this performance has no linear plot, following collisions of Chekhov’s drama. There is today a sense paradigmatic of the characters in regard with fleeting time and their fate in a hypothetical development. There is a feeling of the country in a changed world. Of course, this Czechs of the XXI century, the modern “rashomon”, where the newly reviewed all of these vague dreams, stagnated illusions and frenzies of passion. And where everything goes almost to the level of farce, in which glimpses of the footprints of all the past since decades.

Photo: Irina Stolba In Yaroslavl have chosen politicallysensitive contest “Seagull”

Three “sequences” Opera – three stories about the same events from three points of view – Irina, Andrei and Masha. Events are repeated, like a bad dream, like a stuck record, like a squirrel’s wheel of history, which did not break in any Moscow – the coveted and forever disappearing over the horizon like a quivering Mirage. Cycle: a sofa with a floor lamp – fire – military again gone – our ballet again ahead of the clock broke – sofa fire, military… Running decades, Irina and Natasha are changing the makeup and toilets, soldiers uniform, nurse Anfisa got a polisher, of connection I recall another conversation – the “Spidola”. Living room with columns as usual – around the station waiting room with a clock stopped forever. Because time has stopped. Because everything changes and nothing changes. Running on the spot. Delusional visions of restless, interrupted sleep.

Photo: Press service of the festival “Golden mask” / Elena Lekhova

“the Composer drew his inspiration largely from his Soviet experience – told me the Director of the play, the Briton Christopher Alden, started his first job in Yekaterinburg. – So it was important in his Opera not only Chekhov’s time, but further movement of the century, after the Bolshevik revolution, and how these events resonate today.”

Photo: Tatiana Andreeva/WG Kolyada theatre will receive financial support

It is those disappointments which have survived and Chekhov himself, whether he is with us today – the frustration of a total and final. Of course, if he really believed in the aspirations of the Petit mills, and misty gaps in the minds of the sisters Prozorovich. The performance recalled the time that your nurse to Sing Trofimov Cherry orchard, the author considered a Comedy: here and these “Three sisters” full of farcical techniques, expressed not only plastically – frozen in a sort of absurdist mise EN scene, but first and foremost in music.

Hungarian Peter Eötvös has written an Opera with the expectation of informal, bearing their meaning acoustic effects: the instrumentation is amazing, offbeat involved everything from the accordion to the Gong and maracas. The orchestra is in constant dialogue with the characters, each of the main characters imparted its instrumental sound: someone uterine rumble of copper, to someone the outcry flute, someone sensitive, like wobbly sax… Special acoustic effect a different filling the hall with sound and creating two orchestras: the chamber in the orchestra pit and Symphony in the niche above the stage. The paradox of the often dissonant sounds creates a special tension as they would say in the movie, the voice-over suspense. Vocally very good, the orchestra (the orchestras), private applause. There was absolutely special, even acoustically, sound world, which fluctuates along with the fluctuations of the plot, with a desperate tirades of the characters is an alarming and deeply penetrating into the soul, it will remain there for a long time. Vibration, barely audible sighs, groans and peresvety – all the venue, the feeling, thoughts, all made in the same way tragic, eternally at war with itself, a desperate, desperate Russia.

Photo: Press service of the festival “Golden mask” / Olga Cereus

bright gusts drowning in ineradicable vulgarity, commitment mossy traditions and idols of the past, militant stupidity and provincialism that reproduces itself again and again. She was tired of hope. Tired of living in an eternal waiting room. The waiting room is the main scene of the play. And, alas, our whole life.

Photo: Alexander Ivanishin Oskaras koršunovas modernized Chekhov’s “the Seagull” for the Moscow art theatre

All the roles an actor is expressive, and even texture artists a perfect match with our notions of the characters of the play. All accurately understand the meaning of their own roles and parties, two hours impossibly difficult for singers music passed like a moment. Eötvös Opera was a revelation and a discovery – it would be desirable to listen again.

With a light hand “Musical review” – has gained the status of “the play of the year,” Yekaterinburg “Three sisters” nominated for “Golden mask” in 10 nominations. Among them – “Best performance”, conductor: Alexei Bogorad and Olvera background of Dohnanyi, directed by Christopher Alden, artists Irakli Avaliani and Andrew Lieberman, lighting designer Seth Reiser and executors of leading roles Nadezhda Babintseva (Mary), Olga Tenyakova (Natasha), Vladislav Troshin (Salt) and Alexey Semeneev (Vershinin).

Photo: Press service of the festival “Golden mask” / Olga Cereus