– Russian singer, which has been applauded by the whole world for many years now, performed for the first time at the Bolshoi Theater. The performer chose the piece for her debut on the most famous stage in the country herself, appearing before the public in the title role in “”. This wonderful opera by G. Puccini had not been staged before at the Bolshoi Theater, but it occupies a special place in her life: while performing it at the Rome Opera, she met Yusif Eyvazov, who later became her husband. In the play Bolshoi Theater this singer performed the role of the Chevalier des Grieux. Equally wonderful performers performed in other roles: Lesko - Elchin Azizov, Geront - Alexander Naumenko, Marat Gali - Dance Teacher, Yulia Mazurova - Singer.

One of the main difficulties of the role of Manon Lescaut is the contradiction between the heroine’s youth and the vocal part, which requires strong voice and considerable experience. Both appear in singers at a fairly mature age. She has these qualities - the artist delighted the audience with the richness of all registers, the richness of timbre colors, the subtlety of nuance and phrasing, and her amazing plasticity allows the experienced singer to look convincing in the image of a young girl. Having initially appeared very young - half a child, in the second act the heroine already looks like a seductive young woman, but as soon as her lover appears - and again in all her movements the features of a girl appear, so spontaneous in the sincerity of her feelings. 39-year-old Yu. Eyvazov looks just as convincing in the role of an impetuous young man in love. True, the singer’s voice did not always sound smooth, although on the whole the performer coped with the part.

Manon Lescaut - Anna Netrebko. Chevalier des Grieux - Yusif Eyvazov. Photo by Damir Yusupov

The performance was conducted by Yader Binyamini. The conductor's work produced pleasant impression both to the public and to the public, who consider it very convenient to sing with an orchestra under his direction. The orchestra, choir and soloists' voices sounded balanced and clear, delighting listeners with the richness and subtlety of nuances. The cello solo was beautifully performed by B. Lifanovsky. The choreographic scenes staged by Tatyana Baganova looked very elegant.

The weak point of the play "" turned out to be the direction. Director Adolf Shapiro - like - is collaborating with the Bolshoi Theater for the first time, but - unlike the singer - he showed himself not with the best side. The director’s idea in itself is not bad: to emphasize in the image of the heroine the features of a girl who has not completely left childhood and has found herself in a cruel “adult” world, where she can be used as a toy. But instead of psychologically working out the role with the performer, the director is carried away by demonstrating symbols - such as, for example, a doll in the hands of Manon, dressed in the same dress and hat as the heroine herself. Carried away by such external attributes, the director seems to forget about the performers - and as a result, Manon looks somewhat cold. But she knows how to create such lively, emotional images on stage - just remember her Natasha Rostova! One can only regret that the director ignored this side of her talent. In some moments of the performance, the director reaches outright surrealism, completely out of harmony with G. Puccini’s music: a giant doll with a rotating head and moving eyes in the second act, a “freak show” in the third act, more appropriate in a circus than in an opera house...

Despite such directorial mistakes, the debut at the Bolshoi Theater can be considered successful. I would like to believe that the singer’s first role on main stage Russia will not be the last, and the audience of the Bolshoi Theater will discover new facets of its talent.

This weekend, opera stars are shining in Moscow, 20 bright film premieres from around the world are being shown at Oktyabr, and the updated and improved Usachevsky Market invites you to try and buy fresh farm products and homemade dishes

Anna Netrebko and Yusif Eyvazov in the opera Manon Lescaut. Photo: Damira Yusupova/Bolshoi Theater

"Manon Lescaut" with Anna Netrebko

The diva will sing on Saturday, October 22. This is the most eventful premiere of the season. There have been no tickets on the official website for a long time, and resellers’ price for the performance reaches 112 thousand for a seat in the stalls

Tickets are, of course, the main intrigue of the upcoming premiere. Just two weeks ago Anna Netrebko and Yusif Eyvazov sang in Barvikha. The cheapest tickets on the eve of the concert cost 50 thousand, in the stalls they were more expensive - 90 thousand and 85 thousand rubles each, but they could be purchased on the official website concert hall- just pay. In the Bolshoi, however, buying is also not a problem - there are plenty of sites: there are boxes for 33 thousand, and a mezzanine for 27 thousand, and a balcony, fourth tier, for 15 thousand rubles.

