Anna netrebko premiered in a large manon. Anna netrebko made her debut at the Bolshoi Theater

“The first two days were a shock, then we somehow got used to it”

An unusual, wildly violent pandemonium of the press at the entrance is a sure sign that somewhere behind the scenes they are hiding the Prima Donna - the star of the first magnitude of the opera stage Anna Netrebko. On October 16 the Bolshoi presents its version of "Manon Lescaut" directed by Adolf Shapiro (conductor - Yader Binyamini). Actually, the Bolshoi Theater does not hide the fact that the project arose "due to the firm desire of the leadership" to invite Anna to speak at historical stage. Well, Yusif Eyvazov will play the role of Chevalier Rene de Grieux.

REFERENCE "MK"

Giacomo Puccini wrote 12 operas in his life, and "Manon Lescaut" - the third in a row (painfully created in the period 1890-92), it showed Puccini's talent as a lyricist and melodist more than ever. "My Manon is Italian, this is passion and despair," the composer wrote, comparing his heroine with the Frenchwoman Manon from Massenet's opera of the same name.

Anna appeared in a strict black suit with a white dot, lavishing smiles.

This is a very important work for us, - said the general director of the theater Vladimir Urin, - a year ago we agreed with Anna and Yusif that we would do this project, it was not at all in the theater's plans. Yesterday there was a run, we already understand what we did there, I hope it will arouse interest ....

Anna immediately picks up:

It is a great honor for me to speak here, it is great theater, the work was wonderful, the production was very interesting; the director was patient with us, and the conductor worked in difficult conditions, because the orchestra and the choir saw this score for the first time.

I can only join the words of the Primadonna, - Yusif Eyvazov noted, - the team is debugged like clockwork, people help in everything. A lot of impressions.

It should be noted that this is the debut of the drama director Adolf Shapiro on the stage of the Bolshoi Theatre; he noted that it was easy for him to work with Urin and with the soloists - "it's interesting: everywhere they talk, they talk, they talk, but here they sing and sing about love." All the musicians noted that Shapiro was always open to new ideas and expressed their confidence that the production managed to maintain the language of Puccini.

This is one of my favorite Puccini operas, strong, dramatic, especially when I have such a strong and passionate partner with me, Anna continues. - Manon is first of all a woman, no matter who she is by nationality, it is important what emotions she evoked in men - strong and passionate. This opera is extremely rarely performed live, it is difficult to make a good production: the plot is so broken, in some ways even abstract...

This performance means a lot to us, - Yusif echoes, - and tears just flowed from my eyes when I heard Anya in the fourth act ... for a second it really seemed to me that we were in the desert and these were the last moments of life.

The image is very solid, - says Anna, - you can add only in small things, or make Manon more experienced from the very beginning, or innocent. Well, if I don't like the director's interpretation, then I just leave ... but here everything was very good. Although the acoustics are very difficult for the singers standing on the stage. Sound does not return. The first two days it was a shock, and then we somehow got used to it.

By the way, Anna and Yusif met in Rome at the production of Manon Lescaut.

I knew that there was such a star, but I didn’t attach much importance, but when I heard her sing, I also realized that she was a healthy person, without quirks ... and this is a rarity in opera world. And I fell in love. So we invite everyone to the premiere!

In addition to participating in Manon Lescaut, February 7, 2018 is planned solo concert Anna Netrebko with Spivakov at the remote control.

Big premiere at the Bolshoi. famous opera Giacomo Puccini "Manon Lescaut" main stage countries. The first parts will be performed by the inimitable Anna Netrebko and her husband and partner Yusif Eyvazov.

Black strict suit, but on the face - a soft charming smile: Anna Netrebko went to the press in good mood. After all, at the Bolshoi she sings the premiere of Puccini's favorite opera Manon Lescaut.

“I perform it with great happiness and delight every time, and even more so when I have such a wonderful, strong and passionate partner with me,” says the singer.

At the table he sits nearby, on the stage he sings nearby, in life he walks nearby. After all, this is her husband, Yusif Eyvazov, the performer of the main male party- Chevalier de Grieux.

For Anna Netrebko and Yusif Eyvazov this opera is special. The fact is that they met two years ago at a rehearsal of Manon Lescaut in Rome. The love story of the 18th century was the beginning of the modern romantic story. It was the first joint work - an opera saturated with passion and despair, where every word is about love. Cavalier de Grieux, aka Yusif Eyvazov, then discovered Manon Lescaut, aka Anna Netrebko, both as a singer and as a woman.

