Performance a netrebko in the Bolshoi Theatre. Anna Netrebko - Manon Lesko: for the first time at the Bolshoi Theater
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.
On October 16, the opera Manon Lescaut by Giacomo Puccini will be presented for the first time at the Bolshoi Theater. The main roles will be performed by Anna Netrebko (Manon) and her husband Yusif Eyvazov (Chevalier René de Grieux). Tickets sold out a long time ago. And as the director of the Bolshoi Theater Vladimir Urin says, he hasn’t picked up the phone for several days, since he won’t be able to give a free pass even to his acquaintances.
"Manon Lescaut" is a special event for music lovers. The project was not in the plans of the Bolshoi. A year ago, the theater management began negotiations with the world opera star Anna Netrebko. She was offered any production for historical scene Big. Prima chose Manon Lescaut. On the eve of the premiere, a press conference was held at the Bolshoi Theatre.
“It is an honor for me to perform on the stage of the Bolshoi Theatre: I have never been here before,” Anna stunned the audience. - Manon Lescaut is one of my favorite operas. It is dramatic, about love, and I perform it with great happiness and delight.
For me, working with Anna is not only a pleasure, but also a study,” said Eyvazov. - Although at home she does not sing me.
It turned out that not only Eyvazov is studying with Anna.
“I learn a lot from Anna and Yusif, I admire the patience with which they approach their work,” says conductor Yader Binyamini, specially invited from Italy. - Even though they are masters the highest level, they very often ask me for advice and some recommendations. We worked in an atmosphere of mutual respect.
Staged the opera "Manon Lescaut" director drama theater Adolf Shapiro. In his track record productions at the Moscow Art Theater named after Chekhov, the Snuffbox, the Mayakovsky Theater, RAMT, etc. It is also in demand abroad. Work on opera stage for him - a kind of discovery. And a world-class star at work is just a student.
I work a lot abroad from Shanghai to Sao Paulo, and for me there are no differences between our or foreign artists, just as there is no difference - Smoktunovsky, Netrebko or a student, - Adolf Shapiro admitted to Izvestia. - If I adapt to them, there will be nothing left of me. As for working with Anna, I am inspired by the way she sings. She is a great artist. The very fact that such an artist is on stage becomes art. Even if she didn’t go there and did the wrong thing. I'm interested in her plasticity, reaction, nature.
Unlike the singer, the director has visited the Bolshoi Theater more than once. According to Adolf Yakovlevich, in his youth, as a student, he watched Borodin's Polovtsian Dances from the third tier. And now he comes to the Bolshoi to work like home. Since he has been day and night here for more than one month.
It is difficult to make a good production, but thanks to Adolf Shapiro, it was a pleasure to work on the performance, - says Anna Netrebko. - If I don't like the director's approach and his vision of the role, I just leave.
It didn't happen here. Anna, together with Yusif, flew to Moscow a few days ago. And when she first appeared on the theater stage, she was literally shocked.
The acoustics on the stage of the Bolshoi is very difficult for singers. Due to the massive scenery and large space, the sound does not return to the performer. You have to work twice. In the first days of rehearsals, I had a real shock. Well, then somehow got used to it.
The finale of the opera is tragic.
There are singers who love to die on stage, they live it, - says Netrebko. - I do not like it, but when necessary, I enter this state. It costs me a lot, because I really really experience stress. Then it affects my body. Well, what can I do, I chose such a profession.
As Anna jokes, after they play a performance on October 22, she and her husband will celebrate their performance at the Bolshoi on a grand scale. And the theater management is already making plans for further projects with the couple. Anna and Yusif will return to the Bolshoi more than once, in their absence the second line-up will appear on the stage - Ainoa Arteta (Spain) and Riccardo Massi (Italy).
For those who cannot get to the Bolshoi Theater, the Kultura channel will broadcast the opera Manon Lescaut on October 23.
Anna Netrebko. Photo - Izvestiya / Pavel Bednyakov
The star of the world opera stage will take the stage of the Bolshoi Theater for the first time in his favorite opera Manon Lescaut.
