Sergei Redkin

Sergei Redkin
Sergei Redkin (b. 1991), pianist – Third Prize (XV International Tchaikovsky Competition, 2015)

Monday, July 24, 2017

Το κοινό γύρισε την πλάτη στο Φεστιβάλ Αθηνών 2017
















Χωρίς την παρουσία θεατών πραγματοποιήθηκαν σχεδόν όλες οι παραστάσεις του φετινού Φεστιβάλ Αθηνών.

Ο ανεκδιήγητος «καλλιτεχνικός διευθυντής» του Φεστιβάλ, ο οποίος πέρυσι κατάφερε να εξοργίσει τους πάντες εξαιτίας – μεταξύ άλλων – του γεγονότος ότι επέτρεψε την κακοποίηση ζώων επί σκηνής, φέτος δεν είχε καν την ευκαιρία να δει το κοινό να αποχωρεί βρίζοντας από τις ακόμη πιο αδιάφορες, ασήμαντες και γελοίες εκδηλώσεις τις οποίες είχε και πάλι το θράσος να περιλάβει στο πρόγραμμα του Φεστιβάλ.

Αν πέρυσι την πλήρωσαν μερικά άτυχα κοκόρια, φέτος την πλήρωσαν όλες οι μύγες του λεκανοπεδίου, πέφτοντας θύματα της απραξίας, της ανίας και της αφόρητης πλήξης των διοργανωτών του Φεστιβάλ και όσων συμμετείχαν σε αυτό.

Προτιμώντας να απολαύσει ένα λαχταριστό παγωτό μετά από ένα μπάνιο σε μια κοντινή παραλία, όπως τα εικονιζόμενα πρόσωπα στις φωτογραφίες του Martin Parr, το αθηναϊκό κοινό γύρισε την πλάτη στο Φεστιβάλ Αθηνών 2017, στέλνοντας το μήνυμα ότι δεν ανέχεται πλέον να καθορίζουν την πολιτιστική ζωή της πόλης του τα οικόσιτα ενός σάπιου συστήματος το οποίο επιβραβεύει τους άχρηστους και διώχνει αυτούς που πραγματικά αξίζουν.

24 Ιουλίου 2017

ARv




















Οι φωτογραφίες είναι του Βρετανού φωτογράφου Martin Parr


Δείτε επίσης


Sunday, July 23, 2017

Richard Strauss: Die Frau ohne Schatten – Avgust Amonov, Mlada Khudoley, Olga Savova, Edem Umerov, Olga Sergeyeva – Mariinsky Theatre Orchestra & Chorus, Valery Gergiev – Jonathan Kent, Paul Brown (HD 1080p)
















Die Frau ohne Schatten (The Woman without a Shadow) is an outstanding display of virtuosity, presenting one of Strauss' most complex and colourful scores. The three-act opera, with libretto by Hugo von Hofmannsthal, is an exotic fairytale with a strong moral dimension, focusing on themes of the unborn and the supernatural.

Filmed at the historic Mariinsky Theatre in 2011, Die Frau ohne Schatten stars Russian tenor Avgust Amonov as The Emperor, Mlada Khudoley as The Empress, Olga Savova as The Nurse, and is conducted by Valery Gergiev. The Mariinsky Theatre is one of the few opera houses capable of staging Die Frau ohne Schatten, due to the demanding soloist roles, elaborate sets and large orchestral forces required. This epic production, premiered in 2009, is a collaboration between two British artists, director Jonathan Kent and designer Paul Brown, and has become a regular fixture in the opera company's schedule. Kent has a long established relationship with the Mariinsky, and with Strauss in particular.

Performed in German with English subtitles



Richard Strauss (1864-1949)

Die Frau ohne Schatten / The Woman without a Shadow (1914-1917)

Opera in three acts

Libretto by Hugo von Hofmannsthal

World premiere: October 10, 1919, Wiener Staatsoper, Vienna 
Russian premiere: November 16, 2009, Mariinsky Theatre, St Petersburg

Avgust Amonov..........The Emperor
Mlada Khudoley..........The Empress
Olga Savova..........The Nurse
Edem Umerov..........Barak, a dyer
Olga Sergeyeva..........Barak's Wife
Evgeny Ulanov..........Messenger of the Spirits
Liudmila Dudinova..........Guard of the Entrance to the Temple
Alexander Timchenko..........The Vision of a Youth
Tatiana Kravtsova..........The Voice of a Falcon
Lydia Bobokhina..........A Heavenly Voice

The Dyer's Brothers
Andrei Spekhov..........The One-Eyed Man
Nikolai Kamensky..........The One-Armed Man
Andrei Popov..........The Hunchback

