Demonstrative bohemia of the Bolshoi Theatre. Tickets for the opera "La Boheme" Performance Bolshoi Theater of Bohemia
- debut performance Vladislav Shuvalov who found Puccini's production hopelessly celebratory.
At the end of the 242nd season Grand Theatre presented at New stage Puccini's opera Bohemia» in reading the international composition of directors and artists. The Bolshoi's previous production, dated 1996, directed by the Austrian Federik Mirditta and conducted by the Slovak Peter Feranec, ran for more than 110 performances (the last one took place a year before the new premiere). The presence of the opera in the repertoire of the Bolshoi has been a routine story since the first production of La bohème in 1911. But even successful plots need to be updated occasionally. In fact, it turned out that the previous production essentially differs little from the current one, with the exception of more aesthetic scenography and the fact that historical fact that the director, conductor and singers in the new edition of La Boheme are young people. In view of their age, they should have been expected to be more vigilant with the material.
The directors of La bohème often interpret the tonality of the bohemian audience as an atmosphere of demonstrative sentimentalism and silly gaiety, as if afraid to deviate from the stereotype. Meanwhile, modern theater offers different readings. Klaus Gut last year at the Parisian national opera radically overturned the figurative gallery of "La Boheme": a poor artistic company driven by the disorder of life early XIX centuries in a cold attic, was locked by Gut literally in the capsule of a spaceship plowing the cold expanses of the universe. Lonely astronauts, either from a heightened sense of the approaching end, or from a lack of oxygen, were visited by artistic visions of a past or never-existing life.
photo: Press Service of the Bolshoi Theater
The past and the future are equally distant from their contemporaries, so the ideas of traditionalists about the bohemia of the century before last turn out to be no less utopian than those of Gut. Including due to overly sentimentalized illusions about the holiday of carefree youth. At the same time, initially, in the sketches of the images of bohemia, Balzac and Hugo, as you know, were more realistic. Henri Murger, author of "Scenes from the Life of Bohemia", with an emphasis on own biography described a story about a new stratum of society, unheard of before and not found anywhere else, whose freedom of creativity and relationships was feared in decent circles, while admiring them. Neighbor Mimi, who fell in love with the poet Rudolph, was written off from Murger's mistress, according to legend, who was thrown by him in a very ignoble way to die alone. libretist Luigi Illica was known as a frondeur, participated in the organization of radical magazines and fought duels, the second libretist Giuseppe Giacosa served as a buffer in skirmishes between the hot natures of Puccini and Illika.
Rebellious spirit creative people was reduced to the rules of the game of the genre, and immensely romantic opera for all time, few subsequently dared to modernize. Not daring to bring the characters' characters closer to something more alive and imperfect, the directors invariably directed their efforts to move the audience: undemanding comedy and recorded romance in the first act, boundless carnival in the second, lyrical molasses with a sad ending in the last. Jean Roman Vesperini, director of the new La bohème, who has some experience in drama and opera productions in France, is not working in Russia for the first time. He was an assistant to Peter Stein in "Aida", brilliantly passed in, and Berlioz's dramatic legend "The Condemnation of Faust", staged by Stein at the Bolshoi Theater two years ago. Probably, during this time, Vesperini formed an opinion about the Russian public and the expectations of the customer. He repeatedly voiced the task of aestheticizing Puccini's opera in the style of the film musical "", which in itself sounds somewhat strange from the lips of an opera director, although honestly.
The aesthetic bet is as opportunistic as it is little erroneous: in Russia they still love everything sparkling bright with a claim to glamor, despite the fact that since the release best movie Luhrmann "" the handwriting of the Australian, if not hopelessly, then surely outdated. In addition, the glamorous design contradicts the essence of the bohemian image - circles of penniless artists and, in general, marginal art workers for the sake of art, close to glamorous characters, perhaps a high degree impudence in the representation of artistic abilities. More importantly, the dizzying style of the Australian postmodernist requires from his followers, first of all, an impeccable sense of montage rhythm and perfectionism in creating details, which on the chosen path of bridled aestheticization can turn out to be not a boon for the director, but a footstep.
By tradition, "La Boheme" unfolds in three scenery: an attic with a wide window - a street in the Latin Quarter - the outpost d'Anfer. Scenography Bruno de Lavenera- most accommodating component staging. The attic is presented by him as a three-story structure, which occupies only a third of the stage, and performs the task of a limited space in which the Bohemians - a poet, painter, philosopher and musician - are difficult but cheerfully huddle. The rest of the stage, to the right and left of the "attic section", is covered with a curtain. An image of roofs with chimneys and chimneys is projected onto the curtain. The singers entered the first act, being on the second level of the bookcase, where the table and the famous stove were located, to which the first libations of the artists, frozen on Christmas Eve, are turned. The performances of the singers at the height provided better visibility happening from the gallery and tiers, but complicated the contact of the artists with the orchestra. The hands of the American conductor Evan Rogester now and then soared over orchestra pit. By the way, the singers got to the third floor of their own attic only once.
