Musical Anna Karenina Theater Operetta How much goes. "Anna Karenina", or a terrible dream of Lev Nikolayevich ...

The musical on the Russian literary classics is always a little scandal. The Moscow spectators are accustomed to imported Broadway stories, but the decision to "voice" someone from the pillars of national literature is perceived wary. It is not surprising that the musical "Anna Karenina" became the most discussed theatrical event of last year's autumn. At one time, Dostoevsky called the novel of the "huge psychological development of the human soul" - some theatrical critics complained that in the musical transfer of the history of the love of Karenina, there was not much of this "psychological development". As the basis of the musical you can take any source, the main thing is to remember that the musical and this source will pursue different artistic goals and be in different aesthetic planes. For a mass viewer, judging by popular reviews on films and shows, the proximity criterion to the text decisive: can forgive not the most outstanding music or sluggish characters, but not "original reading".




Therefore, in working with the Tolstsky Heritage, the creative team of the musical "Anna Karenina" showed almost religious seriousness. As a result, mass "ballroom" scenes because of the abundance of crinolines and wigs seem to be worried, stylistically, they are quite conventionally connected with avant-garde dances in "street" scenes. Benefit, the genital flour of the Karenina viewer does not show, but two times during the performance there is a boy, Seryozha Karenin, who utters one word (guess what). The producers of the musical Vladimir Tartakovsky and Alexey Bruborin say that it was through the character of Serge Carpenin that they had to convey to the viewer the scale of the host of the main character: "If a woman is solved to leave his beloved child, then what is the power of her feelings to Vronsky!" Busting with a flavor in action compensates for the outstanding scenography of Vyacheslav Okuneva and the artist over the light of Gleb Forshinsky.


Photo provided by the press service of the scene from the musical "Anna Karenina"

The characters of key actors will not call schematically, although this is often sinning "light" genre of the musical. Negative or at least just repelled or demonic characters is a good sign. Alexey Karenin causes as much sympathy as Anna Karenina. Among the heroes of the musical there is one - someone's manager - which is not in the novel of Tolstoy: a figure-medium, which in different images appears everywhere where Anna is present. Producers describe it like this: "This is a conductor of the will of the highest strength on Earth. Initially, he wondered as a conductor, which dictates passengers the rules of behavior and conditions in the "train of life". It is he who establishes the "rules of behavior" of the heroes, sets the conditions of the game and the tone of the entire spectral. He is fate. " The area of \u200b\u200bthe storage area is much more than the station. In the most dramatic stage with his participation, the character will not utter a word - at this time Anna will listen to the opera Diva Patti, which sings: "Quench me wine, refresh me with fruits." The line, by the way, refers to a similar in the song Solomon's song: "Support me with wine, refresh me with apples, for I exhausted from love" - \u200b\u200bsuch a "Easter egg" left in the text by Libretto by Julius Kim.


Photo provided by the press service of the scene from the musical "Anna Karenina"

The strong side of the musical "Anna Karenina" is the cast. The role of Vronsky went Sergey Lee and Dmitry Yermaku - last year was awarded the Golden Mask for the role of the Ghost Opera. At different times, the Golden Mask was nominated for both artists by Alexey Karenin: Igor Balalayev and Alexander Marakulin. Valeria Lansky and Catherine Guseva comes out amazing Anna: restrained at the beginning, and in the final - crazy and disoriented. Catherine says that during his work on the role changed the attitude towards the heroine, which previously did not cause an emotional response in it: "Anna Julia Kima - love itself! She descended from somewhere on top to us, the whisper, touched and left. There is no place on our land, no one can take it. And Vronsky did not cope. He is earthly, ordinary man, one of many. Avalanche of all-consuming love collapsed on him, and he was relieved, he had nothing to answer such a comprehensive feeling. I stopped condemning, loved my Anna, I am infinitely sorry for her. And I am happy that I have the opportunity to go to the scene in this role. To exist in the piercing music of Roman Ignatiev, love, die, reborn and love again. " Heroine Guseva causes the strongest emotional response: crawled out in tears. And this means, Magic works, and the question of the viability of the musical "Anna Karenina" can be closed.

