Name: Lyubov k tryom apelsinam
Start: 2017-08-18T00:00:00.000Z
End: 2018-05-04T00:00:00.000Z
Location: Primorsky Stage of the Mariinsky Theatre

Organization

Dirigat

Anton Torbeev

Valery Gergiev

Regie

Alain Maratrat

Bühnenbild

Daniela Villaret

Kostümbild

Mireille Dessingy

Lichtgestaltung

Pascal Mérat

Sergei Lukin

Klavier

Marina Repina

Olga Krukovich

Chordirektion

Larisa Shveikovskaya

Anna Pipia

Assistant Stage Director

Mikhail Smirnov

Bass

Vadim Soloviev

König Treff

Tenor

Oleg Ivanov

Der Prinz

Vsevolod Marilov

Truffaldino

Yevgeny Plekhanov

Tschelio

Sopran

Elena Tretyakova

Fata Morgana

Tatiana Makarchuk

Prinzessin Clarisse

Bariton

Dmitry Nelasov

Leander

Mezzosopran

Laura Bustamante

Prinzessin Nicoletta

Sergei Pleshivtsev

Die Köchin

Gennady Akhmedov

Farfarello

Irina Kolodyazhnaya

Smeraldine

Aleksandr Diyanov

Alina Mikhailik

Prinzessin Ninetta

Svetlana Rozhok

Daria Sychova

Prinzessin Linetta

Aigul Khismatullina

Vladimir Volkov

Alexei Bublik

Guzel Sharipova

Ilya Astafurov

Vitaly Yankovsky

Vyacheslav Vasilyev

Pantalon

Alexei Kostyuk

Primorsky Stage of the Mariinsky Theatre

Russisch

Lyubov k tryom apelsinam -  (Die Liebe zu den drei Orangen)

Wladiwostok

Russland

Lyubov k tryom apelsinam

Public

Die Liebe zu den drei Orangen

Englisch

Genehmigt

Sergei Prokofiev’s first comic opera, derived from a play by the 18th century Italian writer Carlo Gozzi, is a work infectiously cheerful, captivating with its adolescent ingeniousness, freshness and richness of musical colours. Although Prokofiev wrote it during his first years of staying abroad, its conception is associated with his theatrical impressions in the pre-revolutionary Russia. The composer found his inspiration in a magazine called The Love For Three Oranges, published in 1914–1915 by Russian theatre icon Vsevolod Meyerhold, who turned Gozzi’s play into a manifest of the movement for the renewal of theatrical forms. Meyerhold also suggested a libretto for the future opera, which was intended as a parody of absurd theatre conventions, cliches, as well as everything stilted and stereotyped in theatrical productions.

Prokofiev’s aim was to create a “cheerful performance” which would appeal to the audience by its mix of fairy-tale, joke and satire. That is why The Love for Three Oranges resembles a fantastic, magical revue with a rapid change of multifarious episodes. «The music of our times” the composer states, “calls for briskness, agility and pressure.” He imbues the opera with constant movement and sharp rhythms, giving the performance a faerie tone.

The ingenious wit of young Prokofiev, with his fiery red hair and indomitable energy, which also evoked “orange” associations among his contemporaries, are very close to the creative style of French director Alain Maratrat and his team. All identification marks of this style can be found in the performance mounted by the Primorsky Stage of the Mariinsky Theatre: light-coloured “clothing” of the stage, enhancing a feeling of airiness and spaciousness, whimsical costumes and hats, and, first of all, - inexhaustible resourcefulness in presentation of any situation, each plot twist. Just like in other Maratrat’s performances, you won’t find here the main theatrical convention — a division into performers and spectators. The interaction between the artists and the audience allow the latter to to be a part of the performance, which provides the audience members with a substantial supply of vitamin C, even those who don’t like oranges.

English

Aufführungskredite (Besetzung & Produktionsteam )

Besetzung

Produktionsteam