Premiere of Verdi’s “a masked Ball” was held at the historic Bolshoi theatre. The plot is a convoluted history involved in the politics and love. The music is a typical Melodrama Melodrama, which, if it is sensible to play, sing and put, sensitive ladies treacherous sting in his eyes. Specifically the performance of the Bolshoi theater — another Director’s oath of allegiance to the Union of theatre and cinema.
History of the Opera as if bursting with rage today. Censorship “obstruction” — that’s what is expected of Verdi when he wrote the music for the Neapolitan theatre on a real historical story. The murder of the Swedish king in 1792, at a ball by a group of conspirators — it is impossible to show that said alert the guardians of the monarchical foundations. Because it can inspire the public disrespect to the ruling family. And God forbid, role model. Eat well recently at Napoleon III in Paris? And no matter what the main plot was not social upheaval, and kinky love affair, and the murder was committed because of the hurt feelings of a cuckold.
Mentally sending guardians to hell, Verdi, however, made concessions. The rewritten libretto from the king did the Governor, from the late eighteenth century, the left in the seventeenth, and close to Sweden in overseas America. Away from sin. In the end Boston, the Governor, the Earl of Warwick was in love with Amelia, the wife of a loyal companion, Renato, although he suffered from his betrayal, and the lady was not thinking about her husband and about the graph, but they are noble people, horns associate urge. But Renato, not knowing this, got angry and decided to kill the former idol in the face on this case of political opponents of the regime. Idol, with his bravado and nonchalance (he neglected even the sinister predictions of the fortune teller Ulrica), dies at the masquerade after the attempt on his life. Pre singing an Aria, in which all is forgiven.
In the end the premiere took place in 1859 in Rome, not in Naples, where he tried to secure the arrest of the composer’s (and Verdi’s response filed on theatre in the court), well, all today. The battles and conflicts of this kind did not prevent the success of the “Ball”, since there was in Russia. The Bolshoi theatre, who decided once again to put the cash of Italian Opera, invited the Italian Director and set designer Davide Livermore and conducted by Giacomo Sagripanti.
Developing the concept, Livermore used a favorite pick, which is convenient and always at hand, and most importantly, saves the Director from having to be original. Take a famous film and its visual signs as best I could. Inexhaustible source: movies in the world than operas. If can be done, for example, Rossini’s “Turk in Italy” on the picture of Fellini’s “Eight and a half” (also staging Livermore), why not put “masquerade Ball” in the reality of Hitchcock’s films? It is done so in a Big theater. The suspense never hurt anyone, if you want success.
the Time of action, of course, have to move into the era of Hitchcock, but what’s the problem? Especially that scene — America — left. And here on the stage of pseudo-classical Palace is a favorite, as the Director says, the architecture of public buildings in the States, it revolves on a turntable, was not that long ago in the Bolshoi. And in the Palace — dwellers in the clothes of the 50-ies of the twentieth century. And the conspirators are officers in the American military uniform — junta, so. Renato treats his “widowed heart” a glass of whiskey. In a nightclub, fortune tellers, dancing rock-n-roll. Of course, black and white colors in scenery and costumes for the discharge. Only Ulrika dress trimmed in gold on the black, well, it is generally at Livermore or the Chinese, or decimated by it, and dragons framed the entrance to her popular establishment. Instead of “wasteland execution” and where the suffering pangs of conscience, at the instigation of Ulrika, you need to collect “grass of oblivion” — a dump in the backyard, abandoned automobile tires. Coupled with the bare branches of a dead forest. The most important thing — quotes and paraphrases Hitchcock’s Birds, mass videocasette feathered black. In the smoke. And the big plans the ravens, with curved beaks and squinting eyes. The alarm symbol and the inevitability of fate, says Livermore.
Another thing is that the signs of suspense in the play is there, but the atmosphere of it — no. If there is, this sparse, scary, with a viewer’s marked “12”. Moreover, is not maintained, the principle of Hitchcock: “the Film should start with an earthquake, then the voltage must increase.” The intensity of a promising beginning (Overture), when Warwick is sitting in a chair on the stage and sees a surreal dream where people with beaks circling in the dark dance, dissolves quickly in the list of events. The nightmare played back only in the finale when the masquerade crowd suddenly turn into people with beaks. And they bent over the corpse of Warwick. Even a key scene at Ulrica, where the fun of the “cream of society”, though full of ominous predictions of the future, but without fatalism. Industrial mainly with total distress and a massive flea market, though it also oppresses, in its own way.
“I have always said that a woman should be like a good horror movie: the more space is left for the imagination, the better.” It is also the words of Hitchcock, and it should be judged on the execution of the women’s games. Not counting Nina Minasyan in “pant” of the party Secretary, Oscar (brisk courtier boy) that sounded good. Aria Volta la terrea (“her star at the same time”) — just the vocal parade. Ukrainian singer Oksana Duc (Amelia), which came into play on the replacement, two weeks before the premiere, has a voice strong, even shrill. But the imagination — of the kind spoken of Hitchcock, in her interpretation is almost no space. Ulrike grinders Nadi Krasteva collected suspense of the “heavy”, dense, mystical “bottom” voices. Her compatriot Vladimir Stoyanov (Renato) was not quite in the voice, except the Aria Eri tu che macchiavi quell’ anima (“did you poison soul to poison”) is about the betrayal of a friend. Italian Giorgio Berruti (Warwick) also started as something unattractive, but then went to bat, severnav voices of “true Italian tenor”. And the conductor Sagripanti arose a sort of typical Verdi — with surface sheens and brave “userstories”, with a catchy dance effects and “sticky” tenderness, but no mysteries and implications, prelestnaya “Opera Hitchcock”.
Livermore argues that his play is about “respect to love”. But rather Verdi created an Opera about the irreversibility of the extreme solutions and the “Othello complex”. Plus the conflict of “love triangle in a political conspiracy” gives a lot of theatrical possibilities. But she decided at the Bolshoi theatre more decorative than exciting. No “elegant” aesthetics and the “threat” of ethics, which the Director himself and cares without this, what Verdi Opera — tart “the story of the murder of the protagonist by his friend over a woman”. Rather get the series “the Chiefs also cry”. But we cannot say that this is a bad play. It is made hard. Professionally. Well. Only without the creepy chuchkovskoi “sparks”, without the “film Noir”, without the audience tingling on the skin. But with morality, says Livermore: “Power is not an excuse for ethical violations, and not Vice versa. In the days of Verdi, as now, this idea looks quite revolutionary.”