Name: Rusalka
Start: 2022-03-30T00:00:00.000Z
End: 2022-04-03T00:00:00.000Z
Location: Bolshoi Theatre

Organization

Stage director

Timofey Kulyabin

Set designer

Oleg Golovko

Costume designer

Galja Solodovnikova

Lighting designer

Damir Ismagilov

Video designer

Alexander Lobanov

Chorus master

Valery Borisov

Conductor

Artem Abashev

Singer

Mezzo-soprano

Ksenia Dudnikova

Jezibaba

Tenor

Ilya Selivanov

Prince

Soprano

Albina Tonkikh

First Nymph

Elizaveta Narsia

Second Nymph

Ulyana Biryukova

Third Nymph

Ekaterina Vorontsova

The Turnspit

Yulia Mazurova

Maria Patrusheva

Alina Chertash

Baritone

Andrei Potaturin

The Hunter

Yuri Syrov

Rauf Timergazin

Mikhail Gubsky

The Gamekeeper

Roman Muravitsky

Alexey Bogorad

Alexander Soloviev

Ainars Rubikis

Dinara Alieva

Rusalka

Ekaterina Morozova

Anna Nechaeva

Anastasia Schegoleva

Anastasia Bibicheva

Irina Dolzhenko

Elena Manistina

Nadezhda Serdjuk

Peter Berger

Oleg Dolgov

Timofey Dubovitsky

Sergey Radchenko

Maria Lobanova

Princess

Evgenia Muraveva

Zoya Tsererina

Darya Zykova

Albina Latipova

Anastasia Lerman

Anastasia Sorokina

Guzel Sharipova

Svetlana Lachina

Olga Seliverstova

Ekaterina Scherbachenko

Anna Bondarevskaya

Bass

Mikhail Kazakov

Vodnik

Denis Makarov

Bolshoi Theatre

Ċek

Moscow

Russia

Rusalka Dvořák,A

Public

Russu

Approved

Опера «Русалка» - премьера!/"Rusalka" opera - premiere!

Dvořák's Mermaid, one of the most striking examples of Czech modern music, appeared on the scene at the very turn of the 19th and 20th centuries. The premiere took place on March 31, 1901. She was born at a time when the phenomenon of "new drama" emerged: naturalistic plays by Henrik Ibsen and symbolic plays by Maurice Maeterlinck reigned on the stage. The final "kiss of death" of the Mermaid brings to mind the heroines of Oscar Wilde: in a few years, Richard Strauss's "Salome" will appear on the opera stage.

Already at its first performance at the National Theater in Prague, Rusalka was a huge success. However, it took this opera more than a hundred years to become a world famous. Her current popularity is evidenced by the fact that Renee Fleming, the legendary performer of the title role, who took part in seven productions of The Mermaid, drew attention to it. She noted that in 2003 "Rusalka" was performed as many times as "Aida" by Verdi.

Operas by Eastern European composers did not appear very often

in the repertoire of the Bolshoi Theater. The last time in the mid-50s of the XX century were the operas of outstanding contemporaries of Dvořák - "The Bartered Bride" by Bedřich Smetana and "Enuf" by Leoš Janáček. Dvorak himself was not staged at the Bolshoi Theater, as well as in Moscow, until very recently.

In 2019, the Bolshoi Theater decided to turn to the most popular Czech opera, Rusalka by Antonin Dvořák. The production group was headed by Ainars Rubikis, who in 2020 was to receive the National Theater Prize "Golden Mask" for this performance (nomination "Best Conductor" in the opera section), and Timofey Kulyabin, known for his performances at the Novosibirsk Drama Theater "Red Torch" and by that time, he had already had a successful experience of cooperation with the Bolshoi as a production director of Donizetti's opera Don Pasquale.

In the West, "Rusalka" has a long history of performances and recordings and is considered quite a box-office repertoire title, while in Russia it does not have such a "success story". That is why, as he repeatedly emphasized in his interviews, Timofey Kulyabin found the proposal to stage this opera both very tempting and very timely.

In addition, this proposal contained a certain challenge: how to tell a modern story (and he always puts on plays about modern people), in which quite fairy-tale characters - the Water One, Ezhibaba, forest nymphs, Mermaid, etc., are convincingly acting.

In the end, he explained his approach as follows: “The plot of the Mermaid almost always provokes either a social analogy: poor / rich, invaders / enslaved, titular nation / refugees, and so on; or an analogy with the boundaries of consciousness / subconsciousness, social norm / secret desires, sleep / reality. But in my opinion, each of these schemes sacrifices too much in the score. It was interesting for me to work on a solution that allows me not to lose either the magical nature or the sharpness of social drama. "

The leading soloist of the opera company Dinara Aliyeva became the first performer of the title role on the stage of the Bolshoi Theater.

English

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