"And throughout the path we want

we have to gain happiness ... "

Theatrical season has started for me. And I opened it "Anna Karenina", the musical of the Moscow Theater Operetta, who opened their second season. The premiere took place on October 8, 2016 in the Moscow Operetta Theater, but the excitement around the musical still does not subside. Based on the lion novel of Lion Tolstoy.

"Anna Karenina" ... It is hardly in our country and in the whole world there is a person who in one degree or another did not touch with this novel of the brilliant lion Nikolayevich Tolstoy. Someone read at a young age - superficially, not trying to peel into the depths of ideas, someone for different years of life reread the work - with deep awareness, subtle reflection and philosophical approach ...

"Anna Karenina" - Great Russian novel, absolute global masterpiece for all times. This is a story that gives you the opportunity to think, compare and empathize.For many thousands of people, this is a favorite book in which there are answers to many moral and moral, social and spiritual questions.

We arrived in advance and decided to take a walk in the center of Moscow. Nearby there is a large and small theaters, a ram (museum), Tsum, Metropol and many famous historical and architectural interests.

Moscow Operetta

Built at the end of the XIX century, the merchant Gavrila Solodovnikov Hall often changed tenants and owners, but almost his whole story is connected with the musical theater. From the 1920s to the 1950s, there was a branch of the Bolshoi Theater, then the building was transferred to the theater of operetta.

View from our lodge

Photo: Evgeny Garlicov

Theater chandelier

Element socket - Portrait of P. I. Tchaikovsky

"Anna Karenina"

Anna Karenina (actress Ekaterina Guseva)- Notable Petersburg lady. Alexey Karenina's wife, with whom they have a common eight-year-old son. For treason, her husband and the birth of a child from a lover becomes an outcast in society. The way out of the situation finds in your own death.

*

Alexey Vronsky (Sergey Lee's actor) is a noble graph, brought up in a rich aristocratic family. Falls in love with Anna at first glance, and this feeling is mutually. As a result of love relationships, their daughter is born. Left without Anna, leaving to seek death in the war.

Alexey Karenin (Actor Alexander Marakulin) is an unloved domineering wife Anna."Karenin - there is carpenin, self-sufficient and sure!" - the rumors about the love relations of his wife and Vronsky quickly reach it. He forgives Anna for treason, but she decides to tie their fate with Vronsky.

The beginning of the plot begins with a walking riding of respected citizens on the rink

At the ball. Kitty Shcherbatskaya naive and tender failed bride

Musical on the libretto and poems Julia Kima, the music of Roman Ignatiev. A creative team of the authors of the musicals "Count Orlov" and Monte Cristo, who became theatrical bestsellers worked on the project. The director of the play - Alina Chevik, has been successfully operating in the genre of operetta and musical in the genre.

Observe the rules!

Some Gray Cardinal - Character Position

The action begins the stage at the station, where it is similar to the devil in the underworld, the manager is torn, reminding "secular people" about the rules of movement in life. However, love has their own rules - the random meeting of Anna and Vronsky becomes fatal.

Very beautiful set design, beautiful music,exciting love storytransforming scenery, luxurious costumes and interiors - with lightning speed immerse us in a refined Petersburg, then in Patriarchal Moscow as a magic stick, as if we are not in the theater, but in the movies where everything is removed and mounted. The musical is 2.5 hours with a small intermission. Keeps attention from start to end due to the rapid change of decorations.

Very spectacular modern mobile LED scenery. An impressive show was prepared by theatrical artists Vyacheslav Okunev and Gleb Forshinsky, whose work can be seen in the legendary theaters of La Scala, Metropolitan Opera, Mariinsky and Big.Stealth provided for this unusual project universal Pixled F11 mesh with high light output. The area of \u200b\u200bthe thirteenthimetime screen was 117 square meters.

Immediately after the Moscow Bala and dating with Vronsky Anna

returns to Petersburg. Alexey - for her ...

Silent gossip

An exquisite ball where the Higher Society is skillfully changes, the atmosphere of the village life, where wheat spies and smells fresh only baked bread, fluffy snow flakes are spinning, jumps on the racetrack and fashionable "party" in the opera, and the train rushes at the station ...

