– Russian singer, which has been applauded by the whole world for many years now, performed for the first time in 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 Bolshoi Theater performance, this singer performed the role of the Chevalier de 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 experience 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.
Anna Netrebko sang for the first time in a performance at the Bolshoi Theater. For the viewer, as well as for the critic, this fact alone is enough to clap their hands - Netrebko or any other artist from the conventional top ten gives both the production and the theater a completely different status in the world table of ranks. The performance for Anna Netrebko was staged by director Adolf Shapiro, artist Maria Tregubova and conductor Yader Benjamin.
For her debut at the Bolshoi, the singer proposed Puccini's opera Manon Lescaut. For her, this is a significant work, and not only in creatively. While working on this opera in Rome, she met her future husband, tenor Yusif Eyvazov. They had already sung a duet from “Manon Lescaut” at the Bolshoi at a concert in honor of Elena Obraztsova’s anniversary, so the choice of the name of the performance, as well as the choice of a stage partner, apparently came naturally. The Italian conductor Yader Benjamin was also suggested by Netrebko. His work, it must be said, left an ambivalent impression: having underestimated the acoustic properties of the Bolshoi Theater, the maestro muffled the choir too much; in addition, it seemed that there was simply no contact between the orchestra and the soloists on stage, the verticals regularly “floated”. But as for the sound of the orchestra, one should note here both tartness, passion, and Italian “sweetness”.
No matter how you feel about the theory of ensemble theater (that is, one where performances are staged based on their own artists), in which the leadership of the Bolshoi Theater believes, practice proves that all the successes of the theater in this situation remain local in nature. If we talk about opera, of course.
Another thought that came to mind after the premiere: artists of this level need a director who will only direct and place accents. Especially when it comes to Puccini, whose music sometimes does not require words, it expresses feelings so completely. Two black figures in a huge empty space - this is the starting point of the last action. But how Netrebko and Eyvazov fill this emptiness with energy alone! However, this energy is not something ephemeral, it is mastery: behind it are years of work, perfect mastery of the voice, impeccable quality, and absolute confidence.
The artists just move towards the front of the stage and in the finale they practically go out into the space of the hall, hovering on the edge, but how sad, how tragic this path is! (So you can sympathize with the future performers of these roles, will they cope, will they “take” the stage, won’t they get lost?).
The set design of this performance is built on the principle of freeing up space following the dramaturgy of the opera, which moves from plot polyphony to love. The artist Maria Tregubova, a student of Dmitry Krymov, in the best traditions of her school, includes meaning in the scenography. A “toy” French town, cut out of paper, occupies the entire scene: the red and green caps of cheerful students look like bright spots on a white background. Manon also looks like part of the toy world: she looks like an enlarged copy of her favorite doll, which she does not let go of. Here two players appear: a gambler (Manon’s brother was played by Elchin Azizov) and a collector of lovely dolls, Geronte de Ravoir (Alexander Naumenko) - a remarkable figure, given his attire, where a hat with a veil is added to the fashionable (today) short trousers and patent leather moccasins.
The set design of the second act continues the toy theme, but with a change in the figurative vector: what at first seemed cute, here looks rather repulsive. The exaggerated size of the doll occupies most of the room, an integral attribute of the coquette Manon’s room—a mirror that “absorbs” both the inhabitants of the home and the entire orchestra pit. The cosmetic flies that Manon requires to be “planted” on her face will be literally planted in the form of disgusting insects on the doll. The set design literally conveys the disgust that, frankly speaking, you feel both for the decaying society of which Manon has become a part, and for the heroine herself, especially at the moment of her fatal mistake, when in her desire to grab the little piece of gold (his role is played by those very beetles and spiders on doll) she misses the moment to escape. This one will cost her her life.
