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| | Arts Calendar / May 23 / Opera |
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 Opera in four acts by Georges Bizet. 190 min (with one interval). Libretto by Henri Meilhac and Ludovic Halvy after the novel of the same name by Prosper Merime. Music Director: Tugan Sokhiev. Stage Director: Alexei Borodin. Sung in French. No man can resist Carmen’s gypsy charms, but when she’s ready to move on, watch out! A riveting drama of love and jealousy, filled with famously alluring melodies and captivating dances, Carmen is one of the world’s most popular operas. With dazzling bursts of color, a thrilling production brings the sights and sounds of Seville to life, from the dusty town center to the clamor of the bullring. Bizet’s immortal score overflows with one delight after another, a music lover’s hit parade of opera’s most intoxicating melodies. The music of Carmen has been widely acclaimed for brilliance of melody, harmony, atmosphere, and orchestration, and for the skill with which Bizet musically represented the emotions and suffering of his characters. After the composer's death, the score was subject to significant amendment, including the introduction of recitative in place of the original dialogue; there is no standard edition of the opera, and different views exist as to what versions best express Bizet's intentions. The opera has been recorded many times since the first acoustical recording in 1908, and the story has been the subject of many screen and stage adaptations.
Bolshoi Theater  |
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 Opera in two acts by Alexander Borodin. Music Director: Evgeny Samoilov. Conductors: Evgeny Samoilov, Vasily Valitov, Jan Latham-Koenig. Stage Director: Yuri Alexandrov. 190 min (with one intermission). The production of Borodin’s Prince Igor staged at the Novaya Opera is based on Glazunov and Rimsky-Korsakov’s version adapted by Yuri Alexandrov. Trying to bring home the message of the Tale of Igor's Campaign, which is somewhat concealed by Borodin’s beautiful music, the stage director highlights different key points. "While working on the opera, I pondered about what happens in Russia, about its historical role, what it’s like now and what it’ll be like in the future. The production at the Novaya Opera is a true story; this is what I see around. The opera is not about darkness, but about light. The light that exists in every human being and it has to be revealed. Alexander Borodin’s patriotic opera ‘Prince Igor’ makes a comeback to the Moscow stage after a 10-year break. Boris Pokrovsky’s legendary production of the opera was last performed at the Bolshoi in January 2002. Since then the Moscow public have enjoyed only rare concert performances of ‘Prince Igor’. My concept is focused on a person’s valour. For me, Yaroslavna is the embodiment of valour: she can endure all the people’s pain and she can even govern the country if necessary. She symbolizes loyalty to Russia. Prince Igor neglects his duties and God’s laws, whereas Yaroslavna has the virtue. Igor is a sufferer, and through suffering he redeems his sins. This is one of the messages of my production. We have lost the ability to repent and to admit to our mistakes. I think that faith is one of the few things that can stop us from falling into a spiritual abyss," Yuri Alexandrov, stage director.
Novaya Opera Theatre |
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19:00 | The Fair at Sorochyntsi |
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 Opera buffa in three acts to music by Modest Mussorgsky. Libretto by composer after the novel of the same name by Nikolay Gogol. Completed version by Vissarion Shebalin. Stage Director: Boris Pokrovsky. Music Director: Lev Ossovsky. Set Design: Stanislav Benediktov. Sung in Russian with English surtitles. Life at the village fair in Sorochintsy turns like a motley wheel. Cherevik has arrived with his wife Khivrya and daughter Parasya. While Cherevik is trying to sell the mare and wheat, Parasia meets a young man, Grytsko. Suddenly Cherevik appears. At first, he is about to rebuff the young man, whereupon he finds out that the fellow is the son of his old friend Ochrim Golopupenko, and welcomes him. In the meantime rumours are circulating at the fair about some «Red Jacket», supposedly being pursued by the Devil himself. In the evening, Cherevik and his friend come from the tavern and strike up a song. Suddenly Khivrya appears; she objects to Parasia’s marrying «some ragamuffin». It is useless to argue with Khivrya. Cherevik grieves. Gritsko is very sorrowful. The Gypsy is willing to settle the affair, if the young man will sell him his bullocks for a low price...
Boris Pokrovsky Chamber Stage |
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