photo: Press Service of the Bolshoi Theater
The transition from the first to the second act did not require the usual pause for a change of scenery. The design of the attic effectively parted in different directions, revealing the coveted breadth of the stage space, which the viewer managed to get bored with. The merriment of Christmas Eve in the performance was simply replaced by the solemn bustle of the Latin Quarter: fifty extras poured onto the stage of the Bolshoi - idle revelers. The back was decorated with randomly crossed LED strips, giving birth to a whimsical geometric figure, as if accidentally flown from the future times of "non-figurative art". In the distance, the integral blades of the Moulin Rouge mill could be seen.
The costumes of extras and choristers, made according to the patterns of clothes of incomprehensible eras, besides, blatant colors - lilac, light green, purple, cherry, turquoise, lemon - evoked a relentless feeling of either an overzealous masquerade, or a children's matinee. The appearance of the toy salesman Parpignol in a burning scarlet suit (tenor Marat Gali on a bicycle), oiled by a chorus of children's voices, as well as the performance of the "lady with a dog". Musetta ( Damiana Mizzi) appeared accompanied by a white poodle, excellently trained, and undoubtedly gave the artist a share of the audience tenderness. Among the daring images that one would expect from a young production (but which are scarce to avarice), I remember a guardsman throwing off his army pants, under which there was a ballet tutu.
If the second act was presented in the style of a variety show, in which the Momus Cafe was elegantly painted with an arch of light bulbs, obviously reminiscent of the backlighting of a cabaret stage, then the third act, on the principle of dramatic contrast professed by Vesperini, was decided in the opposite way. The scenery of the outpost d'Anfer on the outskirts of Paris consisted of located under acute angle three sections - a flight of stairs, a fence made of rods and a brick wall. An old-fashioned lantern towered in an opening in the wall, and from above, streams of diffusing foggy light poured over the entire scenery, like a melancholy sketch in the spirit of the Impressionists.
The stylistic diversity of the design was supported by constantly bright male voices the second composition of the opera. Tenor Davide Giusti(by the way, he already performed the part of Rudolf with Himmelmann-Currentzis) and baritone Aluda Todua mercilessly exploited the lyrical side of their characters in such a way that it was hard to believe in the drama of the finale. Permission again came from the field of scenography. In the final episode of Mimi's death, the structure of the attic was torn apart, which strengthened the sad meaning of the moment: all the living heroes remained on one side of the open structure, and on the other, the bed with Mimi who died alone floated away into eternity.
photo: Press Service of the Bolshoi Theater
On the sidelines, there were reproaches to the orchestra, which did not keep pace with the distinctly emotional interpretation Evan Rogester– a young, smiling conductor in black, who also worked with Peter Stein and has already staged two La Bohemes. Rogester himself admitted that he was looking for a sound analogy for the violent emotionality of the characters, although it would be more reasonable to assume that the orchestra confidently limited and directed the singers, including Maria Mudryak, who put all her temperament into the part of Mimi and savored the obvious and imaginary misfortunes of her heroine.
Responding with a festive mood and impregnably monotonous charm, the production evoked an expectedly favorable impression on the public. The classic character of the opera about picturesque vagabonds and consumptive beauties, in which a slightly caricatured tragedy coexists with a frontal elevation, has again survived. The repertoire hit has taken place and is likely to remain within the traditional notions of "La Boheme" for another 20 years.
photo: Press Service of the Bolshoi Theater
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The origins of the concept of “bohemia” lie in the incredible popularity in France of the 30s and 40s of the so-called gypsy myth, the basis for which was the adventurous and wandering lifestyle of the young inhabitants of the streets of Paris, free from the norms of public morality. For a long time, the harmonious word "bohemia" gave rise to exclusively criminal, and not artistic or artistic associations. Card sharpers, clochards and thieves - that's who proudly bore the name "bohemian".
The son of the concierge, journalist and writer Henri Murger poetized and embellished the life of the Parisian bohemia. Murger's "Homer of Parisian bohemia" created a reverent legend about the talent and nobility of the inhabitants of the Latin Quarter. Hungry ragamuffins and sloppy, vulgar girls he transformed into restless dreamers and charming charmers. “Scenes from the Life of Bohemia” (1851), which glorified the name of Murger throughout Europe, not only lured to the “Latin land” seekers of truth and adventure who had broken out of the narrow framework of a respectable life, but also inspired more than one generation of artists and writers to test their creative temperament.