Explanation with carpentine

Free and loved

Anna sincerely suffers from because he betrays her husband, because Karenin is a devoted loving husband, experiencing pain from betrayal. Carrenin still loves Anna, but forbids to communicate with her son. One of the key vocal parties of Karenina "Ungratefulness".

"When you betrayed - it's like broken hands.

You can forgive, but I can't hug no longer

/ L. N. Tolstoy /

A secret meeting with his son in the house of Karenina - the hall was sobbed

Meeting reconciliation of two rivals - Anna and Kitty

The appearance of a fashionable party, where Anna was humiliated and trampled by society

I have to prevent feedback about the musical "Anna Karenina" a small preface. So, a WARNING: If you tenderly treat this spectral if you barely transfer criticism, especially if you are related to the formulation, urgently close this page and go to read the reviews of other authors. Without my writings, you will hurt perfectly, and your nerves will be more used.

Well, the season of the musical prime minister started. And personally I opened it "Anna Karenina". True, I unexpectedly came to the show before the official premiere (thanks again to everyone who contributed) and did not have the idea what the composition is promised to me. The joy began after buying a program and study the names of the artists who played on that day. Right, I choose the date of the campaign to the theater of the operetta personally, long and thoughtfully, the best result did not achieve.

One misfortune: I was configured in advance to the fact that Nikolayevich's anything good of the posture of the Lion's transfer will not be released on the musical scene. At least in this case. For examples were too significant and (well, and how to keep silent about).

But I still religiously hoped for the best. What if it ripped up? .. Alas, did not come around. Already after the first scene, I formulated my opinion about Anne Karenina, which has not changed in any iota: it's kapets.

No, no, coming out of the theater and convulsively smoking in front of the entrance, trying in vain to come to himself, I, of course, heard the multiple enthusias of other spectators with these ears. But the musical God of them is a judge, these undemanding and omnivorous good people.

I broke my head for a long time, how do I write feedback. For a comprehensive: "This is a kapets!" - Certainly, will give the maximum of my feelings and emotions, but will not reveal the details. Echidial Rugan Subnost to the second paragraph, and the epithets in the text will quickly repeat. And then I was reminded of a masterpiece memo to theatrical criticism. This:

Shooting: "Eureka!" - I danced Tarantel and proceed now to writing a review on the relevant scheme ...

On October 8, the long-awaited premiere of the musical "Anna Karenina" took place in the Operetta Theater. The lovers of the genre pretended to be a spectacle and saved the alleged details of the action, because the hand was put on the perfectly known viewers of Alina Chevik.

This director has its own unique style that can be found from the first moment. Indeed, it is worth only to reveal the curtain, and immediately want to exclaim: "Yes, it's a Chevik! .."

From the play, the best finds of the director are moving to the performance. These are branded miceanssen, and countless dancing, and the permitting artists themselves look for the depths of the role without any director's pressure from above. The director can be understood: Why to invent Velidyphed, if for many years ago she was nasty, the most golden bottom, which allows you to use the same techniques for the fun joy?

A stinging viewer may notice that the difficulty of identification arises, which performance he looks today. After all, such dances, dialogues and costumes he watches in all projects a chevik. I can not agree with this remark. Think ourselves: before entering the theater, the poster hangs on which the name of today's performance is written. How can I read it and do not understand what you are demonstrated on stage?

Major work has been done , After all, it was necessary not only to sear the most successful staged links "Monte Cristo" and "Count Orlov", but also to place them in due order for Anna Karenina.

Separately, I would like to note the ease of feeding the material. As you know, the theaters have a different audience, including the one that falls into the art temple by chance. And this means that the director should not be made is an excessive and overloaded planned plans.

Music, as you know, entertainment genre. Therefore, at the director who takes a sad story with the tragic finale, there is a double responsibility. It is necessary to allow the public to relax and do not deeply immerse yourself in despair. Chevik masterfully copes with such a task, leaving for the scenes all the moments that could be interpreted ambiguous ... or at least just somehow interpret.

