Theater poster - reviews of the performance. Figaro - Leonid Bichevin Sergey Lazarev The Marriage of Figaro

Pierre-Augustin Caron Beaumarchais

DIRECTOR - Evgeny Pisarev
SCENOGRAPHY - Zinovy ​​Margolin
COSTUMES - Leonid Alekseev
LIGHT - Damir Ismagilov
COMPOSER - Igor Gorsky
CHOREOGRAPHER - Albert Alberts

The comedy “The Marriage of Figaro”, invented by the court watchmaker Beaumarchais, has enjoyed enormous success for three centuries thanks to its perfect, clockwork-like composition, dynamism and humor, which has not lost its freshness.

But main secret success, of course, lies in the character of the protagonist: the talented Figaro failed in all his social and creative endeavors, but he is full of dignity, creative power, love of life, and most importantly, he is in love. It is because of love that he has a “crazy day”, during which he has to weave intrigues, get out of court, find his lost parents, experience the betrayal of a friend, the imaginary betrayal of his young wife, but at the same time not lose faith in either love or into yourself...

Many people know that “in love, as in war, all means are fair.” The characters of this cheerful, dynamic play are also guided by this principle. Marriage of Figaro" The Pushkin Theater offers the public a production with a fascinating plot that will pleasantly surprise with many unexpected turns, funny episodes and beautiful design.

The comedy is based on famous work Pierre de Beaumarchais, who told about the adventures of the clever and resourceful Figaro. One day the hero rendered a friendly service to Count Almaviva by arranging his wedding with the beautiful Rosina. However, the aristocrat proved himself to be an ungrateful man: after some time, he became imbued with an ardent passion for Figaro’s own bride, the charming Suzanne. The girl did not respond to the count’s advances, as a result of which another expression was expressed. negative quality Almaviva - vindictiveness. He begins to intrigue the couple in love, hoping to prevent the marriage. However, Figaro and Suzanne show remarkable ingenuity, wanting to outwit the arrogant aristocrat. They are helped in this by Countess Rosina, annoyed by her husband’s frivolity, as well as the inventive page Cherubino. At the same time, many secrets are revealed, in particular, the characters will find themselves in court, and some of them will even find their lost parents. Spectators who buy tickets to the play “The Marriage of Figaro” will see many comical scenes, confusion and transformations, making the action exciting and interesting.

Director's production Evgenia Pisareva tells about what tricks people are willing to go to in order to achieve their goal: to seduce a girl, have a wedding, teach a lesson to an unfaithful husband. The development of events in the play “The Marriage of Figaro” takes place to music written by Igor Gorsky. The melodies, along with the colorful costumes and scenery, and choreography by Albert Alberts, fully convey the sophistication and grace inherent in this entertaining story.

CHARACTERS AND PERFORMERS:

COUNT ALMAVIVA - Alexander Arsentiev
COUNTESS - Victoria Isakova
FIGARO - Sergey Lazarev
SUZANNE - Taisiya Vilkova / Alexandra Ursulyak
MARCELINE - Irina Byakova
ANTONIO - Alexey Rakhmanov
FANCHETTA - Anna Begunova / Stasya Miloslavskaya
KERUBINO - Sergey Kudryashov
BARTOLO - Oleg Pyshnenko
BAZIL - Alexander Matrosov
DON GUZMAN BRIDUASON -Sergey Miller
DOUBLEMAN - Ivan Litvinenko
PEDRILO - Nikolay Kislichenko
PERFUME: Egor Komarov, Veronica Mokhireva

