Lolita-Netrebko creates with her entire adult being a carefree image of youth
It should be noted that Anna Netrebko’s repertoire includes both Maidens Manon: she performed the French one in Vienna, Los Angeles, and Berlin, and learned the Italian one together with Yusif Eyvazov at the Rome Opera under the direction of Riccardo Muti. This year the couple performed "Manon Lescaut" in Salzburg in a concert version. And the fact that on the Bolshoi stage they appeared as a united duet of Manon and des Grieux, feeling all the musical nuances, articulations and veristic details of Puccini’s score, was obvious from the very first notes. It was this solid vocal ground that gave the premiere that high musical degree, which at first seemed unattainable. Extremely interesting in a textural sense, the work of conductor Yader Binyamini, who managed to “lighten” Puccini’s heavy orchestral mass, let the light timbres of wood and violins play, bring to the surface the grace of madrigals and baroque minuets, referring to the love bucolic of courtly times, and then - the hysterical expression of verism , without cheap melodrama. But all these advantages of orchestral work were not revealed immediately. At first, the sound of the orchestra seemed dull, the choirs diverged from the orchestra, the vocal parts died out somewhere in the depths of the stage. As the performance progressed, the musical picture gradually leveled off, filling the finale with the heroine dying in the desert with a luxurious sound picture, pulsating with the mournful roar of timpani. And what is significant is that Puccini’s orchestral gigantism under the direction of Bignamini did not absorb a single aria in the performance, remaining all the time intelligible and balanced in sound.
According to the director's decision of Adolf Shapiro, all the intermezzos of the orchestra were accompanied in the performance by on-screen writings, which were connected on stage through the letters of des Grieux's diary running on the screen different worlds: archetypal (memory) and sensual, ecstatic. The performance itself turned out to be overflowing with conventional, metaphorical images: a white “toy” model of an unknown city, among the roofs and walls of which people moved along the “Lilliputian” streets strange creatures in clothes of an outlandish cut, combining red and green colors, vintage trousers and sneakers. Instead of the sun, paper flew over the roofs balloon. This is the world of childhood - a carefree Eden, among whose inhabitants there were Puccini's heroes - Manon-Netrebko in a white knitted hat, a nymphet with a doll in her hands, and the romantic de Grieux-Eyvazov. The tenor stretched out every sound from the first note, giving meaning to every word that turned out for him fatal love. Lolita-Netrebko “fluttered” around the stage, creating a carefree image of youth with her entire adult being. A fast-paced “card” game between brother Manon (Elchin Azizov), reminiscent of Mephistopheles, and old Geront (Alexander Naumenko) fit into the general metaphorism of the performance.
The nymphet that the old man inherited ended up in a doll world, where she herself is a “doll.” Her giant “double” - a doll under the grate - is another metaphor for the performance. Now no longer carefree, but in the image of "La Traviata" - Manon is bored among the giant bead-balls with the most different ways: puts on whitewash and lipstick, dances with the extravagant Dance Teacher (Marat Gali), dressed in a tutu, sings her aria, balancing like an acrobat on a ball. The doll blinks. And it seems that Puccini’s opera is hopelessly bogged down in the inanimate metaphorical language of the performance - in these conventional spaces of models, balls, triangles. But Eyvazov-de Grieux appears on stage, and Netrebko’s heroine “comes to life” in duets with him, although their love scenes are full not of the usual operatic fervor, but of inner ecstasy. They sing slowly, stretching out the words almost letter by letter, sometimes forcing the sound, but they ensure that emotion is gradually included in the performance. The stage space is freed up: in the third act, only the hatch remains on the stage, from which the exhausted prisoner Manon is pulled out in a shabby “Traviata” dress, and a paper boat - an image of hope for a return to the lost Eden. The finale of the play is an empty box of the stage, slowly filling with blackness - Manon's impending death. And here suddenly the heights to which Puccini’s opera strives were revealed: love and death, as a whole, as a trance, as the impossibility of being without each other. Only two sing - Netrebko and Eyvazov, in a frenzy of what is happening. Manon is slowly dying: the letters on the screen spread ink, her voice records every moment of this horror - impending death, cold, darkness. The dramaturgy of the scene is built as an affect of death and love, and every note here sounds like a cry - from both Manon and des Grieux. The director left them together, on one side of the curtain, metaphorically separating the eternal from the mortal.
