Recenzje poprzednich produkcji
5In the Mikhailovsky Theater on February 1, in memory of Elena Obraztsova, the opera Rural Honor was given. The main part was performed by the Lithuanian opera diva Violeta Urmana, the conductor was the Italian Daniele Rustioni. Before the performance, Obraztsova's daughter Elena Makarova addressed the audience. She stressed that the work in Mikhailovsky gave the prima donna "new opportunities and new creative joys." Recalling how important the exemplary role of Santuzza was for her performing career, she wished success to Violeta Urmana, who was to take the stage in this role: “Mom, where she is now, Violeta will hear and, I hope, will help her tonight.”
The opera Aida by Verdi was staged at the Mikhailovsky Theater for the first time in its history. The director was Igor Ushakov, the musical director was debutant Alexander Vedernikov, and the title parts were performed by an international cast of soloists. "Aida" - a great opera of great passions - begins with a very quiet, timidly creeping introduction, symbolizing the emerging feeling of pure love, which will grow to a climactic wave. But this feeling cannot last forever and unclouded, and therefore very soon a wall of destructive “counterwave” rolls over it. Verdi contrasted one system of humanistic values with another. On the contrasting poles set in the introduction, the dramaturgy of the opera is also built, where love and jealousy, the rigidity of an inhuman ritual and a living sense of freedom come into battle.
The Mikhailovsky Theater hosted the first premiere of the season — the opera The Magic Flute staged, set and costumed by Pet Halmen. Conductor of the Mariinsky Theater Gavriel Heine was at the podium. The performance became a joint project of the Mikhailovsky Theater and the Lausanne Opera. The director died four years ago, and the St. Petersburg production was handled by Eric Vigier, director of the Lausanne Opera. If such a performance had appeared a couple of years earlier, it might not have seemed very relevant. And today, the strict, pure, black-and-white aesthetics, in which the production, stylizing the theater of the Mozart era, is solved, has turned out to be a balm for the soul, tormented by daily reports from the battlefields or terrorist attacks.
The Mikhailovsky Theater hosted the first premiere of the season — the opera The Magic Flute staged, set and costumed by Pet Halmen. Conductor of the Mariinsky Theater Gavriel Heine was at the podium. The performance became a joint project of the Mikhailovsky Theater and the Lausanne Opera. The director died four years ago, and the St. Petersburg production was handled by Eric Vigier, director of the Lausanne Opera. If such a performance had appeared a couple of years earlier, it might not have seemed very relevant. And today, the strict, pure, black-and-white aesthetics, in which the production, stylizing the theater of the Mozart era, is solved, has turned out to be a balm for the soul, tormented by daily reports from the battlefields or terrorist attacks.
“We must have a director's theater in the opera, and we will cultivate this,”