In 1893, two composers, Ruggero Leoncavallo and Giacomo Puccini, decided to write an opera based on a story from Murger's novel. Puccini, who wanted to sing of his beggarly but cheerful student youth, turned out to be more agile and came to the finish line first. His La bohème premiered on February 1, 1896 (a tedious long work librettists still dragged out the case very much). The maestro was dissatisfied with the city of Turin chosen for the premiere: after all, in the Turin theater Del Reggio, he explained to his friend and publisher Giulio Riccordi, not only was there no good acoustics, but encores were also prohibited. Encores did not come to Turin. The public greeted Puccini's new composition with polite applause, and the critics with angry articles.
"La Boheme" was predicted to have a short fate, the composer was advised to understand his mistakes and return to the road true art, where Manon Lescaut led him three years ago. Puccini was unlucky with the actors: the performer of the part of the artist Marseille turned out to be a terrible actor, and the performer of the part of the poet Rudolph turned out to be a worthless singer. But that evening, twenty-eight-year-old Arturo Toscanini stood at the conductor's stand. “After the premiere of La bohème,” Puccini recalled, “sadness and melancholy crowded in me, I wanted to cry ... I spent a terrible night, and in the morning I was greeted with a malicious greeting from the newspapers.” Criticism changed its mind rather quickly. In April next year in Palermo, the opera has already passed with a bang.
Ludmila Danilchenko
"La Boheme" Bolshoi Theater
A year after the premiere, held in Turin (1896), La bohème was heard in Moscow performed by the artists of Savva Mamontov's Private Opera, among whom Nadezhda Zabela (Mimi) and Fyodor Chaliapin (Shonard) appeared.
And it entered the repertoire of the Bolshoi Theater in 1911 thanks to the efforts of Leonid Sobinov, who ordered a new translation into Russian and not only performed the part of Rudolf, but also acted - for the first time - as a stage director. The performance was supported by the choristers of the theater (the premiere was given as a benefit performance of the choir), but it did not stay in the repertoire.
Unlike the first European productions of this famous operatic melodrama (at London's Covent Garden Theater the same performance was kept from 1897 to 1974, in Parisian Opera Comedian - from 1898 to 1972), in the Big "La Boheme" did not differ in longevity. Not before the revolution, not after. Although the first "Soviet" production was carried out just four years after the victorious October 17th.
In 1932, taking into account the intimacy of this opera, the new La bohème was sent to the stage of the branch, where, again, she lived for a very short time and where she was revived by the efforts of the next production group in 1956. An amusing and not quite typical story for those times is connected with the "La Boheme" of the 56th year. With this production, entry into opera world famous conductor of Polish origin Jerzy Semkov, a graduate of the Leningrad Conservatory, who trained at the Bolshoi Theater. (Three years after this premiere, he would become the chief conductor of the Warsaw Bolshoi Theater, and two years later he would leave for the West.) Distinguished by a proud and independent disposition, young Semkov considered it necessary to respond to criticism (balanced by praise) through the newspaper of the Bolshoi Theater, explaining individual miscalculations few rehearsals. However, this did not hurt his future career at all.
The current production entered the repertoire in 1996 to mark the centenary of the Turin premiere. It was successful work a year before Peter Feranec was appointed chief conductor of the Bolshoi Theater Orchestra. The critics were almost unanimous: the orchestra, conducted by a Slovak conductor, perfectly conveyed both the transparent impressionism of the music and its tartness, once again reminding that Puccini is the 20th century (at the end of the 20th century, this characteristic was still perceived as a synonym for the definition of "modern"). The then Vienna Bolshoi Theater Foundation, which supported the production, recommended the strong Austrian traditionalist director Federik Mirdita to the theater. At this production, the well-known St. Petersburg artist Marina Azizyan made her debut at the Bolshoi, and a year later Vladimir Vasiliev suggested that she draw her own version of " swan lake».
Of the storage units related to La Bohème, the Bolshoi Museum is especially proud of (in addition to sketches of scenery by Konstantin Korovin and Fyodor Fyodorovsky, in different time designed for the productions of this opera) is the first edition of the clavier (Ricordi and Company, Milan, 1896), decorated with the autograph of the composer himself.
Natalya Shadrina
about the performance
The opera La bohème by Giacomo Puccini is one of his best works. At one time, this creation was not accepted by critics, moreover, he was predicted to have a short fame. Nevertheless, the opera has passed through the centuries and is now successfully staged at the leading theater venues in the world. Anyone who decides to order tickets for the opera La Bohème at the Stanislavsky and Nemirovich-Danchenko Theater staged by Alexander Titel can be convinced of the genius of Puccini's work.
The libretto for "La Boheme" was written according to novel of the same name Henri Murger, but in the production the story is not told directly, but as a memory of what is gone forever. In general, it is based storyline lies the history of the inhabitants of one of the poorest districts of Paris - Bohemians, as students and the poor who were unemployed were then called. Two pairs of young people throughout the performance find out the relationship between themselves. The finale of the story is sad - the death of one of the heroines, Mimi, over whose body her beloved Rudolf is crying.
