<Automatically translated from Deutsch>
Leonid Desyatnikov: The Children of Rosenthal; Pyotr Migunov (Rosenthal), Kristina Mkhitaryan (Tanya), Irina Rubtsova (Nanny), Elena Manistina (Wagner), Maxim Paster (Tchaikovsky), Vsevolod Grivnov (Mozart), Vassily Ladyuk (Verdi), Alexander Teliga (Mussorgsky), Bolshoi Choir and Orchestra Theaters, Alexander Vedernikov; 2 CDs Melodiya 10 02432; Recording 2015, release 09/2016 (131'57)
This opera is a, well, what exactly? A fairy tale opera or a horror story? In any case, it’s about a 'Dr. Jekyll', namely the communist Alex Rosenthal, who conducts reproduction experiments in Germany in the 1930s. After the Nazis drive him out, he comes to Moscow, where he perfects his experiments to the point that he can create human beings. Because of his great love for opera, and to resurrect the greatest composers, he recreates the five composers: Mussorgsky, Tchaikovsky, Verdi, Wagner, and finally Mozart. These are now his children or brothers to each other. This is particularly irritating for Tchaikovsky, a great admirer of Mozart, as he now has a little brother Mozart.
The opera depicts the creation and birth of Mozart in Moscow in 1975/76 in two scenes. The subsequent four scenes take place in the winter of 1993. The brothers experience life and bustle at Komsomolskaya Square, at the station of the Metro ring line. Mozart and Tanya, a prostitute, fall in love and get married instantly. The two of them and the brothers decide to drive to the Crimea and live a carefree life. The swindled pimp Kela plots revenge and mixes poison into the vodka the company toasts with. Everyone drinks and, in dying, remembers dramatic moments in their lives. Only Mozart survives because he is immune, and wakes up a few days later in a clinic. The melodies of the brothers, or the unattainable freedom in the South for Tanya, occupy Mozart and convey to him that he is alone.
In addition to the named characters and supporting roles, the leaders of the Soviet Union are also heard via tape recordings, starting from Stalin up to Gorbachev and Yeltsin.
Musically, Desyatnikov offers us his own composition, which, however, without direct quotes, is spiced with contributions in the style of the respective composers. The opera develops rather deliberately and calmly in the laboratory and only unfolds its charm with the adolescent brothers. Then, however, it becomes turbulent and is amusing to listen to. It is an opera that comes across as a fairy tale, is garnished with love, and ends tragically.
Soloists and ensembles of the Bolshoi Theatre under the direction of Alexander Vedernikov deliver a mature and captivating performance. The singers, who naturally sing in Russian, leave nothing to be desired: they perform at a very high level. No one stands out particularly, either positively or negatively; the ensemble is consistently good. The orchestra interprets at the usual excellent level and knows how to adapt well to the different styles. The long experience with the works of the composers in question is certainly helpful here.
The accompanying booklet offers explanations, synopsis, and libretto in Russian and English with a few stage photos.
Source.
Leonid Desyatnikov: The Children of Rosenthal; Pyotr Migunov (Rosenthal), Kristina Mkhitaryan (Tanya), Irina Rubtsova (Nanny), Elena Manistina (Wagner), Maxim Paster (Tchaikovsky), Vsevolod Grivnov (Mozart), Vassily Ladyuk (Verdi), Alexander Teliga (Mussorgsky), Bolshoi Choir and Orchestra Theaters, Alexander Vedernikov; 2 CDs Melodiya 10 02432; Recording 2015, release 09/2016 (131'57)
This opera is a, well, what exactly? A fairy tale opera or a horror story? In any case, it’s about a 'Dr. Jekyll', namely the communist Alex Rosenthal, who conducts reproduction experiments in Germany in the 1930s. After the Nazis drive him out, he comes to Moscow, where he perfects his experiments to the point that he can create human beings. Because of his great love for opera, and to resurrect the greatest composers, he recreates the five composers: Mussorgsky, Tchaikovsky, Verdi, Wagner, and finally Mozart. These are now his children or brothers to each other. This is particularly irritating for Tchaikovsky, a great admirer of Mozart, as he now has a little brother Mozart.
The opera depicts the creation and birth of Mozart in Moscow in 1975/76 in two scenes. The subsequent four scenes take place in the winter of 1993. The brothers experience life and bustle at Komsomolskaya Square, at the station of the Metro ring line. Mozart and Tanya, a prostitute, fall in love and get married instantly. The two of them and the brothers decide to drive to the Crimea and live a carefree life. The swindled pimp Kela plots revenge and mixes poison into the vodka the company toasts with. Everyone drinks and, in dying, remembers dramatic moments in their lives. Only Mozart survives because he is immune, and wakes up a few days later in a clinic. The melodies of the brothers, or the unattainable freedom in the South for Tanya, occupy Mozart and convey to him that he is alone.
In addition to the named characters and supporting roles, the leaders of the Soviet Union are also heard via tape recordings, starting from Stalin up to Gorbachev and Yeltsin.
Musically, Desyatnikov offers us his own composition, which, however, without direct quotes, is spiced with contributions in the style of the respective composers. The opera develops rather deliberately and calmly in the laboratory and only unfolds its charm with the adolescent brothers. Then, however, it becomes turbulent and is amusing to listen to. It is an opera that comes across as a fairy tale, is garnished with love, and ends tragically.
Soloists and ensembles of the Bolshoi Theatre under the direction of Alexander Vedernikov deliver a mature and captivating performance. The singers, who naturally sing in Russian, leave nothing to be desired: they perform at a very high level. No one stands out particularly, either positively or negatively; the ensemble is consistently good. The orchestra interprets at the usual excellent level and knows how to adapt well to the different styles. The long experience with the works of the composers in question is certainly helpful here.
The accompanying booklet offers explanations, synopsis, and libretto in Russian and English with a few stage photos.
Source.
Love confession with clones
Uwe Krusch, Pizzicato, September 11, 2019
