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

Direction d'orchestre

Anton Torbeev

Valery Gergiev

Mise en scène

Alain Maratrat

Décors

Daniela Villaret

Costumes

Mireille Dessingy

Lumières

Pascal MERAT

Sergei Lukin

Piano

Marina Repina

Olga Krukovich

Direction de choeur

Larisa Shveikovskaya

Anna Pipia

Assistant Stage Director

Mikhail Smirnov

Basse

Vadim Soloviev

Le Roi de Trèfle

Ténor

Oleg Ivanov

Le Prince

Vsevolod Marilov

Truffaldino

Yevgeny Plekhanov

Tchélio

Soprano

Elena Tretyakova

Fata Morgana

Contralto

Tatiana Makarchuk

La Princesse Clarice

Baryton

Dmitry Nelasov

Léandre

Mezzo-soprano

Laura Bustamante

Nicolette

Sergei Pleshivtsev

La Cuisinière

Gennady Akhmedov

Farfarello

Irina Kolodyazhnaya

Sméraldina

Aleksandr Diyanov

Alina Mikhailik

Ninette

Svetlana Rozhok

Daria Sychova

Linette

Aigul Khismatullina

Vladimir Volkov

Alexei Bublik

Guzel Sharipova

Ilya Astafurov

Vitaly Yankovsky

Vyacheslav Vasilyev

Pantalon

Alexei Kostyuk

Primorsky Stage of the Mariinsky Theatre

russe

Lyubov k tryom apelsinam -  (L'Amour des trois oranges)

Vladivostok

Russie

Lyubov k tryom apelsinam

Public

L'Amour des trois oranges

anglais

Valide

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

Crédits de représentation (Distribution et équipe de production )

Distribution

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