It can be said without exaggeration that the opera "La Boheme" at the Stanislavsky and Nemirovich-Danchenko Theater, for which our ticket agency offers tickets, is a real gem and decoration of the theater's repertoire. It has everything that delights the modern viewer - perfect music, a touching story and great game actors. Tickets for this opera can be ordered online or by phone.
The duration of the performance is 2 hours 20 minutes (with one intermission).
Composer Giacomo Puccini
Libretto by Luigi Illica and Giuseppe Giacosa
Musical Director and Conductor Volf Gorelik
Conductor Felix Korobov
Stage director Alexander Titel
Production Designer Yuri Ustinov
Costume designer Irina Akimova
Lighting designer Ildar Bederdinov
Genre Opera
Number of acts 4
Spoken language Italian
Original title La Boheme
Duration 2 hours 20 minutes (one intermission)
Premiere date 01/07/1996
Age limit 12+
The performance is a laureate of the Russian National theater awards "Golden Mask"1997 in 2 nominations (" best job director"; "the best female role- Olga Guryakova).
Ticket price: from 1500 to 4000 rubles.
Conductor - Felix Korobov
Rudolph - Chingis Ayusheev, Nazhmiddin Mavlyanov, Artem Safronov
Mimi - Khibla Gerzmava, Elena Guseva, Natalia Petrozhitskaya
Marseille - Dmitry Zuev, Ilya Pavlov, Alexey Shishlyaev
Musetta - Irina Vashchenko, Maria Pakhar
Schonar - Andrey Baturkin, Dmitry Stepanovich
Collen - Denis Makarov, Roman Ulybin, Dmitry Ulyanov
Benois / Altsindor - Vladimir Svistov, Dmitry Stepanovich
Parpignol - Thomas Baum, Vyacheslav Voinarovsky
The action takes place in the cold attic of the poor artist Marcel. Because of his frozen hands, the creator cannot finish his painting Crossing the Red Sea. His friend, the writer Rudolph, looks with envy at the smoking chimneys of the roofs of Parisian houses. In order to save themselves from the cold, the guys decide to kindle the fireplace with at least something. The choice is between Marcel's painting and the first act of Rudolf's work, which he sacrifices for the sake of salvation. Warmth radiates into the room.
The appearance of the third friend is accompanied by humorous attacks on the fragility of Rudolf's drama, because the fire consumed the work too quickly. The musician, on the other hand, lays gourmet treats on the table: cheese, wine, cigars and firewood. The comrades are at a loss as to where poor Schaunard has such riches. The guy says that he completed the instructions of one Englishman - to play the violin to death an annoying parrot, which he did with ease.
Fun spoils the arrival of the owner of the house - Benoit, who decided to Once again remind about the debt payment for renting an apartment. The company invites the owner to taste the dishes, thus appeasing him. Talk about love affairs soon makes the owner loosen up and leave the apartment laughed in embarrassment. The guys divide the available money equally and go to their favorite cafe.
There they meet the charming Mimi, who asks them to help light her candle. The lights go out and Rudolf and Mimi are left alone in a dark room. frank conversations about love engender fiery feelings in their hearts. They walk out of the room hand in hand.
Arriving at the Christmas market, everyone buys gifts for himself and his loved ones: Schaunard - a horn, Colin - a stack of books, Rudolf - a cap for Mimi. Only Marcel does not spend money, yearning for his ex-lover Musette. The company goes to a cafe, where they meet Musetta, accompanied by a rich suitor Alcindor. Between former lovers the fire of passion flares up again, and after the annoying Alcindor leaves, Musetta and Marcel with the whole company run away from the cafe, leaving unpaid bills to the abandoned guy.
Act II
Morning comes and Mimi comes to Marcel for advice. She confesses her love for Rudolf and shares her fears about their imminent separation. Marcel convinces them that it will be most useful for them to part, since both of them are not ready for serious relationship. Rudolf enters, Mimi hides. Rudolf tells true reason parting with Mimi - her incurable disease. Mimi, unable to control her cough, betrays herself. But the memories of life together do not leave the couple and they decide to postpone the separation until spring.
Act III
Several months pass. Marcel and his friend Rudolph are alone in the attic again. Both yearn for past happiness. Marcel looks at the portrait of Musetta, and Rudolf looks at Mimi's cap. Colin and Schaunard arrive, laying stale bread and herring on the table.
In the midst of the fun, Musetta appears and tells the sad news: Mimi is dying. Wishing in last time to see her lover, Mimi barely reaches the attic. Each of those present is trying to do at least something to alleviate the fate of Mimi. Marcel sells earrings intended for Musetta, while Musetta herself runs after her muff, passing it off as a gift from Rudolf. Mimi falls asleep with a smile on her face. Marcel says that the doctor is about to arrive, but the girl is dying...