On October 16, 2016, the opera Manon Lescaut by Giacomo Puccini will be presented for the first time at the Bolshoi Theater.
The main roles will be performed by Anna Netrebko (Manon) and her husband Yusif Eyvazov (Chevalier René de Grieux).
Tickets sold out a long time ago. And as the director of the Bolshoi Theater Vladimir Urin says, he hasn’t picked up the phone for several days, since he won’t be able to give a free pass even to his acquaintances.
"Manon Lescaut" is a special event for music lovers. The project was not in the plans of the Bolshoi. A year ago, the theater management began negotiations with world opera star Anna Netrebko. She was offered any production on the Historical stage of the Bolshoi. Prima chose Manon Lescaut. On the eve of the premiere, a press conference was held at the Bolshoi Theatre.
“It is an honor for me to perform on the stage of the Bolshoi Theatre: I have never been here before. Manon Lescaut is one of my favorite operas. It is dramatic, about love, and I perform it with great happiness and delight”,
– stunned the audience Anna.
Anna Netrebko, Yusif Eyvazov. Photo - Izvestiya / Pavel Bednyakov “For me, working with Anna is not only fun, but also learning. Although at home she does not sing me,
Eyvazov said. It turned out that not only Eyvazov is studying with Anna.
“I learn a lot from Anna and Yusif, I admire the patience with which they approach their work. Despite the fact that they are masters of the highest level, they very often ask me for advice and some recommendations. We worked in an atmosphere of mutual respect”,
- says Yader Binyamini, specially invited from Italy.
The opera "Manon Lesko" was staged by the director of the Drama Theater Adolf Shapiro. In his track record of staging at the Moscow Art Theater named after Chekhov, the Snuffbox, the Theater. Mayakovsky, RAMT, etc. It is also in demand abroad. Work on the opera stage for him is a kind of discovery. And a world-class star at work is just a student.
“I work a lot abroad from Shanghai to Sao Paulo, and for me there are no differences between our or foreign artists, just as there is no difference - Smoktunovsky, Netrebko or a student. If I adapt to them, there will be nothing left of me.
As for working with Anna, I am inspired by the way she sings. She is a great artist. The very fact that such an artist is on stage becomes art. Even if she didn’t go there and did the wrong thing. I am interested in her plasticity, reaction, nature”,
Adolf Shapiro admitted.
Unlike the singer, the director has visited the Bolshoi Theater more than once. According to Adolf Yakovlevich, in his youth, as a student, he watched Borodin's Polovtsian Dances from the third tier. And now he comes to the Bolshoi to work, as if he were home. Since he has been day and night here for more than one month.
“It is difficult to make a good production, but thanks to Adolf Shapiro, it was a pleasure to work on the performance. If I don't like the director's approach and his vision of the role, I just leave.
Vladimir Urin, Anna Netrebko, Yusif Eyvazov. Photo - Izvestiya / Pavel Bednyakov - says Anna Netrebko. It didn't happen here. Anna, together with Yusif, flew to Moscow a few days ago. And when she first appeared on the theater stage, she was literally shocked.
“Acoustics on the stage of the Bolshoi is very difficult for singers. Due to the massive scenery and large space, the sound does not return to the performer. You have to work twice. In the first days of rehearsals, I had a real shock. Well, then somehow got used to it.”
The finale of the opera is tragic.
There are singers who love to die on stage, they live it. I do not like it, but when necessary, I enter this state. It costs me a lot, because I really really experience stress. Then it affects my body. Well, what can I do, I chose such a profession,
Adolf Shapiro. Photo - Izvestiya / Pavel Bednyakov Netrebko says. As Anna jokes, after they play a performance on October 22, she and her husband will get drunk on such an occasion.
And the theater management is already making plans for further projects with the couple. Anna and Yusif will return to the Bolshoi more than once, in their absence the second line-up will appear on the stage - Ainoa Arteta (Spain) and Riccardo Massi (Italy).
