The Bolshoi Theatre of Russia has begun its second imported Italian production of the season: Cilea's opera "Adrienne Lecouvreur" from La Scala. Lamberto Puggelli is the director, Paolo Bregni is the set designer, and Alexander Vedernikov is the conductor.
"Adrienne" took about a month to prepare. Director Lamberto Puggelli and vocal coach Franco Pagliazzi worked on the two casts. Alexander Vedernikov directed the music. The guest and local singers quickly and confidently found their feet in Paolo Bregni's detailed and incredibly luxurious sets. Unlike the audience, who gaped in amazement, the Bolshoi stage literally split in two. The depths were occupied by a glass bay window overlooking the interior of the famous Comédie-Française theatre. The foreground was constantly transformed into a theatre foyer or a Parisian mansion, an aristocratic salon or a bedroom. The parallelism of the acts played out here and there was separated by a frontal line of columns, behind which hung heavy theatrical curtains. Their four colors corresponded to the number of acts.
Between the festive red (in the first act) and the deathly white (in the finale) lies the entire story of the great 18th-century actress Adrienne Lecouvreur. In the 19th century, she was immortalized by Eugène Scribe and Ernest Legouvé, who concocted a chilling tale about how the actress, in love with Maurice of Saxony, was poisoned by the Princess of Bouillon out of jealousy. At the beginning of the 20th century, Francesco Cilea's music was added, incredibly enriching the romantic, head-on melodrama with warm Calabrian intonations, languidly beautiful arias, lively ensembles, and a delightful 18th-century homage—the ballet interlude "The Judgement of Paris."
The dancers took a serious approach to showcasing authentic Italian singing. Vsevolod Grivnov demonstrated true heroism: urgently replacing the Bulgarian Boyko Tsvetanov, who had caught a cold, he performed superbly as the tenor lover. His luxurious graceful demeanor was matched by stylish fermatas, fiery, passionate high notes, natural recitative lines, and intelligent use of his voice in duets. The distinctive tenor of debutant Marat Galiakhmetov was also impressive, performing intelligently, precisely, and briskly in both his solo mini-episodes and in paired performances with Leonid Zimnenko (Prince de Bouillon), as well as in virtuoso ensembles.
The ensembles deserve a separate discussion – the quality of the quartet and sextet singing, never particularly praised by critics and not favored by the Bolshoi soloists, was astonishing. The superb quartet of Olga Chernyshova (Jouvenot) and Elena Novak (Dangeville), with Vadim Lynkovsky (Kino) and Vadim Tikhonov (Poisson), turned all the negatives of ensemble singing into positives, imbuing the production with a playful and spontaneous image of the backstage of the Parisian Comédie-Française. Against this backdrop, I suspect many underestimated the remarkable Romanian Nelli Mirichoyu as Adrienne. The production owes much to her for its museum-quality performance, combined with genuine theatricality. Mirichoyu brilliantly transformed herself from opera singer to legendary dramatic actress. Her reading of Racine's lines, which the opera is liberally peppered with, didn't falter, but rather seemed to deliberately provoke rare portamentos (from Maria Callas), touching sensitivity (from Mirella Freni), and the unquenchable torment of genuine passion (from Montserrat Caballé).
The iron lady poisoner was equally impressive, with Irina Dolzhenko naturally accentuating her vengeful composure. As expected, the old man Michonnet, in love with Adrienne, was beautiful in his nobility, a role flawlessly portrayed by La Scala baritone Massimiliano Gallardo.If it weren't for the program, the Bolshoi orchestra under the direction of Alexander Vedernikov, vibrating, tremulous, fiery and tender, could have easily been mistaken for a touring ensemble from La Scala.
The Bolshoi Theatre's calendar aligned the new production with the centenary of "Adrienne Lecouvreur." However, the performance proved to be more than just a tribute to Francesco Cilea's finest opera. One cannot help but sense a wholesome fascination with Italian tradition. After Verdi—the early 20th century, verismo, Cilea. After the poster-size fatal plot of "Forces of Destiny," comes a nuanced melodrama with a rich genre vocabulary: orchestral intermissions and 18th-century ballet stylizations, dramatic recitations and ensemble singing, complex arias and dueling duets. And all of this is present in the new production. So, by staging Cilea's far-from-textbook opera (the libretto of which you won't find in any opera reference book), the Bolshoi has completely betrayed itself. In the sense that it's unclear when it managed to transform into a real opera house.