October 16 on stage Bolshoi Theater will present the opera “Manon Lescaut” by Giacomo Puccini for the first time. The main roles in it will be performed by Anna Netrebko (Manon) and her husband Yusif Eyvazov (Chevalier Rene Des Grieux). Tickets have been sold out for a long time. And as the director of the Bolshoi Theater, Vladimir Urin, says, he hasn’t picked up the phone for several days, because he won’t be able to give out the counterbrand even to his friends.
"Manon Lescaut" is a special event for music lovers. The project was not in the plans of the Bolshoi. A year ago, the theater management began negotiations with the world opera star Anna Netrebko. She was offered any production on the Bolshoi Historical Stage. Prima chose Manon Lescaut. On the eve of the premiere, a press conference was held at the Bolshoi Theater by the creators of the opera.
“It’s an honor for me to perform on the stage of the Bolshoi Theater: I’ve never been here before,” Anna stunned the audience. - “Manon Lescaut” is one of my favorite operas. It is dramatic, about love, and I perform it with great happiness and delight.
For me, working with Anna is not only pleasure, but also learning,” said Eyvazov. - Although at home she doesn’t sing to me.
It turned out that Eyvazov is not the only one studying with Anna.
“I learn a lot from Anna and Yusif, I admire the patience with which they approach their work,” says conductor Yader Binyamini, specially invited from Italy. - Despite the fact that they are masters the highest level, they very often ask me for advice and some recommendations. We worked in an atmosphere of mutual respect.
The director staged the opera “Manon Lescaut” drama theater Adolph Shapiro. His track record includes productions at the Chekhov Moscow Art Theater, Tabakerka, Mayakovsky Theater, RAMT, etc. He is also in demand abroad. Working on the opera stage is a kind of discovery for him. And the world-famous star is just a student at work.
I work a lot abroad, from Shanghai to Sao Paulo, and for me there are no differences between our artists or foreign ones, just as there is no difference between Smoktunovsky, Netrebko or a student,” Adolf Shapiro admitted to Izvestia. - If I adapt to them, there will be nothing left of me. As for working with Anna, I am inspired by the way she sings. She is a great artist. The very fact of such an artist being on stage becomes art. Even if she went the wrong way and did the wrong thing. I'm interested in her plasticity, reaction, nature.
Unlike the singer, the director visited the Bolshoi Theater more than once. According to Adolf Yakovlevich, in his youth as a student he looked at Borodin’s “Polovtsian Dances” from the third tier. And now he comes to work at Bolshoi as if it were home. Since he has been spending days and nights here for more than one month.
It’s difficult to make a good production, but thanks to Adolf Shapiro, working on the play was a pleasure,” says Anna Netrebko. - If I don’t like the director’s approach and his vision of the role, I just leave.
This didn't happen here. Anna and Yusif flew to Moscow a few days ago. And when she first appeared on the theater stage, she was literally shocked.
The acoustics on the Bolshoi stage are very difficult for singers. Due to the massive scenery and large space, the sound does not return to the performer. We have to work twice as hard. In the first days of rehearsals, I was in real shock. Well, then we somehow got used to it.
The ending of the opera is tragic.
There are singers who love to die on stage, they live for it,” says Netrebko. - I don’t like it, but when necessary, I enter this state. It's costing me a lot because I'm really, really stressed. Then it affects my body. Well, what can I do? I chose this profession.
As Anna jokes, after they play the play on October 22, she and her husband will celebrate their performance at the Bolshoi in a big way. And the theater management is already making plans for further projects with the couple. Anna and Yusif will return to the Bolshoi more than once; in their absence, the second cast will take the stage - Ainoa Arteta (Spain) and Riccardo Massi (Italy).
For those who cannot get to the Bolshoi Theater, the Culture channel will broadcast a broadcast of the opera Manon Lescaut on October 23.
I got tickets for a rare performance by Anna Netrebko in Russia, one might say, on the recommendation of familiar ticket speculators. As I later found out, the tickets were for frankly poor seats in terms of visibility, almost above the stage, but, fortunately, this was the biggest disappointment that evening. In this regard, the article turned out to be to a greater extent about right choice seats on the historical stage of the Bolshoi Theater.
How to choose the best seats at the Bolshoi Theater
Since this is not my first experience of visiting the historical stage of the Bolshoi Theater after reconstruction, I have already formed some opinion, which I will share. So how to choose best places on the historical stage of the Bolshoi Theater? There are two factors to consider: visual and audio. Although for many the sound factor is not a key factor, I would still recommend paying attention to it, especially when choosing places when going to works that include vocal performance.
Visibility
The most important thing to consider when choosing seats on the historical stage of the Bolshoi Theater is the fact that the stage is quite deep and the seats on the balcony located on the sides of the hall can be significantly limited in visibility of the depth of the stage.