Mariinsky Theatre Orchestra & Chorus
Musical Director & Conductor: Valery Gergiev

Stage Director: Jonathan Kent
Production Designer: Paul Brown
Lighting Designer: Tim Mitchell
Lighting Adaptation for the Mariinsky II by Andrei Ponizovsky
Video & Projection Designers: Sven Ortel, Nina Dunn
Choreographer: Denni Sayers
Vocal and Language Preparation and Consulting: Richard Trimborn
Accompanists: Dmitry Yefimov, Marina Yevseyeva, Leonid Zolotarev, Marina Mishuk, Irina Trutko, Zhanna Trutko
Principal Chorus Master: Pavel Petrenko
Children's Chorus Master: Dmitry Ralko

A production by the State Academic Mariinsky Theatre, in arrangement with EuroArts Music International

Filmed December 2011 at the Mariinsky Theatre, St Petersburg

Running Time: 3 hours and 23 minutes

(HD 1080p)

















Synopsis

Act I

The Emperor of the South-East Islands is married to the daughter of a fairy that he captured while out hunting; once he injured a gazelle which transformed into the beautiful young woman.

Having become the Emperor's wife, she did not, however, become human. She casts no shadow and so cannot become a mother. There is a connection between having a shadow and motherhood, as the former is an Omen and Destiny. The Nurse is pleased at this as she despises all that is human. Keikobad, ruler of the Spirit Realm and the Empress' father, sends his envoy who holds talks with the Nurse. A falcon flies to the Empress, having been on a hunt with the Emperor when he shot at a while gazelle. The falcon informs her that "Time will soon run out, woman will not cast a shadow – and thus the Emperor will be turned to stone". The Empress understands the allusion: she has gone beyond the confines of the demonic world, but the Emperor's egotistical love has not surrounded her with humanity. She is between two worlds: one that does not wish to let her go, and one that will not accept her. And this curse will exert its power not over her, but rather over him. The Empress wishes to acquire a shadow whatever the cost. She is assisted in this by the Nurse, who proposes buying a person's shadow. The Empress and the Nurse set off and come to the family of Barak the Dyer.

Barak is no longer young, but he is hale and hearty, as an ox. He works for the sake of his three brothers and his Wife, who is young and attractive but dissatisfied with her life with Barak. Children would be a divine blessing for him, though this marriage, too, has produced no children. The Empress and the Nurse ask the servant to direct them to the Dyer's Wife.

The Nurse offers the Dyer's Wife fine clothes and a lover in exchange for her surrendering her shadow and her fertility. With magic spells and gestures, the old procuress ensnares the young woman and the Dyer's Wife concludes the bargain. The Empress barely understands this tainted covenant, thanks to which she will acquire her heart's desire. But the deal is done, the guests vanish suddenly and the Dyer's Wife is once more left alone. The voices of her unborn children can be heard coming from the pan where five fish are being fried, lamenting mournfully from the darkness. The unsuspecting Dyer returns home. Barak and his Wife each go to their separate beds.

















Act II

The trials begin. The Nurse tempts the young woman with a spectre of a languishing and ardent young boy. As soon as the Dyer leaves, the youth appears in his house. Barak doesn't know what is going on, but his kind but foolish heart becomes heavier and heavier. He feels that something is amiss, as if someone is calling on him to help. The Empress is involved in this evil scheme. At night, in fear-filled dreams she sees her husband walking through an empty forest, alone, eaten up by egotistical suspicions. His heart has already turned to stone. She awakes from her prophetic dream, but her days are more dangerous than her nights. There is no room for a creature from the Spirit Realm in the world of men. Gradually the Empress overcomes her fears and begins to sense her guilt before Barak. The third night falls: The Nurse, in order to complete the pact, calls on devilish forces for help. Heavy mists descend all around. A cry of horror emerges from the mouths of Barak's brothers, while the lips of Barak's Wife produce insane, wild words. She accuses herself of something she has not yet done – of marital infidelity – and says that she has sold her shadow and spurned her unborn children. The brothers light a fire and become convinced of what has been said: the young woman stands before them as a witch, casting no shadow. The Nurse rejoices – the pact has come into force. One has surrendered her shadow; the other must take it for herself. At this terrible and decisive moment, Barak seems to grow taller; his lips, which to this point have uttered no wicked word, pronounce the death penalty on his Wife. A glittering sword appears in his hands. At the sight of the sword, the Nurse understands that higher forces have entered the game, ones with which she cannot compete. Instead of grabbing the shadow, the Empress drags the Nurse away to avoid being spattered in human blood. The Wife falls at Barak's feet, in supplication and in mad frenzy holds the sword above her own self. The fates are woven together and voices drown each other out – everything around is suddenly under some magic power. The Earth rotates and swallows man and wife; Barak's house crashes to the ground. A huge swell of water rises from the depths. The Nurse, shielding the Empress with her cloak, seats her in a boat that has magically appeared.

