Source.
The first premiere this year at the Bolshoi Theatre
Channel One TV, News, February 19, 2002
Adrienne Lecouvreur's entrance aria is one of the most popular in the prima donna repertoire of the 20th century. Renata Scotto and Montserrat Caballé, Joan Sutherland and Renata Tebaldi have made no secret of their attraction to the role of Adrienne due to the opportunity to dazzle audiences with the virtuoso brilliance of bel canto.
But precisely because of its melodic sophistication, Italy's Francesco Cilea's "Adrienne Lecouvreur" is rarely seen in the operatic repertoire.
Nelli Mirichou, soloist at La Scala: "For this opera, it is crucial that not only Adrienne but all the other performers have stunning voices. And the problem with the survival of bel canto opera is precisely that it is very difficult today to find a worthy cast of singers."
This premiere marks the first work of the Bolshoi Theatre's new director and conductor, Alexander Vedernikov. The production rights have been "leased" for a limited number of performances at La Scala, along with the costumes and sets. Director Lamberto Pugelli, who staged this opera in Milan 13 years ago, is working with the Bolshoi's artists. La Scala soloists, invited to perform the premiere performances, will also be performing the leading roles.
If "Adrienne" is a success, the opera will remain in the Bolshoi Theatre's repertoire for a short time. Although professionals are wary of the new practice of "leased" premieres—Verdi's "La Forza del Destino" was presented at the Bolshoi under similar conditions in December—Alexander Vedernikov is confident that this is the most convenient method for international productions.
Alexander Vedernikov, Principal Conductor of the Bolshoi Theatre: "What's the point of creating our own productions? This activity should be primarily for Russian operas. Who needs a homegrown, domestic Wagner, for example? Therefore, for greater insight into the style and national tradition, as well as to save time and money, it makes sense."
Source.
"Adrienne" took about a month to prepare. Director Lamberto Puggelli and vocal coach Franco Pagliazzi worked on the two casts. Alexander Vedernikov directed the music. The guest and local singers quickly and confidently found their feet in Paolo Bregni's detailed and incredibly luxurious sets. Unlike the audience, who gaped in amazement, the Bolshoi stage literally split in two. The depths were occupied by a glass bay window overlooking the interior of the famous Comédie-Française theatre. The foreground was constantly transformed into a theatre foyer or a Parisian mansion, an aristocratic salon or a bedroom. The parallelism of the acts played out here and there was separated by a frontal line of columns, behind which hung heavy theatrical curtains. Their four colors corresponded to the number of acts.
Between the festive red (in the first act) and the deathly white (in the finale) lies the entire story of the great 18th-century actress Adrienne Lecouvreur. In the 19th century, she was immortalized by Eugène Scribe and Ernest Legouvé, who concocted a chilling tale about how the actress, in love with Maurice of Saxony, was poisoned by the Princess of Bouillon out of jealousy. At the beginning of the 20th century, Francesco Cilea's music was added, incredibly enriching the romantic, head-on melodrama with warm Calabrian intonations, languidly beautiful arias, lively ensembles, and a delightful 18th-century homage—the ballet interlude "The Judgement of Paris."
The dancers took a serious approach to showcasing authentic Italian singing. Vsevolod Grivnov demonstrated true heroism: urgently replacing the Bulgarian Boyko Tsvetanov, who had caught a cold, he performed superbly as the tenor lover. His luxurious graceful demeanor was matched by stylish fermatas, fiery, passionate high notes, natural recitative lines, and intelligent use of his voice in duets. The distinctive tenor of debutant Marat Galiakhmetov was also impressive, performing intelligently, precisely, and briskly in both his solo mini-episodes and in paired performances with Leonid Zimnenko (Prince de Bouillon), as well as in virtuoso ensembles.
