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| | Arts Calendar / June 22 / Opera |
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 Opera in two acts by Wolfgang Amadeus Mozart. Libretto by Lorenzo Da Ponte. Conductor: Tugan Sokhiev. Director: Semyon Spivak. Choreographer: Sergei Gritsay. Set Designer: Semyon Pastukh. Sung in Italian. Nighttime. Don Giovanni's servant Leporello complains that his master's libertinage is a constant pain in the neck for him. As of now, Don Giovanni has sneaked into Donna Anna’s, and Leoprello is waiting for him outside. But this time Don Giovanni does not succeed: Donna Anna makes noise and won’t let her seducer escape. She cannot recognize him, though, for he is wearing a mask. Donna Anna’s father, the Commendatore, challenges Don Giovanni to a duel and dies. Donna Anna and her fianc? swear to avenge the murder. Leporello is shocked by the tragic incident, while Don Giovanni is keeping cool. He is anticipating a date, and in the meantime is about to follow a beautiful female stranger - but then he recognizes in her his long-forsaken lover Donna Elvira, whose suffering only annoys him. Leporello tells Donna Elvira all about his master and shows her the list of his conquests. Village wedding of Masetto and Zerlina. Don Giovanni sets his eye on the young bride. He sends the wedding party away with Leporello to have fun elsewhere, and tries to seduce Zerlina. She is about to yield, but suddenly Donna Elvira appears and upsets Don Giovanni’s plans...
Bolshoi Theater New Stage  |
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19:00 | Il Barbiere di Siviglia |
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 Opera buffa in two acts by Gioachino Rossini. Music Director: Eri Klas. Conductors: Evgeny Samoilov, Felix Korobov, Vasily Valitov. 170 min (with one intermission). Sung in Italian with Russian surtitles. Rossini’s operatic masterpiece The Barber of Seville has been staged all over the world, and even children recognize Figaro’s famous aria, while Figaro qua, Figaro l? and La calunnia un venticello have become bywords. The witty Rossini, being not only an outstanding composer but also a brilliant cook, developed the recipe for the opera’s incessant, astounding success. Here it is: take seven bright characters and an intoxicating love intrigue, spice the mixture with humorous dialogues, dress with wonderful melodies and sprinkle virtuosic ensembles on top. Rossini’s masterpiece has been cooked by the Novaya Opera’s Chef, Maestro Eri Klas, accomplished English stage director Elijah Moshinsky and topnotch English designer Anne Tilby, specially invited for the occasion. Stage Director Elijah Moshinsky y has set "The Barber" in what he calls "a vague 1920s. "I wanted to find a naive time," he said. "My setting isn't real, of course, but the characters have to be real."
Novaya Opera Theatre |
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 Opera in five acts by Giacomo Meyerbeer. Libretto by Eugene Scribe featuring Emile Deschamps. Musical Director: Valery Gergiev. Stage Director: Konstantin Balakin. Set Designer: Elena Vershinina. Sing in French. August 1572. Paris is abuzz with the royal wedding festivities. The union of the Catholic Marguerite de Valois and the Huguenot Henry of Navarre is poised to quell the religious strife between the two Christian denominations, heralding a much-anticipated era of peace in France. Count de Nevers, a Catholic, hosts guests at his castle and informs them of another expected guest – the young nobleman Raoul de Nangis, whom he recently befriended in Paris. Raoul, a Huguenot, is anticipated to receive a warm reception from Nevers’ Catholic friends, in light of the royal decree proclaiming peace between Catholics and Huguenots. Raoul soon makes his entrance, and wine is served. Noticing the young man’s pensive demeanor, the castle’s lord is eager to uncover his heartfelt secret. Yielding to persuasion, Raoul recounts how, a few days prior, during a stroll, he rescued a beautiful unknown maiden from the bothersome advances of a drunken group of students. Smitten by the young stranger, he fell in love with her. As Raoul shares his tale, his loyal servant and mentor, the old Huguenot soldier Marcel, appears. He watches with disdain as his master mingles with the detested Catholics. Attempting to reason with Raoul and take him away, Marcel sings a Lutheran hymn.
Bolshoi Theater |
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 Opera in three acts by Gaetano Donizetti. Libretto by Gaetano Rossi after the play La Grace de Dieu by Adolphe-Philippe d’Ennery and Gustave Lemoine. Conductor: Anton Grishanin. Stage Director: Roman Feodori. Designer: Daniil Akhmedov. Presented with two intervals, 200 min. Sung in Italian. Antonio and Maddalena, whose lives passed in the village, fear that they and their daughter Linda will soon have to leave their homes if the mistress of the land, the Marquise, does not renew their lease. They hope for the intercession of the Marquise’s brother, who is favorable towards them and Linda. The Marquis’s beneficence extends so far that he is ready to take Linda from the village to the castle, promising to arrange her future. However, as Linda herself is not at home, the Marquis has to be content with the gratitude of her parents. The choir of the villagers praises the kindness of the owner of the estate. Linda is waiting for her beloved Carlo, whom she knows as a poor artist. Linda’s friend Pierotta, a young orphan, sings a ballad about a girl who did not save her honor as she left home – and when she returned home, she found only her mother’s grave. Carlo comes to Linda. The lovers exchange tender vows, but Carlo claims that he cannot connect his life with Linda right now – some secret is blocking their marriage...
Boris Pokrovsky Chamber Stage |
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