Vilnius time to show of

you have made your Bet, gentlemen! Rates are no more. History does not know subjunctive mood. As if fate of Sergei Prokofiev, manage his Player to appear in a production of the play on the stage of the Imperial Mariinsky theatre in 1917?

Photo: iStock the Bolshoi is presenting online performances from the “Golden Fund”

Against her, it seemed, was life itself: first, in 1916, the musicians of the Mariinsky theatre, for which it was intended, rebelled against the “more left”, in the words of Prokofiev’s musical language, and then the conditions dictated not by artists, and revolution and war. Prokofiev ten years, which, as he writes in his Autobiography, allowed him “to see what was music and what remplissage, covering the terrible chords,” made the second edition of the Opera. The first time it was staged in Brussels at La Monnaie in 1929 and has since been quite happy (for the Opera of the twentieth century) stage history. Although the notes of the composer can be found full of anger, the remark that “our Russian ravens missed the Opera”. And oddly enough, it is still largely relevant. Today, the “Player” of our theatres can only be found in the vast poster bins of the Mariinsky theatre.

But this Opera is not only very difficult to fulfill singers, as it requires a fantastic voice endurance, “heightened” sense of rhythm and perfect diction, but it’s hard to listen to the public, because it does not find light melodic structures deployed arias and duets, mellifluous and instantly carved into memory. Three hours people on stage (that is, in the city of Roulettenburg) at stoppage “cry” about money and are in a hysterical dialogue.

Prokofiev himself made the libretto of dialogues of Dostoevsky’s novel, using 15 of the 17 chapters. Pso singers have to sing the text, written by the “despicable” prose. But being a true genius Prokofiev felt “naked nerve of the time” and brilliantly reflected in his music.

In Vilnius play spring emotional stress seems to be compressed to the limit. And hard, like the voice of the overseer, the sound of the orchestra in precise contrast with the elements of the human voice produces an apocalyptic impression. The main role along with Hasmik Grigoryan (Pauline), for which this work became a return to Lithuanian national Opera after nearly a decade, performed by Dmitry Golovnin (Alex), Vladimir Prudnikov (General) and Inessa Luneburgite (Grandmother). They sing with understanding and with rare taste for Prokofiev’s music.

People, overwhelmed not only by the idea of easy money and profit, but also illicit substances, the Director settles in a miserable hostel, converted by illegal virtual casinos. Speaking of metasciences performance solution, it is important to note a point, like a sniper bullet, the light (the artist Alexander Sivaev), largely forming the style of this show – an intimate psychological drama, where the light beam is often self-sufficient and he “runs” for the heroes, and sometimes “peeking” behind the silhouettes of the heroes in the dark, looking into their soul, like x-rays.

Photo: courtesy theater “RG” invites readers without a visa and masks in Russian theater, London

the Obsession with Vice is so all absorbing that the key here is the question, sounding the scene: “you could kill a man?”… And how many did not wash clothes (the Opera begins in a Laundromat), the conscience will not be cleaner. While somewho episodes of the Opera with the participation of the Marquis (Thomas Pavilionis) and Blanche (Eva Prudnikova) are submitted to the rules of psychological drama, and the laws of sitcom.

the growth of drama, the culmination of which is a scene in a gambling house, where Alex wins two hundred thousand, this performance is not the main event of the show. Absolutely stunning, unforgettable impression Polina Hasmik Grigoryan, beautiful, charming, seemingly fragile, but actually smart, behaves like a handle invisible roulette that spins the drum, and the flywheel of all human life. And this show made it to this gorgeous singer-actress, worthy of that in a year when the whole world will mark the 130th anniversary of Sergei Prokofiev, to be shown on many European stages.