For those who cannot get to the Bolshoi Theater, the Culture channel will broadcast the opera Manon Lescaut on October 23, 2016.
In 1993 she became the winner All-Russian competition vocalists. M. I. Glinka (I Prize, Smolensk).
In 1996 - Laureate II International Competition young opera singers them. N. A. Rimsky-Korsakov (III Prize, St. Petersburg).
In 1998, she won the Russian music award "Casta diva" in the nomination "Role of the Year" (for the role of Suzanne in "The Wedding of Figaro").
In 2004 - laureate State Prize Russian Federation. Marked by the Austrian music award"Amadeus" for the album "Opera Arias" (Vienna philharmonic orchestra, dir. J. Noseda, 2003).
In 2006, she won the Bambi Award / Bambi Award in the Classic category.
In 2007, she was named Musician of the Year by Musical America magazine.
In 2008 she was awarded the title People's Artist Russia.
Laureate of the highest theater award St. Petersburg "Golden Soffit" (1998-2001, 2003, 2005, 2009).
Winner of the Classical BRIT Awards in the nomination "Singer of the Year" (2007, 2008).
Winner of the ECHO Klassik award in the nomination "Singer of the Year" (2004, 2005, 2006, 2007, 2008, 2009, 2014, 2016).
Inducted into the Gramophone Hall of Fame.
Biography
Born in Krasnodar. In 1988 she entered the Leningrad School of Music to the vocal department. Two years later, she entered the St. Petersburg Conservatory named after N.A. Rimsky-Korsakov, where she studied in the class of Professor T. Novichenko.After winning the competition named after M.I. Glinka in 1993 was invited to the troupe of the Mariinsky Theater. Her debut role in this theater was Susanna in Le nozze di Figaro by V.A. Mozart (1994). Soon, already as a leading soloist, she performed the following parts at the Mariinsky stage: Lyudmila ("Ruslan and Lyudmila"), Xenia ("Boris Godunov"), Marfa (" royal bride”), Louise (“Betrothal in a Monastery”), Natasha Rostov (“War and Peace”), Rosina (“The Barber of Seville”), Amina (“Somnambula”), Lucia (“Lucia di Lammermoor”), Gilda (“Rigoletto ”), Violetta (“La Traviata”), Musetta and Mimi (“La Boheme”), Anthony (“Tales of Hoffmann”), Donna Anna and Zerlina (“Don Juan”) and others.
In 1994, as part of the Mariinsky Theater troupe, touring activities began abroad. The singer performed in Finland (Festival in Mikkeli), Germany (Festival in Schleswig-Holstein), Israel. In the same year she performed the part of the Queen of the Night in " Magic flute» (Riga Independent Opera Avangarda Akadēmija).
In 1995 she made her debut at the San Francisco Opera with the part of Lyudmila in M. Glinka's Ruslan and Lyudmila. In 1999-2001, she continued her collaboration with the theatre, taking part in productions of the operas Betrothal in a Monastery, Marriage of Figaro, Idomeneo, La Boheme and L'elisir d'amore.
In 2002, together with the Mariinsky Theater, she made her debut at the Metropolitan Opera as Natasha (War and Peace, Andrei - Dmitri Hvorostovsky). She also performed this role, one of the best in her repertoire, on the stages of the Real Theater in Madrid, La Scala in Milan, the Royal Opera House in London, Covent Garden and at the Moscow Easter Festival. In 2002, she made her first appearance at the Philadelphia Opera House, singing the role of Juliet (V. Bellini's Capuleti and Montagues). In the summer of the same year, she made her debut as Donna Anna in the opera Don Giovanni by V.A. Mozart, which was held as part of the Salzburg Festival under the direction of Nikolaus Arnoncourt.
