Sometimes they come back or the new life of "Eugene Onegin." Understand, hear, accept Automatic translate

MOSCOW. The resumption of "Eugene Onegin" at the Bolshoi Theater. November premiere by Dmitry Chernyakov.

The Russian audience accepting with a bang any creative on the opera stage is the same nonsense as the morning frog legs and foie gras instead of the usual sandwiches and oatmeal. Innovation in this genre has almost always been perceived with truly class intransigence. Antagonism was not always associated with the idealization of the past, its usual harmony and realism, as happened with Benoit, who categorically did not accept the aesthetics of Meyerhold’s opera productions. In a totalitarian society, any deviation from the canons could be regarded as an attempt on public foundations.

“Eugene Onegin” Chernyakova, presented to the public in 2006, has become a favorite target for many critics and viewers. Ordinary and such as Galina Pavlovna Vishnevskaya, who did not forgive Bolshoi for rethinking the classics. If there were other characters in the place of the textbook heroes, our composer and our beloved composer from childhood, the reaction of the public could be completely different. Interpretation of Chernyakov is not focused on the Pushkin era, thereby saving history from a raid of museums. Without longing for the usual mise-en-scenes and cliches, she could appreciate the psychological certainty and drama of the history of human relationships, loneliness, delusions and losses. Onegin, not understood by society, reminiscent of Chatsky, touching and somewhat ridiculous Lensky, expansive Olga, defenseless and closed Tatyana. Before the viewer are not cardboard characters, but real people, causing sympathy, sympathy, interest. The magnificent voices of Kvechen, Monogarova, Dunaev, Kasrashvili reinforced these emotions.

As if in spite of the scandals that accompanied the production at home, Onegin born in 2006 was enthusiastically received abroad. And the maestro himself in more than 10 years staged more than three dozen performances in different theaters of the world. The resumption of the production is an opportunity to see the performance that caused so much controversy, and to make up your own unbiased opinion about it. Soloists who are vocally and dramatically not inferior to their remarkable predecessors are employed in Onegin of the sample of 2015: the amazing Asmik Grigoryan (Tatyana), Andrey Zhilikhovsky (Onegin), Bogdan Volkov (Lensky), who managed to find new colors and emotions for their heroes.

The opera house is a living organism that must develop in order not to lose the interest and love of the public. The presence in the repertoire of productions that do not violate the peace of the zealots of traditions is not forbidden at all.

Elena Tanakova © Gallerix.ru