Visibility is reflected in the diagram of the hall taken from the official website of the Bolshoi Theater.
The diagram of the historical scene was taken from the official website bolshoi.ru
However, my experience and observations allow me to write that real visibility is somewhat different from the percentage shown in the diagram. I’ll note right away that I have never bought and will not consider buying seats in the second, third and other rows other than the first in boxes and on the balcony, especially in boxes with bar stools. Because often on the balcony, although not always radically, the situation can be corrected by leaning on the edge of the balcony and leaning forward, but this is only possible by sitting in the first row. Also, according to reviews from spectators, those who bought tickets for seats in the third and third rows had to stand up so that they could be seen from behind the large spectator from the first row.
WITH balcony of the 4th tier if you can see something, then only sitting in the very middle opposite the stage and with binoculars. I would not recommend buying tickets for these places. In other cases, namely, located on the sides of the hall, it will be too far and too high, the stage will definitely not be visible to its full depth.
Middle balcony of the 3rd tier, as it turned out, is quite suitable for watching a ballet, provided that it does not contain high decorations at the end of the stage. Binoculars are recommended. Closer to the stage at the edges of the hall, visibility will be greatly limited, and not only will the scenery located at a height in the depths of the stage not be visible, but also the depth of the stage itself.
photo from box N1 seats 1st, 3rd tier
For balcony 2nd tier The same principles apply as for the third one, only, nevertheless, the outer boxes are limited in visibility rather not by the upper boundary of the stage, but by the side one, and you will have to bend forward strongly for better visibility.
Balcony 1st tier in terms of visibility, it can be called good for almost all places, but each will have its own charm: directly opposite the stage - good view over the entire stage, closer to the stage at the edges - visibility of the actors’ facial expressions and small parts without binoculars, but with a limited view of the scene in depth.
Billetage, the seats opposite the stage have approximately the same visibility as on the balcony of the 1st tier. But the billet room is distinguished by its proximity to the stage for the seats closest to the stage located on the sides of the hall, these places are as close as possible to the stage.
Amphitheater I was not able to visit, but I can imagine that the seats opposite the stage are located at stage level or slightly lower. It’s better to choose a stall, because... it is located closer to the stage.
Parterre, obviously the best seats in the hall. It is also necessary to separately note the 12th row, since it is spacious and there is room to stretch your legs.
When purchasing tickets, be sure to keep in mind that no more than half of the seats have good visibility and it is better to plan your trip to the Bolshoi Theater in advance.
Sound and audibility
The audibility of music and vocals is an important aspect for many visitors. I personally didn’t have any problems with hearing the orchestra even in the most remote corners of the 3rd tier; I don’t think it’s worth taking this factor into account, except, perhaps, that the drums may seem too loud to those sitting in the front rows of the partrea, bellage and amphitheater.
But as for vocal works, in my opinion, it is better not to move completely to the back of the hall and strive to be closer to the stage. For example, it seemed acceptable to me to be in the first row of the box on the third tier closest to the stage. But, as soon as you looked into the box on the same third tier away from the stage, there was a noticeable decrease in the volume of the artists’ vocals. So it is recommended to go lower and closer to the stage.
Manon Lescaut
The tragic story of a provincial girl who became the kept woman of a wealthy banker
The work that served as the basis for the opera was written by Abbot Prevost back in the 1730s. However, the opera itself in 4 acts was written by Giacomo Puccini much later, only in late XIX century. It was first presented to the public on February 1, 1893 in Turin and to this day is considered one of the most difficult to perform. Briefly about the plot, it, like most, tragic story about love. A young girl from the province, Manon Lescaut, meets a student, Cavalier des Grieux, who immediately falls in love with her, but misses her because... Manon agrees to become a kept woman for a rich gentleman.
Libretto by Domenico Oliva, Marco Praga, Giuseppe Giacosa, Luigi Illica, Ruggero Leoncavallo and Giulio Ricordi based on the novel “The History of the Chevalier de Grieux and Manon Lescaut” by Abbe Antoine-François Prevost/
Manon Lescaut's production in a large setting looks modern, powerful, and beautiful. The huge sets look impressive, disproportionately large, thus creating the impression that people are like toy dolls.
Stage conductor - Yader Binyamini
Stage director - Adolf Shapiro
Production designer - Maria Tregubova
Lighting designer - Damir Ismagilov
Chief choirmaster - Valery Borisov
Choreographer - Tatyana Baganova
Instagram.com/yusif_eyvazov_private/
After the opera, Svetlana Vladimirovna visited our stars backstage to express her admiration for them. Photos with words of gratitude addressed to Medvedeva appeared on the pages of Anna and Yusif. “The guest of honor at yesterday’s performance, the charming and elegant Svetlana Medvedeva! Thank you for such attention and warm words,”- wrote Yusif Eyvazov.