I wanted to go to this performance for several reasons. Firstly, the performance was praised. Yes, I am wary of strong praise, but from some of the photographs and interviews I thought it would be interesting to see the performance. Secondly, Sergei Lazarev as Figaro. I was very skeptical about Lazarev the actor, to be honest. Then I saw an interview in which he said that he had been playing in the theater for almost 10 years! He was taken into a play in this theater from the theater, and has been acting ever since. He even has 3-4 titles in the theater! In general, I decided to look at him. Thirdly, Alexander Arsentiev! The same Billy Flynn from the musical "Chicago".
I really liked the performance, I can recommend it to lift your spirits and good evening.
I didn’t watch the recording with Andrei Mironov in the role of Figaro, I didn’t read the play, to be completely honest, I had no idea what they would show me (that’s how illiterate I am, I will correct myself as best I can). I had nothing to compare with, I looked with clean slate.
The first thing that strikes you about the performance is the 4-tier decorations! The only negative, but it is not significant: when someone runs along the fourth tier, the balcony sees only their feet (but insignificant characters rarely run there, they mostly ran away or entered).
The performance is dramatic, but with perfectly selected musical inserts, this brings even greater liveliness and dynamism to the action.
The cast is EXCELLENT!! Everyone plays in the same lineup! Yes, how they play! Very good! To play such a story seriously and not stoop to hackwork and stupid hints and jokes is worth a lot to me. A little more specific about the program.
Figaro - Sergey Lazarev. I liked it very much! All my doubts are gone, I am very happy for Lazarev that he has a theater and roles besides concerts, and for myself that I considered the actor. Apparently, Sergei is actively engaged in speech before performances, although rather in his voice, because it is one thing to sing into a microphone, another thing to say it so that I can hear everything from my penultimate row of the balcony (and I heard everything!). Maybe it's just my guess, I don't know.
The role was definitely a success! Quirky, cunning, sweet, kind, helpful - all in one person, shown wonderfully. Even at the end of the performance, when Figaro had a monologue for about 5 minutes, I was a little scared whether he would hold it. Kept it! The audience sat spellbound! And me too. Very good! It seems to me that it was good that I saw the play when about 15-20 performances had passed after the premiere, when everything had already been tested.
Count - Alexander Arsentiev. Great! Everything came together: appearance, speech, manners, you can’t imagine anything better) I would happily watch him (and Lazarev too) in another role, it would be very interesting (I hope I won’t be disappointed with the performance, as I already had in this theater).
From female roles, of course, it is worth highlighting the Countess (Victoria Isakova) and Suzanne (Alexandra Ursulyak). The Countess has a very interesting intonation of a dying swan, but the mask periodically flies off at the right moment, which causes a reaction from both the audience and other characters in the play. The costumes are wonderful! They look great, very beautiful, highlight your figure. Suzanne is a truly worthy pair of Figaros) A super family will come out! They deserve each other) It was a good duet.
In general, I liked everyone (and not only the main characters, about whom I wrote briefly), I liked everything, so I recommend watching it, preferably with good place(but the prices are a little steep). I would recommend and review the performance!

The premiere of the play “Crazy Day, or the Marriage of Figaro” took place in April 1969. The production was carried out by the artistic director of the Satire Theater Valentin Pluchek himself. The set design with a bouquet of roses hovering in the sky like a fireworks was created by Valery Levental, the costumes were created by fashion designer Vyacheslav Zaitsev, and the fancy mother-of-pearl wigs were created by theater artist Silva Kosyreva. The performance featured music by Mozart.

This proximity of Mozart and Beaumarchais made us recall a quote from Pushkin’s “Little Tragedy” “Mozart and Salieri”:

If dark thoughts come to you -

Open a bottle of champagne or

Re-read The Marriage of Figaro...

Pluchek’s sparkling performance, created in an era of stagnation, became for the public a sip of champagne, a bright holiday that gives hope. This performance acquired the status of a legend, including thanks to the television version, filmed 7 years later by director Viktor Khramov.

“The Marriage of Figaro” is a play from the golden period of the theater, when it was at the peak of its popularity. In Satire they went to Mironov and Papanov, who became famous thanks to the films “Beware of the Car” and “The Diamond Arm”, to Peltzer, Arosyeva, Menglet, Belyavsky and many other actors who took part in the popular program “Zucchini “13 Chairs”.

On stage, the famous comedy of Beaumarchais was acted out by leading theater artists: Valentin Gaft played Count Almaviva at the premiere, after him this role was “read” in his own way by the no less memorable Alexander Shirvindt, his wife Countess Rosina was played by Vera Vasilyeva, the rogue maid Suzanna was played by the temperamental Nina Kornienko, Marcelina - Tatiana Peltzer, Cherubino - Alexander Voevodin, Bartolo - Zinovy ​​Vysokovsky, Antonio - Roman Tkachuk.

The classic play, invented by a court watchmaker, has been popular for 300 centuries thanks to its clockwork-perfect composition, dynamism, lightness and humor, which has not lost its freshness.

The Satire Theater's production skillfully combined tradition and innovation. The canonical plot has undergone minimal changes, but the usual intonation of the characters has changed.