Act III

The first trial has been completed, and those who have completed it set out for The Spirit Realm. The boat with the Empress and the Nurse arrives at the gates of the Temple. She knows: she is being called to judgement. In the depths, utterly unaware of one another, Barak and his Wife are struggling in their confinement. The voice of one of the spirits calls them upwards. They rise and think of one another with tenderness: he forgiving her, and she begging forgiveness, humbly and, for the first time, lovingly. They rise above, trying to find each other. Here they meet the Nurse, standing before the closed gates of the Temple. The messenger of the spirits guards the entrance from her. She is infuriated. The Empress is standing in the depths of the Temple and awaits the court. But who is it that will judge her? Is it the King of Spirits, her stern father? A curtain screens his face. The Empress' courageous supplication goes unanswered. There is only the gentle gurgling of the water of the Golden Source, the Source of Life.

"Drink", says a voice, "Drink, and the Wife's shadow will be yours". The Empress hears the voices of the separated man and wife and steps back without having let her lips touch the Golden Source. The waters recede. The Emperor sits upon a stone throne, unmoving, turned to stone. It is only in his eyes, it would appear, that life still lingers. The Source of Life again begins to ring out at the statue's feet. Sweet voices from above can be heard: "Say ‘I want it’ and the woman's shadow will be yours, it will rise, come to life and go with you". The Empress freezes to the spot, battling with her own self. The barely heard words "I don't want it!" at last come from her lips. She is victorious, as the mother before the throne of Solomon was victorious, prepared to lose her child that he might live. She is victorious for her own self and for the sake of one who would, without her self-sacrifice, otherwise remain petrified forever. And for the sake of two others who, having suffered so much, must rise upwards. A distinct shadow falls on the floor of the Temple. The voices of the unborn children can be heard rejoicing.

Source: Hugo von Hofmannsthal. Printed in abridged form (mariinsky.ru)


About the production

"A woman has no shadow and so her husband must be turned into stone." This connection between two events – so strange that it could only have come from the realm of dreams – formed the basis for one of the most unusual and bewitching operas of the 20th century.

The first to have this dream was not the composer but rather his librettist. In 1911 Hugo von Hofmannsthal, an Austrian playwright who sang the praises of love and death in his symbolist poems and dramas, proposed the unusual subject to his great friend Richard Strauss. The Empress – a being from the spirit world – has to become the same as all living men and acquire a shadow (a symbol for humankind and for womanhood) or her husband will be turned to stone. The simple subject canvas opens up a rich world of ideas, and in the language of symbols it tells of the birth of a personality through the struggle for its soul with dark forces. Not by chance were von Hofmannsthal and Strauss contemporaries of Nietzsche and Freud, who opened the door to Europeans to the world of the subconscious. However, von Hofmannsthal's inspiration came not from Freud but rather from ancient Eastern tales and the romantic novellas of Chamisso, Novalis and Lenau. And also from Mozart! Having written the libretto for Strauss for the opera Der Rosenkavalier, based loosely on Mozart and Da Ponte's Le nozze di Figaro, von Hofmannsthal conceived a new opera "the plot of which also correlates with Die Zauberflöte, just as the plot of Der Rosenkavalier does with Le nozze di Figaro". The idea of contrasting two worlds – the human world and the spirit world – flowed from Mozart's masterpiece into Die Frau ohne Schatten, as did the idea of overcoming difficulties that help the characters gain a new understanding of life. Arguably, this is where the similarities end. When starting work on the libretto, von Hofmannsthal wrote that it was impossible to recreate the "enchanting naivety of many scenes in Die Zauberflöte" and subsequently went increasingly farther from the initial idea in favour of the gloomy psychology of a 20th century drama.

Richard Strauss thought the libretto to be excellent and he used it as a basis to write the most unusual of his operas. Neither before – in the shockingly beautiful Salome and Elektra and the epicurean Der Rosenkavalier and Ariadne auf Naxos – nor after, when his pen was increasingly producing comic operas, did Strauss turn to such a complex and symbolist subject. Neither before nor after did he immerse himself so fully in researching the finest motions of the human soul, the struggle of its gnawing, opposing desires.