“I knew that she sang a certain repertoire, light enough, which I don't sing. Therefore, of particular interest in her - I knew that there was such a star, a singer, and so on ... But this acquaintance turned into love. And we are very happy!” - says the singer.

Their duet does not play passion, he experiences it. When Manon abandons her beloved for the sake of a rich patron, this is a betrayal. When Manon realizes that the money did not bring her happiness, and returns - this is forgiveness. When he goes into exile for her, this is love.

This production has already been dubbed a bit "hooligan". Here are the costumes of the heroes - long dresses and frock coats in the fashion of the 19th century, and at the same time - sneakers, knitted hats and black glasses. And the soloist of the Bolshoi Marat Gali came out to sing on his native stage in ballet tutu! In this production, he is a dance teacher.

“All my life I wanted to feel like a ballet dancer, and now, after 14 years of a career in Bolshoi Theater Finally, I go out in a pack. It is very pleasant and easy for me!” - the singer laughs.

Anna Netrebko, apparently, feels the same way: in the same scene with a dance teacher, she stands on a ball without any insurance and sings at the same time!

“When we did this scene with Anna, this moment of risk came from her: “I can try to be on the ball!” But in general, an idea that is not directly related - a girl on a ball - it is present, ”says choreographer Tatyana Baganova.

And all this is imperturbably observed by a six-meter doll. This is both a symbol of luxury - Manon really wanted expensive toys for herself - and, in part, the heroine herself. The image of a "doll with a doll" becomes a farce.

“Such a live stream, young, modern in it. Especially in the first act, she somehow lifts the mood a little before lowering it completely into a complete drama, ”says Anna Netrebko.

But still, the costumes, the scenery - just the surroundings. The immortal music of Puccini reigns over everything. And the performers of the main roles prefer not to think about the upcoming premiere in order to reduce the degree of excitement.

“If someone tells you that the singer does not worry before singing “Manon Lescaut” - do not believe it! Everyone is worried,” says Yusif Eyvazov.

“I don’t know… I’ll wake up the day after tomorrow and we’ll see!” - says Anna Netrebko.

Anna Netrebko sang for the first time in a performance by the Bolshoi Theatre. For the viewer, as well as for the critic, this fact alone is enough to clap their hands - Netrebko or any other artist from the conditional top ten informs both the production and the theater of a completely different status in the world ranking table. The performance for Anna Netrebko was staged by director Adolf Shapiro, artist Maria Tregubova and conductor Yader Benjamini.

For her debut at the Bolshoi, the singer proposed Puccini's opera Manon Lescaut. For herself, this is a landmark work, and not only in creative plan. While working on this opera in Rome, she met her future husband, tenor Yusif Eyvazov. They already sang the duet from Manon Lesko at the Bolshoi at a concert in honor of the anniversary of Elena Obraztsova, so the choice of the name of the performance, as well as the choice of a stage partner, apparently came by itself. Italian conductor The Benjamini nucleus was also proposed by Netrebko. It must be said that his work left an ambiguous impression: having underestimated the acoustic properties of the Bolshoi Theater, the maestro muffled the choir too much, moreover, there was a feeling that there was simply no contact between the orchestra and the soloists on stage, the verticals were regularly “floating”. But as for the sound of the orchestra, here it is necessary to note both astringency, and passion, and Italian "sweetness".

No matter how one regards the theory of ensemble theater (that is, one where performances are staged based on their own artists), which the leadership of the Bolshoi Theater believes in, practice proves that all the successes of the theater in this situation remain local. Speaking of opera, of course.

Another thought that came to mind after the premiere: artists of this level need a director who will only direct, put accents. Especially when we are talking about Puccini, whose music sometimes does not require words, it expresses feelings so fully. Two black figures in a huge empty space - this is the starting point of the last action. But how Netrebko and Eyvazov fill this void with energy alone! However, this energy is not something ephemeral, it is mastery: behind it are years of work, and perfect command of the voice, and impeccable quality, and absolute confidence.

The artists just move towards the proscenium and in the finale practically go out into the space of the hall, hang on the edge, but how sad, how tragic this path is! (So ​​you will sympathize with the future performers of these parts, will they cope, will they “take on” the stage, will they not get lost?).

