Ну вот снова-здорова — я вернулся из Вены. И понял, как же я люблю Москву : в ней не надо одить каждый вечер в оперу, зато можно в выходной день в 22ч сходить в магазин и купить, например, кусок мыла или даже, подымай выше, пачку сигарет - Exercise for Vienna totally unworkable. :-) But I love Austria
- for the Wiener Staatsoper
- for Apfelstrudel
- for Austrian Airlines
- and now, because in Vienna can be easily opera star meet somewhere in the Annagasse (but more on that later)
flight was bought back in May, then it was worth 3800 there / back and the whole problem was only one - Pick digestible repertoire without dyadeyRudegov, Bruzón, plasidissimov and other opera antiques. Well, something is picked up already, with 2 of Seville barbers (one was in question due to late arrival). But this time, everything went quite favorable, and only after a clear trip, - Fly Austrian Airlines, - which poured free of charge and top to bottom! 2 times, at 7.30 I arrived at Stehplatz, and he, ground to 4 €, was available. I will talk directly to 2-m productions, n h, they have little differed - both times I was standing, not pre zamorachivayas buying tickets, and the lineup was the same, and the performance is approximately the same, except got to detonation in La calunnia è un venticello Sorin Coliban (Don Basilio) on 6 December :-).
I do not know what year staged The Barber of Seville »Günther Rennert in the Staatsoper, but by design it certainly the best kinsman, and moreover, the father or mother, or maybe even peremat , naiperveyshego symbol rescue opera in general and the Bolshoi Theatre in particular - Rezhopery "Wozzeck" .-) I even dare to argue a bit with the protagonists of this great production directed by Charles Seems to me that the 364 th performance at the Vienna Opera resolved markedly avant-garde than the nominated all the freshest Masks "Wozzeck." The fact that this Seville all the characters easily run out of room the room (they are exactly the same as in "Wozzeck" in the post. dir h) and on the floors that technically and visually Naina looks interesting, as opposed to sitting people in them-dummies in each cell at the Bolshoi. Moreover, the characters go up on stage from the orchestra pit, by the way, Tcherniakov Biryukova with a pencil — ну чем ни новьё:-). Учитывая последние режиссерские «достижения» Оперы, со временем, ясен перец, новый интендант поднатужится и под руководством очередного rezhopera will release an updated barber with Rosina, dressed in kombinashku with Almaviva, sported shorts with the emblem of the Count and Basilio, of course, coat and glasses. More than anything not necessary to change. And if that's you, please - "Wozzeck" to the music of Rossini. :-) But so far everything is going to naftalinke . And it means just one - people are very decently sung, though not reported any starry names. No, the real star of course will be required, at the end of December (as IN the same without the stars), but we unfortunately did not get anything :-). In both performances naphthalene felt also on the crowded hall. P h, you know, this avant-garde, it's for a few, but they impossible to fill room in principle, therefore, always come to the aid of students GITISa, conservatory, social, and Warriors of the many army units, the Msc. The latest work is very avant-garde, now they're something just does not stand up and not leave in the middle of the action, and will to suffer until the complete victory over the vanguard of a routine.
But it's here, and Vienna, he still enjoyed playing Il barbiere di Siviglia, and famous singers who do not give protuhnut, and in which new stars light up regularly. Staging Moore tied, n h Rossini as neither put, though in a concert performance, but only sing well, and all thank you say.
by the first spectacle wanted to say thank you to little-known singer Silvia Tro Santafé - present Rossini mezzo, rich, rolling, with a beautiful lower register (if not her juicy top notes, you could say with certainty that the Tro Santafé viola - a dense and pypuklogo bottom I have not heard) on the success it was the first and best pieces of both spektaley - her solo pieces, especially the scene singing lessons, sang masterfully. most famous performer for me was Javier Camarena , although I never heard of it certainly is not :-), but I know because his name was flashed in a variety of cast in the most different theaters. Here of course the impression was somewhat weaker. Singer with an interesting feature: the island sounds of ensembles and in solo, in which, if not Cessa, then it's only 1 nd act, somehow ... was ... obscenities - podsipyval / podhripyval, experienced considerable difficulties in the jewelry ("before", though both times picked up, but with this filthy vocals, this was not a pussy, or in the Red Army, sorry :-)) and 2, in general, not the most difficult pieces in the beginning it seemed to me that Camarena tenor closer to the characteristic of the domestic - Bluff and rustic. Most liked when he portrayed a nasty preprotivnym voice of Don Alonso and played the way that people are simply lying. :-)
completely unknown surname Markus Werba (Figaro). His main trump card - a charming young and pleasant timbre voice - lyrical baritone. Though not large, and sounded not always perfect: sometimes not collected and does not even sound very neat Orchestra at Michael Güttler could not break through at times.
About Michael Gyuttlere should be discussed separately, n h, he is no stranger to our people - worked for some time in Yekaterinburg, and we have a philharmonic, it was business conducted .. Now that's Staatsoper lit and in my opinion very well.
Both basses have worked honestly and read the burial service in the framework of its proposed roles. Of such performance talk - not prevented.
Well, about prorushku, which happens even in such old ladies as the Vienna Opera - lovely, how was the nightmarish Simina Ivan (Bertha), which in this play for some reason designated as Marceline (again, than not find :-)) How wonderful it prokoshatila famous aria, to the tune of Ukrainian songs. But tons of all bands and all actions were executed finalochki very shock-like, quickly and important musically, it all took such as Bert necessary for granted)
Orchestra and all the soloists on both evenings - sometimes, though not equally - have shown consistency and spetost. And hard to believe the stories, that Shtaatsoper not have enough time to spevok, to work together on stage for rehearsals with the orchestra. Nothing like that is absolutely not felt. Conventional blots big play was a place to be, but the overall impression of the ideal coherent mechanism for not only the vocal and orchestral, but also acting. And all this without the noise and dust daily grind. That's from what is obtained in the Wiener Staatsoper every evening feast. I guess that for the Viennese, who have the opportunity haunt the play, this "Barber of Seville" pass option. However, the story had come to Vienna guests on such a representation would not be ashamed.
And lastly, the Vienna Opera pleased with just an abundance of the Russian public, even some football fans at shteynplats that Being drunk, managed to defend all of the first act, and one of them even conducted in tact. Behind them followed closely Pts usher, but she's head did not come they were not allowed to drive or what Pts could easily make the secret police of the Bolshoi Theater.
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