The ensembles deserve a separate discussion – the quality of the quartet and sextet singing, never particularly praised by critics and not favored by the Bolshoi soloists, was astonishing. The superb quartet of Olga Chernyshova (Jouvenot) and Elena Novak (Dangeville), with Vadim Lynkovsky (Kino) and Vadim Tikhonov (Poisson), turned all the negatives of ensemble singing into positives, imbuing the production with a playful and spontaneous image of the backstage of the Parisian Comédie-Française. Against this backdrop, I suspect many underestimated the remarkable Romanian Nelli Mirichoyu as Adrienne. The production owes much to her for its museum-quality performance, combined with genuine theatricality. Mirichoyu brilliantly transformed herself from opera singer to legendary dramatic actress. Her reading of Racine's lines, which the opera is liberally peppered with, didn't falter, but rather seemed to deliberately provoke rare portamentos (from Maria Callas), touching sensitivity (from Mirella Freni), and the unquenchable torment of genuine passion (from Montserrat Caballé).
The iron lady poisoner was equally impressive, with Irina Dolzhenko naturally accentuating her vengeful composure. As expected, the old man Michonnet, in love with Adrienne, was beautiful in his nobility, a role flawlessly portrayed by La Scala baritone Massimiliano Gallardo.If it weren't for the program, the Bolshoi orchestra under the direction of Alexander Vedernikov, vibrating, tremulous, fiery and tender, could have easily been mistaken for a touring ensemble from La Scala.
The Bolshoi Theatre's calendar aligned the new production with the centenary of "Adrienne Lecouvreur." However, the performance proved to be more than just a tribute to Francesco Cilea's finest opera. One cannot help but sense a wholesome fascination with Italian tradition. After Verdi—the early 20th century, verismo, Cilea. After the poster-size fatal plot of "Forces of Destiny," comes a nuanced melodrama with a rich genre vocabulary: orchestral intermissions and 18th-century ballet stylizations, dramatic recitations and ensemble singing, complex arias and dueling duets. And all of this is present in the new production. So, by staging Cilea's far-from-textbook opera (the libretto of which you won't find in any opera reference book), the Bolshoi has completely betrayed itself. In the sense that it's unclear when it managed to transform into a real opera house.
Source.
The first premiere this year at the Bolshoi Theatre
Channel One TV, News, February 19, 2002
Adrienne Lecouvreur's entrance aria is one of the most popular in the prima donna repertoire of the 20th century. Renata Scotto and Montserrat Caballé, Joan Sutherland and Renata Tebaldi have made no secret of their attraction to the role of Adrienne due to the opportunity to dazzle audiences with the virtuoso brilliance of bel canto.
But precisely because of its melodic sophistication, Italy's Francesco Cilea's "Adrienne Lecouvreur" is rarely seen in the operatic repertoire.
Nelli Mirichou, soloist at La Scala: "For this opera, it is crucial that not only Adrienne but all the other performers have stunning voices. And the problem with the survival of bel canto opera is precisely that it is very difficult today to find a worthy cast of singers."
This premiere marks the first work of the Bolshoi Theatre's new director and conductor, Alexander Vedernikov. The production rights have been "leased" for a limited number of performances at La Scala, along with the costumes and sets. Director Lamberto Pugelli, who staged this opera in Milan 13 years ago, is working with the Bolshoi's artists. La Scala soloists, invited to perform the premiere performances, will also be performing the leading roles.
If "Adrienne" is a success, the opera will remain in the Bolshoi Theatre's repertoire for a short time. Although professionals are wary of the new practice of "leased" premieres—Verdi's "La Forza del Destino" was presented at the Bolshoi under similar conditions in December—Alexander Vedernikov is confident that this is the most convenient method for international productions.
Alexander Vedernikov, Principal Conductor of the Bolshoi Theatre: "What's the point of creating our own productions? This activity should be primarily for Russian operas. Who needs a homegrown, domestic Wagner, for example? Therefore, for greater insight into the style and national tradition, as well as to save time and money, it makes sense."
Source.
The Bolshoi gave the impression of a theatre
Premiere of "Adrienne Lecouvreur" at La Scala
Premiere of "Adrienne Lecouvreur" at La Scala
Eena CHEREMNYKH, Kommersant, Febr 19, 2002