As a result, Alina managed to create a performance that could be called the top of her skill without any doubt. Scheduled in previous productions The moves and author's films have now become the main directories. Chevik does not appreciate and does not conduct creative surveys. She is a hand of an experienced master generously sow in the soil of its performance solutions tested in public.

Curious interpretation of the play allowed to leave "behind the scenes" most of the novel Tolstoy. Indeed, two o'clocks of the musical - too narrow frames in order to cover all the tricks of the plot. Because in Anna Karenina, we see a linear story that is not distracted by secondary details. This means that even those spectators who never read the novel will understand what is happening on the stage.

There may be a feeling that Lövin and Kitty line is unnecessary, because these characters minimally intersect with the rest of the plot. I again allow myself to challenge this thesis. Think ourselves: I will stay Lyuvin outside the plot, how could we be happy with the Pasanian scenes with rye and blue sky on the screen?

And the director, and the author of Libretto - Musyikla's permanent rule - know the main rule of the musical: To ensure that the public does not bother, not only perky dances, but also change the place of action, which means that the general picture and projections on the screen, which the public takes on a bang (no one It will not argue that in our time this reception still looks innovatively).

Skeptics can declare that the performance turned out to be boring and uninteresting, and the final of it is predictable. Like, the authors were able to present the well-known plot so that he would be considered to be reviewed again and again, and "Karenina" was taught. And again the error.

Anna Karenina is a story that gives the creators the opportunity not only to tell the story of love, but also impress the audience with the brilliance of the 19th century, to immerse them in the history of their own country and to acquaint themselves with the noble life and shik (no wonder these theses are infinitely repeated in Press releases).

Perhaps, the musical "Anna Karenina" is aimed primarily not at the mind and hearing of the public, but to another, no less significant feeling - vision. Gorgeous suits (when creating them again used the rule "Take the best of past projects"), pompous transforming scenery (and here the rich experience of previous productions), endless projections - all this magnificence is displayed on the fore and plays the first violin.

As for the poetic texts, it is impossible not to note the author's attempt as much as possible to convey to the public their meaning. Most phrases are repeated several times, and therefore the most inattentive viewer realizes what heroes are told about him.

Separate praise - for the attempt of wordness. Recall the phrase: "Patty on the patch". We all know what "gripping" and "on pickup". Kim does not adhere to templates and creates something fresh and unfamiliar.

I confidently declare that, as well as for a chevik, for Kima "Anna Karenina" became the quintessence of the talent of the Creator. Here he reached a certain absolute, after which other authors are ashamed to write texts for the following projects. For it is a peak, top, Everest! ..

A similar picture is observed in the musical component. Composer Roman Ignatiev composed a lot of wonderful musicals, but finally he came to understanding that it was necessary to rely on the best in his work. Therefore, all the melodies from "Karenina" will seem nicely familiar constant spectators of the Operetta Theater. Here they sounded with notes from Monte Cristo, and here is the poured "Count Orlov".

Everyone knows that the viewer, as a rule, with difficulty takes something new for himself. "Anna Karenina" he will meet as a native, because all the elements of the performance will seem familiar to him.

Experienced viewer will notice That songs in the musical are a lot, and sometimes they do not carry any semantic load - exclusively aesthetic. The creators give us the maximum opportunity to immerse yourself in music, and a separate advantage is that it is difficult to find a melody that knocks out of the general range. If the so-called "musical milking" sometimes sounded in the "Monte Cristo" or "Eagle", the contemplation of "Karenina" will not make you shudder from the sound stream.

Someone will say that the musical melodies are boring. These soldiers are completely inappropriate, because the audiences who conducted a sleepless night may also be in the hall, and now they have a chance to comfortably borrow under the accumulating sounds of "Karenina".

Summarizing the foregoing, I note that, of course, the interpretation of Anna Karenina is controversial, but has the right to exist. In the end, most viewers of the Academi did not finish, and here they are available and musically joining the classics. Yes, you can not read the novel and not see a single film, but to penetrate the troubles of the heroes.

Finally, we were presented with another musical, designed not to high-blade moghers, but to the mass public. Let it go the price policy is represented by bold, Already now we can say that the Operette Theater Hall will be full in those days when they give Anna Karenin.