The third act is equally impressive. The black emptiness of the stage is the one that will swallow Manon. The white wedge in the foreground is a small island, hope for salvation. Here the show of the outcasts begins: a transvestite, a prostitute, a black bride, a dwarf, a bodybuilder are exiled to dysfunctional America from decent Europe... They line up in a tight wedge, and the “boat” is disconnected from the “pier” and, swaying, begins its journey into the depths of the stage - into the frightening unknown, nowhere. The last action was described above, with the exception of one detail. Four disparate (as the director perceives them) actions are “interrupted” by a black curtain, but “stitched together” by fragments from the Abbé Prevost’s novel, which are broadcast on the curtain. Thus, Shapiro bypasses the need to explain to the viewer why suddenly, having run away with De Grillet, Manon ends up in the rich home of Geronte de Ravoir, or why the captive ends up with her lover in the desert. (In Puccini’s time this, obviously, was not necessary; the contents of the novel were known to visitors to opera houses). In some ways, this technique really helps, in some ways it hinders. For example, the famous intermission to the third act, which is often performed as a separate number in concert programs, does not require additions, one just wants to erase all these letters and let this passionate farewell to life sound alone. The same goes for the finale. During the last duet, confused inscriptions appear on the backdrop, made by de Grillet's hand. The even, neat handwriting changes following the characters’ experiences, tears fall, blots appear, until the entire text is drowned in ink. Remove the letters and nothing will change... At least when Anna Netrebko and Yusif Eyvazov are on stage.
Last weekend, the premiere of Puccini's opera Manon Lescaut, directed by Adolf Shapiro, took place on the historical stage of the Bolshoi Theater. This score by the most illustrious native Italian city Lucca had never before been performed in the main theater of the country, but the scale of the event was determined by the composition of the participants: Anna Netrebko sang the title role. On the eve of the premiere, the diva met with representatives of the press and explained why she chose Puccini’s opera rather than Massenet.
Vladimir Urin told those present that he was tired of answering a barrage of phone calls after the announcement of the play with the participation of Anna Netrebko and her husband, Yusif Eyvazov. The general director noted that after the performance on October 22, he intends to discuss future plans with the prima donna. Netrebko herself assured the audience that she would return to sing Manon in future seasons.
The married couple supports each other not only in their partnership, but also at the press conference. Both spoke with delight about the work of director Adolph Shapiro. “The opera has a very interesting solution, but it is not so easy to stage. It has an abstract, broken plot. It is performed live extremely rarely, also because it is difficult to find suitable performers. This is one of my favorite operas by Puccini, very strong, dramatic, about love. I fulfill it with delight and happiness. It’s especially nice to do it with such a passionate partner.”
Netrebko said that in her understanding, the image of Manon had long ago acquired its completed forms. “My vision of the character of this woman does not change much from production to production. Everything you need to know about her is written in the music. Some little things can be added. You can, for example, make her more experienced from the very beginning, or you can play her innocent - "This comes from the idea of the author of the play. Manon can be of any nationality - it doesn’t matter. The important thing is that she evokes certain emotions in men - violent, passionate ones."
The singer also explained that she had not considered the prospect of singing “Manon” by Massenet, as she believes that the part in this opera is more youthful. “It’s wonderful, interesting. I performed it very often, but at some point I outgrew it. Also, I’m not sure that Yusif is suitable for the role of des Grieux. In Puccini’s opera, there is nothing from the students mentioned in the libretto. Even in In the first scene of the meeting, heavy music sounds, slow, without youthful enthusiasm, like Massenet was counting on other singers." Netrebko’s husband confirmed these words: “Massenet’s Des Grieux is less dramatic, such light image. Puccini's is more sedate. I might technically be able to do it, but it would look like a bull in a china shop."
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Yusif Eyvazov initiated the topic of broadcasting for everyone who will not be able to watch the performance at the Bolshoi Theater. According to Vladimir Urin, on October 23, the recording made the day before will be shown on television. Thus, the audience coverage will expand to regions.
Both soloists noted the difficulties associated with the acoustic features of the historical stage. “This performance has large, massive scenery. The sound does not return. The first two rehearsals were associated with shock for us, and then we got used to it,” Netrebko said. “You just had to trust your feelings from the very beginning. The scene is really complex, and trying to voice it is a lost cause. You have to sing in your normal voice,” supported Eyvazov.
The directors set difficult tasks for the couple, one of which was related to the decision of the final act. The Lilliputian white city, a giant moving baby doll and white and black pearls enlarged tenfold - all the complex scenery disappears, and des Grieux, together with Manon, find themselves in an empty cubic space, the edges of which are covered with replicas of the two heroes translated from Italian.
"For a classical singer, playing this scene is an overwhelming task. There is nothing here to cling to. There is no chair to sit on, no sand to play with. All that remains is interpretation and voice. On a white background, a synchronized note is written in ink translation of what we sing. When you read this, the tragedy penetrates inside you much more sharply. In the fourth act - the most. beautiful music. Tears were flowing from my eyes. This happens to me so rarely. I completely forgot that I need to control my emotions, because it’s all reflected in my voice. It seemed to me that Anna and I were really in the desert, and these were the last moments of life. Such experience is worth a lot,” said the tenor.