After a triumphant performance at the Salzburg Festival, Anna Netrebko began to appear on the stages of the most famous opera houses, including the Metropolitan Opera, the San Francisco Opera House, the Royal Opera House, Covent Garden (Donna Anna in Don Giovanni by W.A. Mozart, 2003), the Vienna State Opera, the Paris national opera, the Berlin State Opera and the Bavarian State Opera (Violetta in Verdi's La Traviata, with Rolando Villazon, 2003), the Los Angeles Opera (the title role in Donizetti's Lucia di Lammermoor, 2003). In the same 2003, she signed an exclusive contract with Deutsche Grammophon.
Anna Netrebko performs with major conductors - Valery Gergiev, James Levine, Seiji Ozawa, Nikolaus Harnoncourt, Zubin Meta, Colin Davis, Claudio Abbado - on the most famous stages in the world. It can be heard as in the legendary music halls- New York's Carnegie Hall, London's Barbican Center and Albert Hall - and in stadiums where she sings for tens of thousands of spectators. Anna Netrebko's concerts open sky with Plácido Domingo and Rolando Villazón in Berlin's Waldbühne for the World Cup and Schönbrunn Palace in Vienna for the European Football Championship were televised to millions of people around the world. At the opening ceremony of winter XXII Olympic Games sang the Olympic anthem in Sochi.
In 2013, at the Verbier Festival, she performed for the first time the role of Desdemona in Act I of Verdi's Otello (conductor Valery Gergiev) and made her debut in the title role in Verdi's Joan of Arc at the Salzburg Festival (concert performance, with the participation of Placido Domingo and Francesco Meli). Together with Thomas Hampson and Ian Bostridge, Anna Netrebko performed B. Britten's War Requiem (conductor Antonio Pappano).
Among recent engagements: Leonora in Il trovatore by G. Verdi (Metropolitan Opera, Paris Opera, Berlin State Opera, Salzburg Festival), title roles in Macbeth (Metropolitan Opera, Munich Opera Festival) and Joan of Arc by G. Verdi (La Scala), Manon Lescaut by G. Puccini (Rome Opera Theatre, Vienna Opera, Salzburg Festival), Anna Boleyn (Zurich Opera House, Vienna State Opera), Iolanthe (Monte Carlo Opera), Tatiana in Eugene Onegin (Vienna State Opera, Munich Opera Festival); also in 2016 she performed the part of Elsa in R. Wagner's Lohengrin for the first time ( Mariinskii Opera House, Dresden State Opera, director Christina Militz).
In 2016, at the Bolshoi Theater, she took part in a production of Puccini's Manon Lescaut, performing the title role (stage conductor Yader Binjamini, stage director Adolphe Shapiro).
Discography
CD1997 - M. Glinka "Ruslan and Lyudmila", part of Lyudmila (conductor Valery Gergiev, Philips).
1998 - S. Prokofiev "Betrothal in a Monastery", part of Louise (conductor Valery Gergiev, Philips).
2001 - S. Prokofiev "Love for Three Oranges", part of Ninetta (conductor Valery Gergiev, Philips).
2003 - "Opera arias" (V. Bellini, G. Donizetti, J. Massenet, G. Berlioz, A. Dvorak and others, conductor Gianandrea Noseda, Deutsche Grammophon).
2004 - Semper Libera (arias from operas by V. Bellini, G. Donizetti, G. Verdi, G. Puccini, conductor Claudio Abbado, Deutsche Grammophon).
2005 - G. Verdi "La Traviata" (conductor Carlo Rizzi, Deutsche Grammophon).
2005 - S. Prokofiev "Betrothal in a Monastery" (conductor Valery Gergiev, Deutsche Grammophon).
2006 - "Mozart Album" (Deutsche Grammophon).
2006 - Violetta: arias and duets from "La Traviata" by G. Verdi (with Rolando Villazon, T. Hampson, Deutsche Grammophon).
2007 - "Russian Album" (M. Glinka, P. Tchaikovsky, N. Rimsky-Korsakov, S. Rachmaninov, S. Prokofiev, conductor Valery Gergiev, Deutsche Grammophon).
2007 - "Duets" (with Roland Villazon, Deutsche Grammophon).
2008 - "Souvenirs" (M.-A. Charpentier, L. Arditi, E. Grieg, A. Dvorak, N. Rimsky-Korsakov, J. Offenbach and others, Deutsche Grammophon).