I am sure that the show will grow from the performance to the spectrum, Although today it is clear that the musical is a true diamond. This is not surprising, because the hand to the creation of the "carina" put such monsters of the genre as Chevik and Kim.

And if someone has a new project, I don't like it, I have a hurry to please you: pies in a tasty buffet.

Well, I sincerely hope that I managed to convey my thoughts about Anna Karenina. And if I visiting the show in the near future soon, then only in the hot delight or for the big money listed to me on the card.

But there is a link in the musical, which is not just good, but great. I speak Ob. artists. Once again, the Draft Theater Operetta collected all the acting cream, forcing poor and unfortunate talented people to exist in the kape. (Yeah, but now they will insist, inspire the laudatory reviews and naively believe that "Karenina" - cool ...)

I will tell you more: it is because of those engaged in the performance of artists, many give a "carina" a positive assessment. Creating libretto with a missing plot, idiotic texts, secondary and uncertainness - garbage. Actors - clever, and therefore I liked it.

And I believe that even the efforts of gorgeous artists who are trying to squeeze the maximum of flat, indiffered characters (sorry for them, she), do not "Karenina", at least on the Grand Program in the center of Moscow.

Let's tell me about those whom I saw.

Prince and Princess Shcherbatsky - Vyacheslav Chlellows and Elena Soshnikova. Miser rollers, within which it is possible to paint the costumes. But even from this "magnificence" of the gentry and Soshnikov overlook in all its glory. And yes, they did not give it - only in the ensemble.

Countess Vronskaya - Anna Guchengkov. How many people can give the age roles a poor role ... a character, like everyone else, about anything, thanks to the author of libretto and director (I will not repeat these phrases, you can extrapolate them yourself for everyone else). But immediately Guchengkov. So, one pleasure for the eye and hearing (thank you - Dali enjoy the vocals of Anna).

Patti - Oksana Lestering. The only scene consisting of a single song. And I would write that I do not understand the meaning of a kind of inclusion, if it were not that the forester demonstrated. That I liked it.

Manager - Maxim Zausalin. Man, because of which opinion: "It's kapets!" - turned into: "This is Kapets and Zausalin." Not only because of the indisputable talent of Maxim. Just his character seems to exist in high-quality and ideologically different performance. There is a "Anna Karenina" - banal, boring, ordinary, and there is - width scenes with a manager. This character is the local der Todd, "Demon Karenina". I have no idea that he won a chevik when she picked up. But at least a bit of the rest did not care about the pieces of the pieces, the beauty would be. Over the manager it is interesting to observe, and in general it stands out from the host of other artists. It seems that for the mass of the projects worked together, the people sent themselves about each other and works in a single vein. And here such Zausalin, on its wave an existing one. In general, if I do not Maxim, I am in general, probably, with longing right in the theater ended.

Princess Betsy - Natalia Sidortsova. I can never forgive the production, in which Sidortz talent is not used. So in "Karenina" so - is, it seems, a character, and a sense? .. Remove this betxi from the musical - nothing will change. It does not carry any semantic load. Natasha, of course, is always great and everywhere, but forgive ... Not her scale role.

Steve Oblonsky - Andrei Alexandrin. Well, come ... I liked Alexandrin! Not lying, honestly! Let him sat down terribly, but still it looked even cute. And sang it is not bad. So here is this novelty of theatrical perception.

Konstantin Lövin - Vladislav Kiryukhin. Also, the role that can be boldly to throw out (Kitty and without it would have done - well, in the conditions of the ability of the theater theater, the operetta is filled out of the scene of the heroes and plot lines). But there is also a plus: you can simply please a lot of scene by a lot of caring on stage. Although the character for him would be so much like.

Kitty Shcherbatskaya - Daria January. Here is the only one who did not like me. Maybe, worried, understand. But the actures did not convince (what was it at all? ..), and vocal but tightened to the second act. Although also not a fountain.

Alexey Karenin - Alexander Marakulin. I have something to write here or simply once again point out that "no one is nothing more than Marakulinaaa"? .. Not, completely unclear what Anna seemed not to suit. However, this is me not only about Talent and Harizme Marakulin, but also once again about the relationship of libretto.