The scenography of this performance is built on the principle of freeing up space following the dramaturgy of the opera, which moves from plot polyphony to love. The artist Maria Tregubova, a student of Dmitry Krymov, in the best traditions of her school, also inscribes meaning into scenography. A “toy” French town cut out of paper occupies the entire scene: the red and green caps of the students having fun look like bright spots on a white background. Manon also looks like a part of the toy world: she looks like an enlarged copy of her favorite doll, which she does not let go of. Here two players appear: a gambler (Elchin Azizov played Manon's brother) and a collector of lovely dolls Geront de Ravoir (Alexander Naumenko) - a remarkable figure, given his attire, where a hat with a veil is added to fashionable (today) cropped trousers and lacquered moccasins.

The scenography of the second act continues the toy theme, but with a change in the figurative vector: what at first seemed cute, here looks rather repulsive. The doll of hypertrophied size occupies most of the room; orchestra pit. The cosmetic flies that Manon demands to “plant” on her face will literally be planted in the form of disgusting insects on the doll. The set design literally conveys the disgust that, frankly, you feel both for the decaying society of which Manon has become a part, and for the heroine herself, especially at the moment of her fatal mistake, when, in her desire to grab a piece of gold (its role is played by the very bugs and spiders on doll) she misses the moment to escape. This one will cost her her life.

The third act is just as effective. The black emptiness of the stage is the one that will engulf Manon. white wedge in the forefront - a small island, the hope of salvation. Here begins the show of outcasts: a transvestite, a prostitute, a black bride, a dwarf, a bodybuilder are exiled to dysfunctional America from decent Europe ... suspense, nowhere. The last action was mentioned above, with the exception of one detail. Four disparate (as the director perceives them) actions are "beaten off" by a black curtain, but are "sewn together" by fragments from the novel of the Abbé Prevost, which are broadcast on the curtain. So Shapiro avoids the need to explain to the viewer why suddenly, having run away with De Grill, Manon finds himself in the rich dwelling of Geronte de Ravoire, or why the captive finds herself with her lover in the desert. (At the time of Puccini, this was obviously not necessary; the contents of the novel were known to visitors to opera houses). In some sense, this technique really helps, in some way it hinders. For example, the famous intermission to the third act, which is often performed as a separate number in concert programs, does not require additions, and one wants to erase all these letters and let this passionate farewell to life sound alone. The same goes for the final. During the last duet, confused inscriptions made by de Grillet's hand appear on the back. The smooth, neat handwriting changes following the experience of the characters, tears drip, blots appear until the entire text is drowned in ink. Remove the letters - and nothing will change ... At least when Anna Netrebko and Yusif Eyvazov are on stage.

“For a second it seemed that we really were in the desert”

Interview with Anna Netrebko and Yusif Eyvazov on the eve of the premiere of the opera Manon Lescaut at the Bolshoi Theater

On the eve of the premiere of Manon Lescaut at the Bolshoi Theater, VTB Senior Vice President Dmitry Breitenbikher met with Anna Netrebko and Yusif Eyvazov, his longtime friends and partners of VTB Private Banking.

Dmitry Breitenbikher: Good afternoon Anna and Yusif. Thank you for taking the time to see me - I know what a busy rehearsal schedule you have before the premiere at the Bolshoi Theater. By the way, as far as I remember, it was at the rehearsals of Puccini's Manon Lescaut at the Rome Opera that you met. Can you say that this is a landmark work for you?

Anna Netrebko: This work in itself is very strong, dramatic, about love. I perform this opera with great happiness and delight every time. Especially when I have such a wonderful, strong and passionate partner with me.

Yusif Eyvazov: This show really means a lot to us. There is something magical in him, some kind of magnetism in the hall and on the stage. Yesterday at the rehearsal, when there was the final scene - the fourth act, I just had tears flowing. This happens to me extremely rarely, because the artist needs to control emotions. And tears and even the slightest excitement are immediately reflected in the voice. I completely forgot about it yesterday. The emotional message and Anya's voice - everything was so strong that for a second it seemed to me that we really were in the desert and these were really the last moments of life.

Dmitry Breitenbikher:Yusif, how was the first meeting with Anna at the production of Manon Lescaut in Rome?