2008 - G. Puccini "La Boheme" (conductor Bertrand de Billy, Deutsche Grammophon).
2008 - V. Bellini "Capulets and Montecchi", part of Juliet (conductor Fabio Luisi, Deutsche Grammophon).
2010 - "In The Still Of Night" (N. Rimsky-Korsakov, P. Tchaikovsky, A. Dvorak, R. Strauss, Concert at the Berlin Philharmonic, 2010; piano part - Daniel Barenboim, Deutsche Grammophon).
2011 - G. Rossini "Stabat Mater" (conductor Antonio Pappano, EMI).
2011 - G. Pergolesi "Stabat Mater" (conductor Antonio Pappano, Deutsche Grammophon).
2013 - "Verdi", arias from the operas "Don Carlos", "Joan of Arc", "Macbeth", "Il trovatore", "Sicilian Vespers" (with Rolando Villazon, conductor Gianandrea Noseda, Deutsche Grammophon).
2013 - B. Britten "War Requiem" (conductor Antonio Pappano, Warner Classics).
2014 - G. Verdi "Joan of Arc", (conductor Paolo Carignani, Deutsche Grammophon).
2014 - R. Strauss "Four latest songs and A Hero's Life (conductor Daniel Barenboim, Deutsche Grammophon).
2015 - P. Tchaikovsky "Iolanthe" (conductor Emmanuelle Vuillaume, Deutsche Grammophon).
2016 - Verismo, arias from operas by G. Puccini, F. Cilea, R. Leoncavallo and others (with Yusif Eyvazov, conductor Antonio Pappano, Deutsche Grammophon).
2003 - M. Glinka "Ruslan and Lyudmila" (conductor Valery Gergiev, Philips).
2003 - Anna Netrebko. Woman. The Voice (directed by Vincent Patterson, Deutsche Grammophon).
2005 - S. Prokofiev "Betrothal in a Monastery" (conductor Valery Gergiev, Philips).
2006 - G. Donizetti "Love Potion" (conductor Alfred Eshwe, Virgin).
2006 - G. Verdi "La Traviata" (conductor Carlo Rizzi, Deutsche Grammophon).
2007 - V. Bellini "The Puritani" (conductor Patrick Summers, Deutsche Grammophon).
2008 - J. Massenet "Manon" (conductor Daniel Barenboim, Deutsche Grammophon).
2008 - V.A. Mozart Le nozze di Figaro (conductor Nikolaus Harnoncourt, Deutsche Grammophon).
2008 - "Concert in Berlin" (with Placido Domingo and Rolando Villazon, conductor Marco Armigliato, Deutsche Grammophon).
2009 - G. Puccini "La Boheme" (film, directed by Robert Dornhelm).
2010 - G. Donizetti "Lucia di Lammermoor" (conductor Marco Armigliato, Deutsche Grammophon).
2011 - G. Donizetti "Anna Boleyn" (conductor Evelino Pido, Deutsche Grammophon).
2011 - G. Donizetti "Don Pasquale" (conductor James Levine, Deutsche Grammophon).
2012 - G. Puccini "La Boheme" (conductor Daniele Gatti, Deutsche Grammophon).
2014 - G. Verdi "Trovatore" (conductor Daniel Barenboim, Deutsche Grammophon).
2014 - "Anna Netrebko at the Salzburg Festival" (G. Verdi "La Traviata", W.A. Mozart "The Marriage of Figaro", G. Puccini "La Boheme", conductor Daniele Gatti, Deutsche Grammophon).
2014 - P. Tchaikovsky "Eugene Onegin" (Metropolitan Opera, conductor Valery Gergiev, Deutsche Grammophon).
2015 - G. Verdi "Macbeth" (conductor Fabio Luisi, Deutsche Grammophon).
2015 - V.A. Mozart "Don Giovanni" (La Scala Theatre, conductor Daniel Barenboim, Deutsche Grammophon).
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.