“When the sale of tickets to the Bolshoi Theater for Manon Lescaut opened and it was clear that there were no tickets left for our dates in just half a day, people began writing to us on Instagram and Facebook from different parts of Russia, who had bought plane tickets in advance , wanted to fly, but there are no more tickets for these dates, and resellers cost crazy amounts of money,” Eyvazov said in exclusive interview Business FM. — We asked the Bolshoi Theater, and the third performance will be screened and broadcast in live both on the Culture channel and in front of the Bolshoi Theater.”(Full interview with Anna Netrebko and Yusif Eyvazov at).

Puccini’s “Manon Lescaut” is Anna Netrebko’s signature role: she herself chose this material for her debut on the historical stage of the country’s main theater. Once upon a time, he and Yusif Eyvazov met at a rehearsal of this particular opera. The first impression is very strong, largely thanks to the stunning scenery of Masha Tregubova. It seems that for Moscow theaters this season it is - main star and legislator: she was an artist at the last premiere of Sovremennik, the play “ Late love"(where Tregubova’s scenography is generally the main advantage). For “Manon,” she made it like a paper town, the kind you draw for playing games on a smartphone: people walk between houses, lights come on in the windows from time to time, and smoke comes out of the chimneys. Looking at all this is a great pleasure, comparable to Netrebko’s impeccable singing. Before the performance, she mentioned that she was scared by the acoustics of the Bolshoi, but technically she performed everything flawlessly.

If we return to the tickets, then the excitement is quite understandable: the diva does not appear in Russia so often, the next time the singer can be seen live only in the summer at the Mariinsky Theater. There are enough tickets for Saturday: the cheapest seats are 11 thousand, the most expensive, the eighth row of the stalls, 127.5 thousand. But it’s better to take the 16th row: it looks a little worse, but it’s 22 thousand cheaper. Details on the website.

“The first two days were a shock, then we somehow got used to it”

The unusual, wildly riotous crowd of press at the entrance is a sure sign that somewhere behind the scenes they are hiding the Diva - the star of the first magnitude of the opera stage, Anna Netrebko. On October 16, the Bolshoi gives its version of “Manon Lescaut,” directed by Adolphe Shapiro (conducted by Yader Binyamini). Actually, the Bolshoi Theater does not hide the fact that the project arose “due to the firm desire of the management” to invite Anna to perform on the historical stage. Well, Yusif Eyvazov will perform in the role of Chevalier Rene des Grieux.

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Giacomo Puccini wrote 12 operas during his life, and “Manon Lescaut” is the third (painfully created in the period 1890-92), in which Puccini’s talent as a lyricist and melodist was revealed more than ever. “My Manon is Italian, it is passion and despair,” the composer wrote, comparing his heroine with the French woman Manon from Massenet’s opera of the same name.

Anna appeared in a strict black suit with white dots, lavishing smiles.

This is very important work for us,” noted the theater’s general director Vladimir Urin. “A year ago we agreed with Anna and Yusif that we would do this project; it was not in the theater’s plans at all. Yesterday there was a run-through, we already understand what we did there, I hope this will arouse interest....

Anna immediately picks up:

It's a great honor for me to perform here, it's great theater, the work was wonderful, the production was very interesting; the director was patient with us, and the conductor worked in difficult conditions, because the orchestra and choir saw this score for the first time.

“I can only join the words of the Prima Donna,” noted Yusif Eyvazov, “the team is well-functioning like clockwork, people help in everything.” There are a lot of impressions.

It should be noted that this is the debut of dramatic director Adolf Shapiro on the stage of the Bolshoi Theater; he noted that it was easy for him to work with Urin and the soloists, “it’s interesting: everywhere they talk and talk and talk, but here they sing and sing about love.” All the musicians noted that Shapiro was always open to new ideas, and expressed confidence that the production managed to maintain the language of Puccini.

This is one of my favorite Puccini operas, strong, dramatic, especially when I have such a strong and passionate partner with me,” continues Anna. - Manon is, first of all, a woman, it doesn’t matter what her nationality is, what matters is what emotions she evoked in men - strong and passionate. This opera is rarely performed live. good production It’s difficult to do: the plot is so disjointed, in some ways even abstract...

This performance means a lot to us,” echoes Yusif, “and tears just flowed from my eyes when I heard Anya in the fourth act... for a second it really seemed to me that we were in the desert and these were the last moments of life.

The image is very complete,” says Anna, “you can add only in small things, or make Manon more experienced from the very beginning, or innocent. Well, if I don’t like the director’s interpretation, then I just leave... but here everything was very good. Although the acoustics are very difficult for singers standing on stage. The sound does not return. The first two days it was a shock, but then we somehow got used to it.

