determined by Bulgakov's projection of Goethe and Gounod onto Moscow soil. The coincidence of the names of the heroines is obvious - Margarita (in the German tradition, the opera is called "Gretchen"). The original title of the libretto "Faust and Margarita" also resonates. Allusions with a double bottom are obvious: in the parodic mirror of the opera, the writer draws his own grotesque - the motif of mockery. It is not the analogies that are of concern, but the complex optics of the novel: the departure from linearity - the mutual reflection of semantic series, the game with time and space(Satan "was both at Pilate's and at Kant's breakfast, and now he has visited Moscow"). Interestingly, in Hesse's (An Evening at Dr. Faust's), Mephistopheles explores the future, demonstrating a device "with a black bell", from which frightening voices of the twentieth century burst. It is not easy to “re-intonate” the most “opera” opera. Playing with the clichés of Faust, one can try again to emphasize in the myth of culture the ever-relevant problems of the “situation of man in the world”, the eternal choice between good and evil. “So who are you, finally? “I am part of that force that always wants evil and always does good” (Goethe, “Faust”).