When at Versailles under Louis XIV flourished patterned Opera, in Kolomenskoye at the court of Aleksei Mikhailovich’s theater was only doing the first steps. And he was much more modest than the famous processions of the time. In the year of the world premiere of “Phaethon” by Jean-Baptiste Lully — 1683 — the future Peter the Great was still conditional shared the throne with a sick brother; no translation of the European theater of ideas was not; until the time when Russia fit in the world theatrical process, there were still a hundred and fifty years.
maybe that’s why — because of usual small business a great Baroque examples — these operas are so rare in our country. Perm Opera and ballet theatre have made it virtually impossible — not just released the premiere in conjunction with the theatre Department of the Palace of Versailles, but received a “right of first night”: in France, this play will be shown a month and a half. The performers for the premiere: two thirds French, one third of our. Next, the team plan to develop fully “his” train.
In the story of the old Opera Lully are gods, demigods, heroes, kings and princesses — the libretto Philip Movie lie episodes from the “Metamorphoses” of Ovid, but the motives of all actors clear and simple mortals. The main character — Phaeton (Mathias Vidal), the son of the Sun God Helios — like likes this girl but is going to marry another because she was the daughter of the king, thinking that health is the problem, and will soon have to leave the throne to a successor. King’s daughter (Victoire, Bunel) this is not happy — she loves another character (his dad is Jupiter himself; it seems that all the local women had a relationship with the gods), but ready to submit to the will of the father.
Angry opponent was the son of Jupiter (Lisandro Abadie) pulls a Phaeton — like, my father recognized, and who is actually your father is unknown, and the Phaeton asks his father the chariot of fire to make sure their relationship. A parent, who gave a careless vow to help the child, the chariot gives young major doesn’t make it, and the whole Earth was almost killed by excessively encroaching Sun. In the final we have before us a lost the main character, saved the planet and happy the son of Jupiter with the king’s daughter.
All this could easily move to the modern office interiors and would be one of many modern productions, where the gods are walking around in suits and ties. (In the midst of darkness productions is outstanding, like performances of Dmitry Chernyakov, but the majority of the routine.) Directors “Phaeton” came up with a more clever move: they forced the artists to sing and move the way it was made in the XVII century, and the costumes created by mixing many eras and adhering to only one rule: showiness.
Now that the audience gasped. Let amazement, even sarcastically, even angrily. The sea God Proteus (Victor Shapovalov) predicting the death of Phaeton, in hung orders military uniform and in the algae at the same time: the creators of the show say that he is the captain of the lost ship or a submarine. For highborn girls — dresses, which would be the envy of any movie star; the Phaeton top g-man, from the bottom kvazisfericheskoj skirt. The gestures designed in the Baroque traditions, then there are hero points on something, and then speaks about it; at first it seems that you’re watching a movie, which incorrectly combined picture and sound track. But, staying strictly in the tradition of this very conventional plastics and bewitching hearing angelic voices, the actors play out a desperate human drama so that the audience begins to empathize with the characters as our own.
a Notorious high-flyer Phaeton, ready to die, if only everyone saw — Yes, he is the son of God, recognized him, gave him a Golden chariot, all envy. His father the Sun, who can not refuse this word and mentally says goodbye to her son, knowing that he would die. The girl who threw (and she does not know that for her best friend). The girl who chose (and it is not necessary). The mother of a hero that pushed him to do something, and then heard the prophecy and tries his son to stop. Proteus, from which the prophecy shook physical strength. Directed by Benjamin Lazar is definitely working with the “theater” and not the “theater experience”, really shows how close all this is — if theatre is good and if a good actor.
the Orchestra this evening was led by Vincent Dumestre — world celebrity, artistic Director of the ensemble Le Poeme Harmonique, specializing in Baroque music. It’s also a rarity — very few creative Director in theaters (if they are the creators) decided to invite to the formulation of equal musicians; theatrical customs to call someone a little weaker, so the people in his hometown didn’t forget who’s the main star. Teodor Currentzis have no such complexes, he’s sure of himself — and here you are, Dumestre in the Perm orchestra pit. The orchestra at the performance is as it was in XVII century when the Sun King. From Lully orchestra called the “24 violins of the king”, and in Perm, it sounds the same string and gallant triumph, the voice of the harpsichord. Sound easy and very clear, flying, soaring.
the Director sometimes it seems that it is not sufficiently explained to the audience some thought — and then at a Palace celebration, he puts on the heel is a newsreel of military and sports parades of the twentieth century. Without it it could do — Yes, everyone realized that such stories happen all the time, whatever names and titles nor wore the gods. But when in a time of disaster with the car, the back rises a mushroom cloud is not seems neither an exaggeration nor too beaten course. The boy played, and may die all life — and it does not stop the anger of Jupiter, as in the ancient story, and is busily firing the gun. Directors very optimistic: there is always someone who will correct the situation. It is necessary and to hope.