Premiere of a new “Falstaff” by Verdi at the Mariinsky theatre coincided with the festival “stars of the white nights”. The St. Petersburg theater took the last Opera Verdi, in his declining years, who wrote the sparkling Comedy. Set in Russia, most unusual and vulgar Opera by the Italian composer — the material “the Tape.ru”.
the Opera of the known composer (well, if only Wagner could compete with the Italian) was created by two plays: “Henry IV” and “wives of Windsor”. Mater, who was about eighty, he took and wiped his nose young Yes early, realizing the dream of a lifetime — to write a comic Opera (the second in his career, the first was early and unsuccessful). “After I killed so many characters, I finally have the right to laugh a little,” the iron logic, really. After numerous bloody melodramas such as “Forces of destiny”, where the tears flowed freely, but doom lay in wait and all the classics again took a swing at William, our Shakespeare, but this time not as the author of “Othello” and “Macbeth”, and as the entertainer of Queen Elizabeth I, who wished to see the adventures of sir John Falstaff, a fat knight.
This is the most atypical of Verdi Opera — no Overture (curtain opens and we find ourselves drunk visitors of the restaurant), almost without arias (they are replaced by monologues), with its lively dialogues-the hassles and vulgar phrases. Such amount of swearing in the mouth of the old heroes of Verdi impossible to imagine. As it is impossible to imagine old heroes sang about eaten anchovies and red nose of an alcoholic and commemorated cabbage stalk as the murder weapon.
the Music of “Falstaff” — the most important gift. It is extremely picturesque, full of “delicious” details and parodic at the same time: a short tone from Rossini and Mozart (and not only) embedded in a mockery of Verdi over their own stamps. When they sing about “the Kingdom of your womb”, then buzzing fanfare — traditional music a sign of royalty. When Falstaff exclaims to himself, “Come on, old John”, the orchestra goes in a solemn and triumphant March. Pieces of tongue twisters are replaced by measured songs lovers, the brass (French horns to bassoons) and then exude sarcasm, and string deliberately sweet.
in Addition, zvukoizolyatsii. Women gossip and men’s chatter supported by the orchestral “chirping” and “noise” in Front of the nose of the hero shake a sack of coins and the seductive clinking coming from the orchestra pit. Sometimes the orchestra is laughing. Crying and decorative, portraying a kind of traditional Opera “Lamento” — crying. Or even more decorative reproduces mannered old Madrigal. Quite funny when a crazy jealous husband imagining the growth of horns on his head, and in the score is the sound a crescendo, or when the words “hell family ties” heard “terrible” infernal chords. Verdi on purpose to multiply such Parallels.
Love line, as always, genuinely lyrical. She, like thick honey, into a drop in the story about the imitation of love, and the grotesque diluted with bliss as whiskey — soda. “Magic” song of the fairies (even though their heroes don’t exist) is also fascinating. The viewer, like Falstaff, almost ready to believe that the rainbow creature in the monograms of colors dancing in the light of the silvery moon. Devjatikratnika ensembles written by Verdi, so difficult to sing, jokes to the side. However, the soloists of the Mariinsky theatre with it. And conductor of Christian Knapp not that shocked interpretation (it all just placed in places), but the singers solidly not interfere.
the Italian Director Andrea De Rosa and the stage designer Simone Mannina disappoint fans of the concepts. They are not “Director’s Opera”. The sponsors staged a theatrical play on a traditional turntable, which is now considered almost indecent. On the one hand, the musty tavern with bottles and annoying whores, there are people social bottom, the other green lawn of the walls of the manor, a place for exploring “clean” citizens. They are also raised above the pub, living as it were on the top floor of the universe. Will the final scene in the night Park, when a two-storey metal bookcase will cover oak leaves and swarmed costumed townsfolk, pretending — for the sake of fun — vampires, elves and fairies. Deliberateness “Ghost” spelled out in the libretto, and therefore there would not hurt plastic, more expressive, especially during the beatings, the overweening fornicator. When Ford’s servants put in the black screens, and — by order of the gentlemen Falstaff thrown into the ditch from the basket with linen, from the gentlemen, too, wanted more of an acting revelation.
When the action is this “Falstaff” is hard to say. Different characters dressed as the characters of TV series about Hercule Poirot, others more “vintage”. Citizens, resentful of the fat man, have fun masquerade revenge, fasten the transparent “wings” and red “glasses of vampires.” And beat the crowd — one, beat the lying. These “small butchers with sharp claws”. In the confusion of whirling thieving buddies Falstaff: Bardolph (Vasily Gorshkov) and the Pistol (Yuri Vlasov), the nervous moralist Ford (Victor Korotich), affectionate lovers Nanette (Olga Pudova) and Fenton (Alexander Mikhailov) and the trio of gossips — Alisa Ford (Gelena gaskarova), Mrs. Quickly (Natalia yevstafieva) and Meg page (Ekaterina Krapivina).
And in the center of the funnel — Falstaff (Edem Umerov), pompous, self-righteous cynic, a rake and a drunkard. But also a cunning fool, philosophizing hobo with maxims, which think. It is pathetic and charismatic at the same time as Tolstoy’s Kholstomer. Falstaff grabbed from life, not a piece of teeth — and he was in the mouth. Director de Rosa and put the spectacle of revenge to a loser for being cocky. But this is not enough. After all, Opera really is a story of shameless people. On both sides. To emphasize the revenge of merry wives of Windsor as the excess of necessary defense. Insulted virtue rein on the protection of the foundations. Did Kirill Serebrennikov in “we download”, delivered earlier in the Mariinsky theatre. It wags quickly got into the taste and not going to back down. What an object of ridicule — driven game for hunters, so it doesn’t matter. The initial anger was righteous! So, all of these honest women are proud of their integrity, and these indomitable men, the keepers of family values, can humiliate the perpetrator. Abusing someone else’s simplicity.
De Rosa only suitable for this face when humor stops being funny and becomes horrible, and stops at the border, barely hinting at it. He is more concerned with the idea of “man is born a clown, and everything in the world is a joke”. About that sing in the final Fugue all actors. But “a mighty explosion of fun” and “brilliant farce” (the description of the Opera from the programs) was more audible in the music of Verdi than seen on the stage. Is that reasoning about morality Falstaff — “can honor fill you belly?” — sounded urgent.