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

Director(a) orquestal

Anton Torbeev

Valery Gergiev

Director(a) de escena

Alain Maratrat

Escenógrafo(a)

Daniela Villaret

Diseñador(a) de vestuario/Figurinista

Mireille Dessingy

Diseñador(a) de iluminación

Pascal Mérat

Sergei Lukin

Pianista

Marina Repina

Olga Krukovich

Director(a) coral

Larisa Shveikovskaya

Anna Pipia

Assistant Stage Director

Mikhail Smirnov

Bajo

Vadim Soloviev

Rey de trebol

Tenor

Oleg Ivanov

El Príncipe

Vsevolod Marilov

Truffaldino

Yevgeny Plekhanov

Chelio

Soprano

Elena Tretyakova

Fata Morgana

Contralto

Tatiana Makarchuk

Clarissa

Barítono

Dmitry Nelasov

Leandro

Mezzosoprano

Laura Bustamante

Nicolette

Sergei Pleshivtsev

Cocinero

Gennady Akhmedov

Farfarello

Irina Kolodyazhnaya

Smeraldina

Aleksandr Diyanov

Alina Mikhailik

Ninette

Svetlana Rozhok

Daria Sychova

Linette

Aigul Khismatullina

Vladimir Volkov

Alexei Bublik

Guzel Sharipova

Ilya Astafurov

Vitaly Yankovsky

Vyacheslav Vasilyev

Pantalone

Alexei Kostyuk

Primorsky Stage of the Mariinsky Theatre

ruso

Lyubov k tryom apelsinam -  (El amor de las tres naranjas)

Vladivostok

Rusia

Lyubov k tryom apelsinam

Public

El amor de las tres naranjas

inglés

Válido

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

Créditos de presentación (Elenco & Equipo )

Elenco

Equipo