Name: Pikovaya Dama
Start: 2024-02-28T00:00:00.000Z
End: 2024-02-29T00:00:00.000Z
Location: Krasnoyarsk State Opera Theatre

Organization

Admin

Krasnoyarsk State Opera

Diretor de Palco

Yuliana Malkhasyants

Cenógrafo

Dmitry Cherbadzhi

Assistant Stage Director

Vera Izotova

Maestro

Dmitri Jurowski

Cantor

Tenor

Mikhail Gubsky

Herman

Davit Yesayan

Roman Muravitsky

Mikhail Pirogov

Sergey Polyakov

Vitaly Serebryakov

Mikhail Urusov

Soprano

Irina Vashchenko

Lisa

Anna Kiseleva

Svetlana Ratslaf-Levtchuk

Mezzo-soprano

Olga Basova

Condessa

Irina Bogacheva

Irina Dolzhenko

Nina Kirienko

Barítono

Pavel Antsiferov

Conde Tomskij

Vladimir Yefimov

Alexey Zelenkov

Andrei Silenko

Alexey Sokolov

Oleg Alekseev

Príncipe Eletskij

Alexey Bocharov

Alexander Mikhalev

Roman Hobta

Contralto

Polina

Victoria Kangina

Agunda Kulaeva

Daria Ryabinko

Edward Harutyunyan

Chekalinsky

Evgeny Baldanov

Andrey Kolobov

Baixo

Anatoly Berezin

Surin

Nikolay Mishenev

Dmitry Ryabtsev

Boris Sabirov

Chaplitsky

Ilya Krivchikov

Narumov

Vyacheslav Nechipurenko

Larisa Plotnikova

Governanta

Natalia Plotnikova

Ekaterina Zubkova

Masha

Olga Monastyrshina

Anna Kharitonova

Alexey Pereprygin

Mestre de Cerimônias

Designer de Iluminação

Elena Kopunova

Estilista

Elena Dolgaleva

Mestre de Coro

Dmitry Hodosh

Alexander Fedorov

Pikovaya Dama -  (Dama de Espadas)

Krasnoyarsk

Rússia

Krasnoyarsk State Opera Theatre

Pikovaya Dama Tchaikovsky, P. I.

Public

Dama de Espadas

Samabedona Majumder

Approved

TC Yenisei, Morning on the Yenisei, Davit Yesayan invites you to the opera "The Queen of Spades"

All of us look in Napoleony;
Biped creatures millions
For us tool one.
To us the feeling is wild and ridiculous.
A.S. Pushkin

The ingenious creation of Tchaikovsky drew attention of such directors, as L. Mikhaylov, Yu. Lyubimov, L. Dodin, V. Fokin, Graham Vick, F. Dzambello, Yu. Alexandrov more than once. Perhaps, V. Meyerhold's version appeared one of the most interesting and, at the same time, the most disputable. The director innovator preferred to exclude a passionate love subject from a plot, having left to Herman only passion and thirst of career, having approached a plot to the literary original — it became an echo of idea of fight for "pushkinization" of "Queen of spades". But, as it was truly noticed, her creator inspired by Pushkin's story which took from it by means of the librettist everything took care of "pushkinization" of the opera that it was required to it. Geniuses perfectly know, how many they should take from the literary primary source, and taken becomes their integral art property". (I. Glikman)

It would seem, what the general between the Pushkin story about players and those questions which excited Tchaikovsky's contemporaries? What the enrichment, general between the obsession pursuing Herman (placed by Tchaikovsky during a Pushkin era), and tragic destiny of the Russian youth of the 80-90th years? Comparison it during that time, really, seemed incommensurable, and Pushkin's story was considered by many as skillfully told joke about mysterious cards. So, perhaps, the composer until behind avaricious drawing of external events I didn't feel the analogy to the time which struck it — in unsolvability of public contradictions and in spontaneously arising feeling of a protest treated it.

The author of the new scenic version of "Queen of spades" Sergey Bobrov is convinced: the plot of the great Russian opera is actual and today! The same vain fight of the strong, vigorous, gifted person against destruction of the personality to which doom him both society, and circumstances of life. The same concealed offenses of youth and hatred to the caste rejecting it. The same passionate desire to break class "barriers", to rotate Fortuna's wheel and to rush into a desired circle of "gilded youth" at any cost — at the price of loss of love, happiness, honor and the life! A keynote passes an image of "gray overcoats" through all performance — that deprived of individual traits, uniform "the gray weight", to escape from which — a main goal of the hero. Arise in image of Herman and Napoleonic hints — "all of us look in Napoleony".

Tchaikovsky has Pushkin Herman — the player and the careerist — is allocated with love passion to Lisa, but such transformation of an image was that indispensable condition without which observance the opera wouldn't be created. In the director's version of Sergey Bobrov both vectors in development of the identity of Herman are kept, and the tragic element of its figure amplifies impossibility of a choice between love and thirst of enrichment, poignancy of internal fight: Yes, perhaps, and the hero couldn't explain distinctly to himself, what feeling attracts him to Lisa — true, i.e. disinterested (!), love or thirst of a revenge. Herman's love "according to Tchaikovsky" — is love torture, love madness.

Image of Lisa — only where Tchaikovsky far departed from the Pushkin story: his heroine has nothing in common with the pretty, pensive and reasonable pupil of the old countess — the girl allocated with imagination, but who long ago learned to suppress any manifestation of own will. Lisa of Tchaikovsky is allocated with courage, thirst to leave living conditions, habitual, but close for it. As well as other heroines of Tchaikovsky, it finds this completeness of life and love and gives the feelings to the person bright, unusual, attracted with its strength of mind and passion.

And opera final other, than final of the Pushkin story: the Pushkin Herman locked in a madhouse senselessly mutters: "Three, seven, ace!". Tchaikovsky couldn't send the hero to the power of such end, he preferred physical destruction. And only the death releases a pure feeling in Herman's soul...

English

Créditos do espetáculo (Elenco & Equipe )

Elenco

Equipe