And Anna said that many years ago, after a concert in the Kremlin, she was authorized to convey to the First Lady two petitions signed by many artists and musicians: the first was to preserve the Helikon Theater, and the second was to restore the St. Petersburg Conservatory, and both of these petitions were fulfilled.
Svetlana Vladimirovna wore an elegant black suit with mink trim and discreet jewelry. And since Svetlana Medvedeva is a non-public person and appears at events quite rarely, such attention is very flattering even for such world stars opera stage, like Anna and Yusif.
Fans married couple also appreciated this visit:
"What a pleasant meeting!"
“She’s a longtime admirer of yours, Anna, and this speaks of her good taste.”
“Keep up the good work, beauties, so that there will be guests of honor, you are worthy in many, many ways!”
“Congratulations, Yusif, what luxurious and heavenly beautiful women are next to you!”
instagram.com/anna_netrebko_yusi_tiago/
Anna Netrebko is adored by fans all over the world. And not only for her talent, but also for her sincerity, naturalness, great sense of humor, in general, for the ordinary human qualities that the singer so often shows in communication with her fans. Recently they
– Russian singer, which has been applauded by the whole world for many years now, performed for the first time at the Bolshoi Theater. The performer chose the piece for her debut on the most famous stage in the country herself, appearing before the public in the title role in “”. This wonderful opera by G. Puccini had not been staged before at the Bolshoi Theater, but it occupies a special place in her life: while performing it at the Rome Opera, she met Yusif Eyvazov, who later became her husband. In the Bolshoi Theater performance, this singer performed the role of the Chevalier de Grieux. Equally wonderful performers performed in other roles: Lesko - Elchin Azizov, Geront - Alexander Naumenko, Marat Gali - Dance Teacher, Yulia Mazurova - Singer.
One of the main difficulties of the role of Manon Lescaut is the contradiction between the heroine’s youth and the vocal part, which requires a strong voice and considerable experience. Both appear in singers at a fairly mature age. She has these qualities - the artist delighted the audience with the richness of all registers, the richness of timbre colors, the subtlety of nuance and phrasing, and an experienced singer allows her to look convincing in the image of a young girl. amazing plastic. Having initially appeared very young - half a child, in the second act the heroine already looks like a seductive young woman, but as soon as her lover appears - and again in all her movements the features of a girl appear, so spontaneous in the sincerity of her feelings. 39-year-old Yu. Eyvazov looks just as convincing in the role of an impetuous young man in love. True, the singer’s voice did not always sound smooth, although on the whole the performer coped with the part.
Manon Lescaut - Anna Netrebko. Chevalier des Grieux - Yusif Eyvazov. Photo by Damir Yusupov
The performance was conducted by Yader Binyamini. The conductor's work made a pleasant impression on both the audience and the audience, who believe that singing with an orchestra under his direction is very convenient. The orchestra, choir and soloists' voices sounded balanced and clear, delighting listeners with the richness and subtlety of nuances. The cello solo was beautifully performed by B. Lifanovsky. The choreographic scenes staged by Tatyana Baganova looked very elegant.
The weak point of the play "" turned out to be the direction. Director Adolf Shapiro - like - is collaborating with the Bolshoi Theater for the first time, but - unlike the singer - he showed himself not with the best side. The director’s idea in itself is not bad: to emphasize in the image of the heroine the features of a girl who has not completely left childhood and has found herself in a cruel “adult” world, where she can be used as a toy. But instead of psychologically working out the role with the performer, the director is carried away by demonstrating symbols - such as, for example, a doll in the hands of Manon, dressed in the same dress and hat as the heroine herself. Carried away by such external attributes, the director seems to forget about the performers - and as a result, Manon looks somewhat cold. But she knows how to create such lively, emotional images on stage - just remember her Natasha Rostova! One can only regret that the director ignored this side of her talent. In some moments of the performance, the director reaches outright surrealism, completely out of harmony with G. Puccini’s music: a giant doll with a rotating head and moving eyes in the second act, a “freak show” in the third act, more appropriate in a circus than in an opera house...
Despite such directorial mistakes, the debut at the Bolshoi Theater can be considered successful. I would like to believe that the singer’s first role on main stage Russia will not be the last, and the audience of the Bolshoi Theater will discover new facets of its talent.