“The performance began on a completely unexpected note, it even seemed impossible,” the famous critic Konstatnin Rudnitsky described the peculiarity of the performance: “The stage opens immediately in all its unimaginable beauty: the old silver of the scenery glistens dimly, above them is a lush and sweet bouquet Red roses, music sounds, gentle and flirtatious, and characters in silver liveries with white and black embroidery ceremoniously take their places, preparing for the entrance of the main character. He, however, does not go out, he is smoothly carried onto the stage by a retractable platform, one of the footmen gives him a rose, and the graceful, gallant hero, in deep thought, inhales its aroma.” Of course, such a Figaro became truly revolutionary; it was impossible to believe that Mironov’s hero was a notorious rogue, a bold intriguer, an adventurer and a plebeian, who with his indomitable energy won his place in the sun and the love of Suzanne. Beaumarchais's comedy, from beginning to end, was presented with deliberate picturesqueness, which was deliberately elevated to the law of the performance. The twists and turns of the intrigue take place as if in passing and by chance; they are not very significant for the director. Pluchek put the theme of reason and love at the forefront.

Besides, political satire Beaumarchais (having been published, the play became so popular that Louis XVI, who banned it, was forced to revoke his ban, fearing the condemnation and discontent of his subjects) fit perfectly today.

Unraveling the web of intrigue that entangled him, the adult and sad Figaro of Andrei Mironov had time to reflect on both the evils of power and the imperfections of the world. He loved passionately, was jealous and was offended by the news that his master, forgetting about the fun adventures they had shared, decided to take possession of his servant’s beloved bride.

Andrei Mironov saw in his hero a man forced by time and society to mind his own business, to waste his mind, talent, and energy on trifles. This servant was superior in dignity to his cynical and voluptuous master.

However, the duet of the Count and the Countess, less interesting in the play than Figaro and Suzanne, was worked out with particular care during rehearsals. Valentin Gaft and Vera Vasilyeva tried to play living, contradictory and ambiguous people.

Vasilyeva, when working on the role, was based on the fact that the Countess in The Marriage of Figaro is the mischievous lover Rosina from " Barber of Seville"(predecessor play, telling about love adventures Count and Countess before marriage). The Countess thirsts for life and love, although she has become timid because she does not believe in herself. The relationship between the spouses was much more complicated. For a moment, either out of jealousy or out of inertia, the Count experienced the same feelings for his wife, at some point he loved her, although he was hunting for Suzanne and was irritated.

The success of the performance gave him long life- for 18 years, Satire artists appeared on stage in the comedy of Beaumarchais. It ended along with the life of the main character - on August 14, without finishing the last scene of The Marriage of Figaro, Andrei Mironov lost consciousness, and two days later he died of a stroke.

The music was Mozart and Rossini. I liked that it was not like an insert number (it sounds like that in Lenkom), but as a direct part of the spectacle. Unusual arrangements - that’s what was non-academic in the performance! – made in accordance with the tempo of the performance. An academic orchestra in black tailcoats would be clearly out of place here. Melodies from “The Marriage of Figaro”, “The Barber of Seville”, themes from “A Little Night Serenade”, the 40th Symphony, the 21st Concerto by Mozart are familiar and fit well into the action.

I listened attentively to the monologue of Figaro - Sergei Lazarev about cunning principles, about deception and intrigue and thought: “What a bastard! And he considers himself right! But the time has come for such natures.”

However, one cannot say that the authors of the play have modernized the production (unless it looked like an anachronism short haircut Marceline). Director Evgeny Pisarev brought to light from the ancient comedy something that is in tune with our time, in tune with his soul, and thereby became in tune with the viewer.

The Countess - Victoria Isakova - at first seemed like a fool. The whole room laughed at her stupidity! But out of female solidarity, Suzanne - Alexandra Ursulyak - helps the Countess defeat the Count and prove to her husband that indulging his corrupt nature, following ancient customs will not bring any good to the overlords!

I liked that Sergei Lazarev and Alexandra Ursulyak show that Figaro and Suzanne really love each other. The play thus conveys the idea of ​​the triumph of love!

Alexander Arsentiev in the role of Count Almaviva follows the instructions of the author - Beaumarchais. I see that his count is “full of consciousness of his own greatness, but he combines this with grace and ease.” The artist shows the impeccability of the count's manners very well. I agree with the author that “the role of the count is especially difficult to play because he invariably finds himself in a funny position.”

But Arsentyev plays in such a way that I felt sympathy for the count.

The artist pleased me with his performance. It is clear that he, like all the other performers, enjoys playing this performance. Creating an image, emotions, assessments, behavior in “zones of silence” - everything is based on top level, convincing and adequate.

I always like how Arsentiev interacts with his partners. Today it seemed that when Count Almaviva appeared on stage, the action started spinning like the mechanism of a wind-up toy when you turn a key.