By the way, Anna met Yusif in Rome precisely at the production of “Manon Lescaut.”

I knew that there was such a star, but I didn’t give it special significance, but when I heard her sing, and even realized that she was a healthy person, without quirks... and this is a rarity in opera world. And I fell in love. So we invite everyone to the premiere!

In addition to participating in "Manon Lescaut", on February 7, 2018 it is planned solo concert Anna Netrebko with Spivakov at the controls.

“For a second it felt like we were really in the desert.”

Interview with Anna Netrebko and Yusif Eyvazov on the eve of the premiere of the opera “Manon Lescaut” at the Bolshoi Theater

On the eve of the premiere of the opera “Manon Lescaut” at the Bolshoi Theater, VTB Senior Vice President Dmitry Breytenbicher met with Anna Netrebko and Yusif Eyvazov, his longtime friends and partners of VTB Private Banking.

Dmitry Breytenbicher: Good afternoon, Anna and Yusif. Thank you for taking the time to see me - I know what a busy rehearsal schedule you have before the premiere at the Bolshoi Theater. By the way, as far as I remember, it was at the rehearsals of Puccini’s “Manon Lescaut” at the Rome Opera that you met. Can you say that this is a landmark work for you?

Anna Netrebko: This work itself is very strong, dramatic, about love. It is with great happiness and delight that I perform this opera every time. Especially when I have such a wonderful, strong and passionate partner with me.

Yusif Eyvazov: In fact, this performance means a lot to us. There is something magical about him, some kind of magnetism in the hall and on stage. Yesterday at rehearsal when I was final scene- the fourth act, my tears just flowed. This happens to me extremely rarely, because an artist needs to control emotions. And tears and even the slightest excitement are immediately reflected in the voice. I completely forgot about this yesterday. The emotional message and Anya’s voice - everything was so strong that for a second it seemed to me that we were really in the desert and these were truly the last moments of life.

Dmitry Breytenbicher:Yusif, how was your first meeting with Anna at the production of “Manon Lescaut” in Rome?

Yusif Eyvazov: Three years have passed, I don’t even remember the details (laughs). Indeed, this was Rome. Insanely romantic Rome, opera house. For me it was a debut. And of course, this was all very exciting for a person who was just starting a big career. Naturally, I prepared for this responsibly, learning the part for a year. The game is incredibly difficult, so we had to work a lot. I arrived in Rome, and there I met Anya, who turned out to be... I, of course, knew that there was such a singer, a star, but before I had not kept track of her repertoire and performance. She then performed the part so superbly that I was simply shocked! But I became absolutely happy when I found out that, in addition to her enormous talent, she was also wonderful person. For a star of this level, he is a completely normal and easy-to-communicate person. (both laugh).

Dmitry Breytenbicher:In the sense of the absence of star fever?

Yusif Eyvazov: Yes, exactly. Today there are very few singers who can boast of this. Because in most cases, quirks, quirks and everything else begin. This is how dating is done opera stage turned into love. We are very happy.

Dmitry Breytenbicher: You performed both famous versions of Manon, Puccini's opera and Massenet's opera. What is their difference, which one is more difficult vocally and emotionally? And which Manon will you prefer - the Italian or the French?

Anna Netrebko: I think that Manon is first and foremost a woman. It doesn't matter what nationality she is. She can be completely different, blonde, brunette - it doesn’t matter. It is important that it evokes certain emotions in men: positive, negative, stormy, passionate... This is perhaps the most important thing. As for the image, I have my own vision of this woman. In principle, it does not change very much from production to production. Everything is clear there, everything is written in the music, in the text, in its character. Only some details can be added or changed.

Dmitry Breytenbicher:Well, for example?

Anna Netrebko: For example, you can make her more experienced. Then from the very beginning she should understand what's what. Or you can make her completely innocent at first. That is, it already comes from the desire of the performer or director.

Dmitry Breytenbicher:What about the first part of the question? What is the difference between Puccini's Manon Lescaut and Massenet's opera?

Anna Netrebko: I used to perform this part very often in Massenet's opera. Now I have outgrown it a little, it is for younger singers. Besides, I don’t think that the Des Grieux part in Massenet is for Yusif’s voice, just as Manon is no longer for my voice. She is wonderful, interesting, but different.