Venue: Bolshoi Theatre, historical stage
“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 really 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 intended, of course, for other singers.
Dmitry Breitenbicher: 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 Breytenbicher: 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 filled. 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 do good production very difficult. I really like the current one: a huge doll, and grasshoppers... Somewhere magic and symbolism are manifested in this, somewhere 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".
On October 16, the opera “Manon Lescaut” by Giacomo Puccini will be presented for the first time on the stage of the Bolshoi Theater. The main roles in it will be performed by Anna Netrebko (Manon) and her husband Yusif Eyvazov (Chevalier Rene Des Grieux). Tickets have been sold out for a long time. And as the director of the Bolshoi Theater, Vladimir Urin, says, he hasn’t picked up the phone for several days, because he won’t be able to give out the counterbrand even to his friends.
“Manon Lescaut” is a special event for music lovers. The project was not in the plans of the Bolshoi. A year ago, the theater management began negotiations with world opera star Anna Netrebko. She was offered any production on the Bolshoi Historical Stage. Prima chose Manon Lescaut. On the eve of the premiere, a press conference was held at the Bolshoi Theater by the creators of the opera.
“It’s an honor for me to perform on the stage of the Bolshoi Theater: I’ve never been here before,” Anna stunned the audience. - “Manon Lescaut” is one of my favorite operas. It is dramatic, about love, and I perform it with great happiness and delight.
For me, working with Anna is not only pleasure, but also learning,” said Eyvazov. - Although at home she doesn’t sing to me.
It turned out that Eyvazov is not the only one studying with Anna.
“I learn a lot from Anna and Yusif, I admire the patience with which they approach their work,” says conductor Yader Binyamini, specially invited from Italy. - Despite the fact that they are masters the highest level, they very often ask me for advice and some recommendations. We worked in an atmosphere of mutual respect.
The director staged the opera “Manon Lescaut” drama theater Adolph Shapiro. His track record includes productions at the Chekhov Moscow Art Theater, Tabakerka, Mayakovsky Theater, RAMT, etc. He is also in demand abroad. Working on the opera stage is a kind of discovery for him. And the world-famous star is just a student at work.
“I work a lot abroad, from Shanghai to Sao Paulo, and for me there are no differences between our artists or foreign ones, just as there is no difference between Smoktunovsky, Netrebko or a student,” Adolf Shapiro admitted to Izvestia. - If I adapt to them, there will be nothing left of me. As for working with Anna, I am inspired by the way she sings. She is a great artist. The very fact of such an artist being on stage becomes art. Even if she went the wrong way and did the wrong thing. I'm interested in her plasticity, reaction, nature.
Unlike the singer, the director visited the Bolshoi Theater more than once. According to Adolf Yakovlevich, in his youth as a student he looked at Borodin’s “Polovtsian Dances” from the third tier. And now he comes to work at Bolshoi as if it were home. Since he has been spending days and nights here for more than one month.
It’s difficult to make a good production, but thanks to Adolf Shapiro, working on the play was a pleasure,” says Anna Netrebko. - If I don’t like the director’s approach and his vision of the role, I just leave.
This didn't happen here. Anna and Yusif flew to Moscow a few days ago. And when she first appeared on the theater stage, she was literally shocked.
The acoustics on the Bolshoi stage are very difficult for singers. Due to the massive scenery and large space, the sound does not return to the performer. We have to work twice as hard. In the first days of rehearsals, I was in real shock. Well, then we somehow got used to it.
The ending of the opera is tragic.
There are singers who love to die on stage, they live for it,” says Netrebko. - I don’t like it, but when necessary, I enter this state. It's costing me a lot because I'm really, really stressed. Then it affects my body. Well, what can I do? I chose this profession.
As Anna jokes, after they play the play on October 22, she and her husband will celebrate their performance at the Bolshoi in a big way. And the theater management is already making plans for further projects with the couple. Anna and Yusif will return to the Bolshoi more than once; in their absence, the second cast will take the stage - Ainoa Arteta (Spain) and Riccardo Massi (Italy).
For those who cannot get to the Bolshoi Theater, the Culture channel will broadcast a broadcast of the opera Manon Lescaut on October 23.