Yusif Eyvazov: Three years have passed, I don't remember the details anymore (laughs). Indeed, this was Rome. Insanely romantic Rome, opera house. For me it was a debut. And of course, it was all very exciting for a person who is just starting a great career. Naturally, I prepared responsibly for this, I learned the game for a year. The game is insanely complex, so I had to work very hard. I arrived in Rome, and there a meeting with Anya takes place, which turned out to be ... Of course, I knew that there was such a singer, a star, but before that I had not tracked her repertoire and performance. She then performed the part so magnificently that I was simply shocked! But I became absolutely happy when I found out that, in addition to a huge talent, she also wonderful person. For a star of this level - a completely normal and easy-to-communicate person (both laugh).

Dmitry Breitenbikher:In the sense of the absence of star disease?

Yusif Eyvazov: Yes exactly. Today, there are very few singers and singers who can boast of this. Because in most cases jumps, oddities and everything else begin. That's how it's getting to know opera stage turned into love. We are very happy.

Dmitry Breitenbikher: You have performed both famous versions of Manon, Puccini and Massenet. What is their difference, which one is more difficult vocally and emotionally? And which Manon would you prefer - Italian or French?

Anna Netrebko: I think that Manon is first and foremost a woman. It doesn't matter what nationality she is. She can be completely different, blonde, brunette - it doesn't matter. It is important that it evokes certain emotions in men: positive, negative, violent, passionate ... This is perhaps the most important thing. As for the image - I have my own vision of this woman. It, in principle, does not change very much from production to production. Everything is clear there, everything is written in the music, in the text, in its character. Only some details can be added or changed.

Dmitry Breitenbikher:Well, for example?

Anna Netrebko: For example, you can make it more experienced. Then from the very beginning she should understand what's what. And you can make her completely innocent at first. That is, it already comes from the desire of the performer or director.

Dmitry Breitenbikher:What about the first part of the question? What is the difference between Puccini's Manon Lescaut and Massenet's opera?

Anna Netrebko: Previously, I very often performed this part in Massenet's opera. Now I have outgrown it a little, it is for younger singers. Besides, I don't think Massenet's Des Grieux part is for Yusif's voice, just as Manon is no longer for my voice. She is wonderful, interesting, but different.

Yusif Eyvazov: Massenet's music is less dramatic. Therefore, in the De Grie part, there is a lighter voice, and, naturally, he is more mobile in the nature of the music. Well, try to move me on stage, it will be a nightmare. Puccini's orchestration is quite heavy, respectively, and the movements of the same De Grieux are much more weighty and sedate, and the vocals are completely different. Technically, I might even be able to, but it seems to me that it would still be such an entrance of an elephant into a china shop. It's better not to.

Anna Netrebko: There is almost nothing from students in Puccini's opera, even the first duet when they meet is rather heavy music, it is so slow, measured. There is absolutely no youthful enthusiasm that Massenet has. It was designed, of course, for other singers.

Dmitry Breitenbikher: You worked with drama director Adolf Shapiro on the new Manon Lescaut. What did this experience bring to you? What was new?

Anna Netrebko: In fact, I want to thank Adolf Yakovlevich for such a wonderful production. It was very comfortable and easy for us to sing. The director took into account absolutely all our problems and difficulties. Where it was necessary to sing - we sang, where it was necessary to concentrate on music - it was done. Again, the performance was very good. I think Adolf Shapiro is simply a wonderful director.

Dmitry Breitenbikher: And what interesting things did he ask you to do in terms of acting, what was new for you?

Anna Netrebko: The biggest conversation was just about the last scene, which is quite static physically, but very emotionally filled. And it was in this scene that Adolf Yakovlevich asked us to do our best through some minimal gestures, through some half steps, half turns - all this should be clearly calculated according to the music, and we worked on this.

Yusif Eyvazov: In general, of course, it is difficult to work on stage when there is nothing there. Well, imagine a completely empty space. There is no chair to sit on, no details to play with, not even sand... There is nothing. That is, only music, interpretation and voice remain. And that's it. I would call the concept of the last act brilliant, where the whole story that we sing is simply written in black letters on a white background. This together with the music causes a very powerful emotions. Like an additional simultaneous translation, like a transcript of what you hear. Tragedy penetrates you in double size.

Dmitry Breitenbikher:Is this your favorite part in the opera?

Yusif Eyvazov: My favorite part is the last one, when everything ends, when I have already sung everything (laughs).

Anna Netrebko: (Laughs) Seriously, Dmitry, I agree with Yusif that the last scene was very strong and thanks to our wonderful director it was very interestingly solved. It was not easy to stage it, but we were given the opportunity to really not think about anything and just sing this wonderful opera. Apparently, this is why it causes such emotions.