Alexey Vronsky - Sergey Lee. Completely chic in the specified conditions. Well, how can it be otherwise if we are talking about? Yes, let's understand that they happened to them in the final with Anna, since the Vronsky sings so touchingly that she, de, accuses and finally does not understand (on stage, we do not show anything like this). But if we offer Sergei Lee in the musical, it will definitely be wonderful.

Anna Karenina - Olga Belyaeva. The only Anna, on which I was initially agreeing (and that I will not even hide it). And it was me that happiness. Alas, Libretto and here put a bunch of pigs. The most important thing is that the reason for throwing the train is unclear - but Olga did everything possible to justify the actions and thoughts of his heroine. It was powerful and shrill ... And vocals ... before I thought it was to cope with the parties of Anna, only Sidortova. Now I know - also Belyaeva. The final song of Karenina is something. It is worth noting that it is also melodically very interesting, stylistically released from the rest of the material. And when Olga sang her ... No, I did not forgive the musical of dullness and meaninglessness and did not lead it to see him again, but goosebumps on the skin ran the scorch. So, if you suddenly want to see the same "Anna Karenina", then choose the dates of Belyaeva.

It is very sad that we are stitching with such creations, calling their musicals. It is doubly sad that their fans will arise with this thing - and even in large quantities. Triple is pity that people who know and the values \u200b\u200bof the genre come up with "carpentry" justification, looking for advantages and echoing imaginary pearls in a pile of finds from the Chevik.

What am I? I just am rejoicing that the final post-clear song finally ends with the word "love", but the word "happiness". Already the evolution is some kind ...

PS. And about the living orchestra I will not write anything, for his presence, of course, a huge plus, but I will come to those spectators that it seemed that a frequently minus phonogram sounds ... Maybe I am deaf, I do not argue.

Musical "Anna Karenina" Beats all records: from the very first play in the theater operetta full halls, Musical tickets are bought for many months ahead. AND April 22, 2017 "Anna Karenina" will celebrate his first anniversary - 100th performance.

While the viewers acquire tickets to the musical, artists are preparing for a festive date - for an incomplete season of rolled out the musical "Anna Karenina" managed to become a favorite not only for viewers, but also for project participants.

Ekaterina Guseva, the performer of Anna Karenina, admitted: "It would seem, just yesterday we first went on the stage - and I will soon play the 100th performance soon! Dream came true! And I am so happy! But how fast the time flies! I am experiencing incredible emotions! What treppet everything was created! With what love, with what kind of return we all work! We see a response. The viewer loved our "Anna Karenin"! From the play to the spectrum on the bonds, the full hall applauds us standing! Is this true happiness for the artist? "

Anna Karenina is a world-class musical. We have permanent alllands. Because of this, not all my friends and relatives were able to get to Anna Karenin. But, at the same time, I am happy that I take part in such a large-scale, meaningful and favorite public project. "- Shared Dmitry Ermak, Performer of the role of Alexei Vronsky.

"Anna Karenina" - as if the living panorama of society outside of time and space, and the musical is surprisingly accurately conveys the finest psychologism and the emotional depth of the Great Roman L.N. Tolstoy.

The action of the performance occurs in Russia, in the second half of the nineteenth century. Brilliant aristocrat, Count Alexey Vronsky meets a young charming woman, Anna Karenina, wife of an important metropolitan dignitary. Mimolet acquaintance and mutual sympathy will grow rapidly into a deep mutual passion. For both, this is the first true love, and so strong that Anna is solved on the scandalous, according to the standards of the noble society, step: Leave her husband with her son, leaving together with Vronsky Petersburg. However, the love idilation is short, and soon the fate will subjected their feelings with a decisive test.

In the musical troupe - the best metropolitan artists of the genre: Ekaterina Guseva, Valery Lanskaya, Dmitry Yermak, Sergey Lee, Olga Belyaeva, Natalia Bystrov, Igor Balalayev, Lick Rullah, Andrei Birin, Alexander Marakulin, Maxim Zausalin and many others.

The performances of the musical "Anna Karenina" will be held from 11 to 23 April, from May 16 to 28 and from June 20 to July 2 In the theater operetta.