The Count doesn't like jokes - that's what ruined him. He understands documents, but not intrigues and feelings. Therefore, in this area he failed.

Tough, commanding, shooting, judging, but at the same time a farcical character. At first, the Count is somehow angry, in an exaggerated way, like, don’t lead me by the nose - I know you’re lying. And at the end, Figaro and the women managed to bring him to white heat, and he screamed completely naturally.

The scene movement is wonderful. There was a funny scene with the sledgehammer. The audience laughed like in a circus. Again, if someone doesn’t like farce, then why make complaints about the farcical nature of what is happening on stage?

There were several slips in the performance (sorry for the jargon), or so they looked like. Sometimes they spilled wine and had to wipe it off with a napkin, sometimes they spilled apples and had no time to pick them up. Sergey Lazarev - Figaro did not catch the orange thrown by Arsentiev - Graf. Then I took a break from the text and began to wait for Figaro to pick up the rolled orange and throw it back to the Count. You could bet a thousand rubles that Arsentyev would catch him. Got it. I knew.

It’s even strange to write about this when we’re talking about professional actor. But Arsentiev is different in positive side from many of my peers. We can say that this is an artist with an internal culture that was inherent by default to the masters of the outgoing generation, the stars of our childhood. And it’s wonderful that among modern actors there are those like Arsentiev who continue the best traditions our theater and cinema, our culture.
Well, I'm delighted, this is my opinion, my impression.

I wanted to go to this performance for several reasons. Firstly, the performance was praised. Yes, I am wary of strong praise, but from some of the photographs and interviews I thought it would be interesting to see the performance. Secondly, Sergei Lazarev as Figaro. I was very skeptical about Lazarev the actor, to be honest. Then I saw an interview in which he said that he had been playing in the theater for almost 10 years! He was taken into a play in this theater from the theater, and has been acting ever since. He even has 3-4 titles in the theater! In general, I decided to look at him. Thirdly, Alexander Arsentiev! The same Billy Flynn from the musical "Chicago".
I really liked the performance, I can recommend it to lift your spirits and have a good evening.
I didn’t watch the recording with Andrei Mironov in the role of Figaro, I didn’t read the play, to be completely honest, I had no idea what they would show me (that’s how illiterate I am, I will correct myself as best I can). I had nothing to compare with; I looked at it from a blank slate.
The first thing that strikes you about the performance is the 4-tier decorations! The only negative, but it is not significant: when someone runs along the fourth tier, the balcony sees only their feet (but insignificant characters rarely run there, they mostly ran away or entered).
The performance is dramatic, but with perfectly selected musical inserts, this brings even greater liveliness and dynamism to the action.
The cast is EXCELLENT!! Everyone plays in the same lineup! Yes, how they play! Very good! To play such a story seriously and not stoop to hackwork and stupid hints and jokes is worth a lot to me. A little more specific about the program.
Figaro - Sergey Lazarev. I liked it very much! All my doubts are gone, I am very happy for Lazarev that he has a theater and roles besides concerts, and for myself that I considered the actor. Apparently, Sergei is actively engaged in speech before performances, although rather in his voice, because it is one thing to sing into a microphone, another thing to say it so that I can hear everything from my penultimate row of the balcony (and I heard everything!). Maybe it's just my guess, I don't know.
The role was definitely a success! Quirky, cunning, sweet, kind, helpful - all in one person, shown wonderfully. Even at the end of the performance, when Figaro had a monologue for about 5 minutes, I was a little scared whether he would hold it. Kept it! The audience sat spellbound! And me too. Very good! It seems to me that it was good that I saw the play when about 15-20 performances had passed after the premiere, when everything had already been tested.
Count - Alexander Arsentiev. Great! Everything came together: appearance, speech, manners, you couldn’t imagine anything better) I would happily watch him (and Lazarev too) in another role, it would be very interesting (I hope I won’t be disappointed with the performance, as I already had in this theater) .
Of the female roles, of course, it is worth highlighting the Countess (Victoria Isakova) and Suzanne (Alexandra Ursulyak). The Countess has a very interesting intonation of a dying swan, but the mask periodically flies off at the right moment, which causes a reaction from both the audience and other characters in the play. The costumes are wonderful! They look great, very beautiful, highlight your figure. Suzanne is a truly worthy pair of Figaros) A super family will come out! They deserve each other) It was a good duet.
In general, I liked everyone (and not only the main characters, about whom I wrote briefly), I liked everything, so I recommend watching it, preferably from a good place (but the prices are a little steep). I would recommend and review the performance!