Dmitry Breitenbikher: Continuing the theme of the play. Little is known so far: Internet users are intrigued by the sight of a huge doll sitting on the stage. How would you describe what this performance is about?

Anna Netrebko: In general, this opera is rarely performed live. I do not know why. Probably, it is difficult to find performers, it is difficult to stage. It has a very fragmented and not immediately readable, even abstract plot. And it's hard to do a good job. I like the current one very much: both a huge doll and grasshoppers... Somewhere magic and symbolism are manifested in this, somewhere elements of a farce - as, for example, in the same dance of Geronte's seduction. Look, it will be very interesting.

Dmitry Breitenbikher: What feeling did the Bolshoi Theater produce - its space, acoustics? What do you think makes it special compared to others? opera houses peace?

Anna Netrebko: When we first stepped on the stage of the Bolshoi two days ago, we were shocked… The acoustics here are very difficult for the singers who are on stage. I don’t know how it is in the hall, but nothing is heard on the stage. So we both hoarse at once. The scenery is large, the stage is open, that is, there is no wooden plug, sub-sound. As a result, no sound is returned. Thus, it is necessary to work doubly (laughs). Well, then we somehow got used to it.

Yusif Eyvazov: Well, the theater is called "Bolshoi", so the space is large. And of course, as Anya correctly said, at first we did not understand at all whether the sound was coming into the hall or not. Then they calmed us down after the rehearsals and said: I can hear you perfectly, everything is fine. You just have to trust own feelings. This is just the case when you follow your inner feelings, you go, relying on them. At the Bolshoi, you will not hear the return of the voice, as happens at the Metropolitan Opera or the Bavarian Opera. This is a very complex scene. And do not try to fully voice it, this is a disastrous thing. You just need to sing in your normal voice and pray that it will be enough.

On October 16, the premiere of the opera Manon Lescaut took place at the Bolshoi Theater with the support of VTB Bank. The Bolshoi Theater and VTB are connected by many years friendly relations, The Bank is a member of the Board of Trustees of the Theater and non-profit organization"Fund of the Bolshoi Theatre".

– Russian singer, which has been applauded by the whole world for more than one year, performed for the first time at the Bolshoi Theater. The performer herself chose the work for her debut on the most famous stage of the country, appearing before the public in the title role in "". This beautiful opera by G. Puccini has not been staged before at the Bolshoi Theater, but it occupies a special place in fate: while performing it at the Rome Opera, she met Yusif Eyvazov, who later became her husband. In the performance of the Bolshoi Theater, this singer performed the part of the cavalier de Grieux. Equally remarkable performers performed in other parts: Lesko - Elchin Azizov, Geronte - 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 youth of the heroine and the vocal part, which requires a strong voice and considerable experience. Both appear in singers at a fairly mature age. These qualities are there - the artist delighted the audience with the richness of all registers, the richness of timbre colors, the subtlety of nuance and phrasing, and her amazing plasticity allows the experienced singer to look convincing in the image of a young girl. Presenting at first a very young, half-child, in the second act the heroine already looks like a seductive young woman, but as soon as her lover appears, the features of a girl appear again in all her movements, so direct in the sincerity of her feelings. Equally convincing is the 39-year-old Y. Eyvazov in the role of an impulsive young man in love. True, the singer's voice did not always sound even, although in general the performer coped with the part.

Manon Lesko - Anna Netrebko. Cavalier de Grieux - Yusif Eyvazov. Photo by Damir Yusupov

He conducted the performance of Yader Binyamini. The conductor's work made a good impression both on the public and on, who believes that it is very convenient to sing with an orchestra under his direction. The orchestra, choir and soloists' voices sounded balanced and clear, delighting the listeners with 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 "" was directing. Director Adolf Shapiro - like - for the first time collaborates with Bolshoi Theater, but - unlike the singer - showed himself not with better side. The director's idea is not bad in itself: to emphasize in the image of the heroine the features of a girl who has not completely parted with her childhood and 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 fond of 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, which is completely out of harmony with the music of G. Puccini: a giant puppet 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 blunders, the debut at the Bolshoi Theater can be considered successful. I would like to believe that the first role of the singer on the main stage of Russia will not be the last, and the audience of the Bolshoi Theater will discover new facets of her talent.