| | | | In the Mirror Foyer 21 June’14 Saturday 11:00 Efrem Podgaits Stage composition “Through the Looking-Glass” Stage Director Sergey Morozov Designer Ethel Ioshpa Choirmaster Victor Kuturaev Soloists: Juliet Avanesyan, Anton Bochkaryov, Anton Vinogradov, Marat Gareyev, Anatoly Grigoriev, Lyudmila Kaftaikina, Mikhail Pervushin, Alexander Popov, Anna Sinitsyna, Svetlana Skripkina, Tatyana TabachukAn outstanding and extremely versatile master of music composition (symphonic, choral, chamber instrumental music, concertos for different instruments, etc.), Efrem Podgaits has a strong bent for the opera genre. Currently a number of his works run in Russian music theatres. Podgaits’s portrait concert will be held in the form of the stage composition Through the Looking-Glass, created by composer and director Sergei Morozov and comprised of excerpts of three operas – Through the Looking-Glass, The Shepherdess and the Chimney Sweep, and Ice-9. | | In the Mirror Foyer 21 June’14 Saturday 15:00 Vladimir Rubin Recital Novaya Opera Soloists On 5 August 2014, People’s Artist of Russia Vladimir Rubin will turn 90. In his works the word and music are inseparable, his main genres being cantatas, oratorios, and choral and song cycles. Vladimir Rubin is considered to be the originator of the “poetic theatre” in music. The concert in the Mirror Foyer will comprise excerpts from the composer’s operas (Three Fat Men, Alice’s Album, Kashtanka, and The Winged Horseman) and song cycles. | | 21 June’14 Saturday 17:30 Alexander Zhurbin POET. MARINA Two song cycles by Alexander Zhurbin to poems by Marina Tsvetaeva premiere Novaya Opera Chamber Orchestra The programme is comprised of Marina and The Poet song cycles to poems by Marina Tsvetaeva and piano quintet (op. 42) In his compositions Alexander Zhurbin combines elements of academic and applied music (jazz, musical, rock, etc.). He is the author of the first Soviet rock opera Orpheus and Eurydice. The Marina. The Poet programme consists of Zhurbin’s two song cycles (Marina and The Poet) to the poems by Marina Tsvetaeva and the Piano Quintet. The song cycles will be performed by Honoured Artist of Udmurtia Alexandra Saulskaya-Shulyatieva, Honoured Artist of Russia Elena Svechnikova and the Novaya Opera’s Chamber Orchestra under the baton of Alexander Zhilenkov. Free entrance | | In the Mirror Foyer 21 June’14 Saturday 19:30 Scenic fantasia premiere Leoš Janáček String Quartet No. 2. Intimate Letters The Diary of One Who Disappeared A song cycle for tenor, mezzo-soprano, three female voices and piano to the Ozef Kalda poem
Designer Yetel Ioshpa Novaya Opera String Quartet Lighting Designer Vladimir Dvorovoy This evening is devoted to the composer’s belated love for Kamila Stösslová Janáček was utterly passionate in everything he did. His music stuns you with feverish sincerity. Janáček’s expressionism is “a confrontation of tenderness and rudeness, outrage and peace” (Milan Kundera). Embodying reality in every moment of the vanishing time, he opens up a new world: prose becomes the poetry of life, which puts out new shoots and gives music a fresh, spring water taste. He first met young Kamila Stösslová in 1915 and loved her dearly until his death in 1928, and this period in his career was incredibly fertile. The passionate finale of his life fathered almost all of his masterpieces: operas (Katya Kabanova, The Cunning Little Vixen, Makropulos Case, From the House of the Dead), the song cycle The Diary of One Who Disappeared (1919) and the Intimate Letters quartet (1928). They are the acme of love. The original letters Janáček wrote to his beloved when he was 74 are amazing: “I can’t quench my thirst for kisses. It is like fire burning hotter and hotter inside me.” (It was written in July 1928, just a month before his death). In the quartet these words become the artist’s confession, making pages of his revelations and recitatives of love on the verge of insanity. Janáček’s unmatched music takes your breath away with its Slavic melancholy and yearning, wonderful Moravian motives and energetic speech. Time is irrepressible and irreversible, which gives birth to a light sadness reminding of life’s autumn and horizontness. The springing play of popevkas is Janáček’s melodic phenomenon: “To me, sounds and intonations of human speech mean the deep truth. They are my windows to one’s soul.” And The Diary of the One Who Disappeared is a poem about the primeval nature of the world and feelings. Janáček’s sound flow renovates the life of one’s soul. Mikhail Muginstein The Intimate Diary production is a dialogue with the composer who strongly felt his loneliness and detachment from the world around him: “I perceive myself as one of the unhappiest people, the destiny’s laughing stock” (in his letter to Kamila, while composing the cycle in 1918). It is a fantasia about a person who disappeared, took refuge from the world where people do not communicate and are alienated. They fear love as bondage and affection as dependency. The fear overcomes the natural desire for human tenderness, warmth and caring. My Janiček is completely lonely and locks himself in the world of books and his fantasies about love. In the context of my production he is close to Kundera’s heroine: “For she had but a single weapon against the world of crudity surrounding her: the novels. <...> They not only offered the possibility of an imaginary escape from life. <...> They differentiated her from others.” (The Unbearable Lightness of Being by Milan Kundera) Ekaterina Odegova, stage director
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