Yusif Eyvazov: Massenet's music is less dramatic. Therefore, Des Grieux has a lighter voice, and, naturally, the nature of the music is more mobile. Well, try to move me on stage, it will be a nightmare. Puccini’s orchestration is quite heavy, respectively, and the movements of the same Des Grieux are much more weighty and sedate, and the vocals are completely different. Technically, I might even be able to, but it seems to me that it would still be like an elephant entering a porcelain shop. It's better not to do this.

Anna Netrebko: There is almost nothing from the students in Puccini's opera; even the first duet, when they meet, is quite heavy music, it is so slow and measured. There is absolutely no youthful enthusiasm that Massenet has. This was, of course, intended for other singers.

Dmitry Breytenbicher: On the new “Manon Lescaut” you worked with drama director Adolph Shapiro. What did this experience bring you? What was new?

Anna Netrebko: In fact, I want to say thank you to Adolf Yakovlevich for such a wonderful production. It was very comfortable and easy for us to sing. The director took into account absolutely all our problems and difficulties. Where it was necessary to sing, we sang, where we needed to concentrate on the music, this was done. I repeat, the production turned out very good. I think Adolf Shapiro is simply a wonderful director.

Dmitry Breitenbicher: What interesting things did he ask you to do in terms of acting, what was new for you?

Anna Netrebko: The biggest conversation was just about the last scene, which is quite static physically, but very emotionally charged. And it was in this scene that Adolf Yakovlevich asked us to give our best through some minimal gestures, through some half-steps, half-turns - all this should be clearly calculated according to the music, and this is what we worked on.

Yusif Eyvazov: In general, of course, it’s difficult to work on stage when there’s nothing there. Well, imagine a completely empty space. There is no chair to sit on, no parts to play with, not even sand... There is nothing. That is, only music, interpretation and voice remain. That's all. I would call the concept brilliant last act, where the whole story that we sing is simply written on a white background in black letters. This, together with the music, is very strong emotions. As an additional simultaneous translation, as a transcript of what you hear. The tragedy penetrates you in double size.

Dmitry Breytenbicher:Is this your favorite part of the opera?

Yusif Eyvazov: My favorite part is the very last one, when it all ends, when I've already sung everything (laughs).

Anna Netrebko: (Laughs) Dmitry, seriously, I agree with Yusif that last scene was very strong and thanks to our wonderful director it was solved in a very interesting way. It was not easy to stage, but we were given the opportunity to really not think about anything and just sing this wonderful opera. Apparently, this is why it evokes such emotions.

Dmitry Breytenbicher: Continuing the theme of the production. Little is known so far: Internet users are intrigued by the sight of a huge doll sitting on the stage. How would you formulate: what is this performance about?

Anna Netrebko: In general, this opera is performed live extremely rarely. I don't know why. It’s probably difficult to find performers, difficult to stage. It has a very broken and not immediately readable, even abstract plot. And it is very difficult to make a good production. I really like the current one: a huge doll, and grasshoppers... Somewhere magic and symbolism are manifested in this, somewhere there are elements of farce - as, for example, in the same dance of seduction by Geronte. Take a look, it will be very interesting.

Dmitry Breytenbicher: What feeling did the Bolshoi Theater give you - its space, its acoustics? What do you think makes it special compared to others? opera houses peace?

Anna Netrebko: When we first appeared on the stage of the Bolshoi two days ago, we were shocked... For the singers who are on stage, the acoustics here are very difficult. I don’t know what it’s like in the hall, but you can’t hear anything on stage. That's why we both immediately became hoarse. The scenery is large, the stage is open, that is, there is no wooden plug or sound. As a result, the sound does not return. Thus, you have to work twice as hard (laughs). Well, then we somehow got used to it.

Yusif Eyvazov: Well, the theater is called “Bolshoi”, so the space is large. And of course, as Anya rightly said, at first we didn’t understand at all whether the sound was coming into the hall or not. Then they calmed us down after rehearsals and said: we can hear you perfectly, everything is fine. You just need to trust your own feelings. This is exactly the case when you follow your inner sensations, you walk, relying on them. At the Bolshoi you will not hear the voice return, as happens at the Metropolitan Opera or the Bavarian Opera. This is a very difficult scene. And there is no need to try to fully voice it, this is a lost cause. You just have to sing in your normal voice and pray that it will be enough.

On October 16, the premiere of the opera “Manon Lescaut” took place at the Bolshoi Theater with the support of VTB Bank. The Bolshoi Theater and VTB have long-term friendly relations; the Bank is a member of the theater’s Board of Trustees and non-profit organization"Bolshoi Theater Foundation".