The music of the opera, a worthy competitor to the composer's numerous other operatic masterpieces, drew and continues to draw the most varied responses. Some critics have found "hitherto unknown heights of inspiration" in it, while others have seen "pretentiousness and pomposity". The reasons for these disagreements lie in the complicated nature of the music, where one hears the voice of the mature maestro, who has lost his taste for shocking and stylistic experimentation. The music of Die Frau ohne Schatten sounds refreshingly deep and lofty. It contains deeply imbued lyrical episodes, where human suffering is conveyed with noble courage and highly effective and colourful "infernal" scenes. They are given a particular flavour by the immense orchestra with the large percussion section, the Chinese gong, the xylophone, the celesta, the organ and the glass harmonica. The orchestra comprises over one hundred musicians and facilitates the production of unusual sound effects. The glass harmonica, which can be heard in the finale of the opera, creates a particular, mystical flavour in the final scene with its light, otherworldly sound, where the protagonists attain catharsis and become freed from passions.

The composer himself, who worked on Die Frau ohne Schatten for three years (1914-1917) coinciding with the tragic events of World War I, called it "a child of sorrow". This grief arose not just because of the worries of the war years but also because of difficulties in mastering the material. However, on completing the opera he named it "the most important opera of my life" and said that "people who understand art will consider Die Frau ohne Schatten to be one of my most significant works".

The world premiere of the opera took place on October 10, 1919 in Vienna, when post-war domestic difficulties were at their greatest and it met with a cool response from the public. Later, however, Die Frau ohne Schatten went on to be staged on numerous occasions at the world's opera houses and came to be seen as a kind of indicator of theatres' performing strengths and artistic greatness. This is one of the most complex scores in the history of music: Strauss used a vast orchestra with over one hundred musicians and made incredibly high demands of the soloists. There are few theatres that can boast of having this opera in their repertoires – in Russia only the Mariinsky Theatre has staged its own production of Die Frauohne Schatten.

Source: Yekaterina Yusupova (mariinsky.ru)













































More photos


See also

Giacomo Puccini: Tosca – Maria Callas, Carlo Bergonzi, Tito Gobbi – L'Orchestre la Société des Concerts du Conservatoire, Georges Prêtre (1965, Digital Remastering 2014, Audio video)

Giacomo Puccini: Madama Butterfly – Kristine Opolais, Roberto Alagna, Maria Zifchak, Dwayne Croft – Karel Mark Chichon, Anthony Minghella (MET 2016 – Download the opera)

Giuseppe Verdi: La Traviata – Marlis Petersen, Giuseppe Varano, James Rutherford – Tecwyn Evans, Peter Konwitschny (Oper Graz 2011, HD 1080p)


Alban Berg: Lulu – Marlis Petersen, Kirill Petrenko, Dmitri Tcherniakov – Bavarian State Opera 2015 (Download the opera)


Georges Bizet: Carmen – Elena Maximova, Giancarlo Monsalve, Michael Bachtadze, Johanna Parisi – Myron Michailidis, Enrico Castiglione (Taormina Festival 2015, HD 1080p)

Giacomo Puccini: Turandot – Mlada Khudoley, Riccardo Massi, Guanqun Yu, Michael Ryssov – Wiener Symphoniker, Paolo Carignani – Marco Arturo Marelli (Bregenz Festival 2015 – Download the opera)


Engelbert Humperdinck: Hänsel und Gretel – Brigitte Fassbaender, Edita Gruberova, Helga Dernesch, Hermann Prey, Sena Jurinac – Wiener Philharmoniker, Georg Solti (HD 1080p)


Christoph Willibald Gluck: Orfeo ed Euridice – A film by Ondřej Havelka – Bejun Mehta, Eva Liebau, Regula Mühlemann – Václav Luks


Giuseppe Verdi: La Traviata – Anna Netrebko, Rolando Villazón, Thomas Hampson – Carlo Rizzi, Willy Decker (Salzburg Festival 2005)


Antonio Vivaldi: Ercole su'l Termodonte – Zachary Stains, Mary-Ellen Nesi, Alan Curtis, John Pascoe (Spoleto Festival 2006)

Pyotr Ilyich Tchaikovsky: Iolanta – Anna Netrebko, Sergei Skorokhodov, Valery Gergiev, Mariinsky Theater 28/9/2009

Giacomo Puccini: Tosca, Act II – Maria Callas, Renato Cioni, Tito Gobbi, Georges Prêtre, Franco Zeffirelli

Dmitri Shostakovich: Katerina Izmailova (Lady Macbeth of Mtsensk), 1966 – A film by Mikhail Shapiro – Galina Vishnevskaya, Konstantin Simeonov


Thursday, July 20, 2017

Sergei Redkin plays Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor, & Sergei Prokofiev: Piano Concerto No.2 in G minor – State Academic Symphony Orchestra "Evgeny Svetlanov", Alexey Bogorad – XV International Tchaikovsky Competition, 2015, Piano / Final Round
















The International Tchaikovsky Competition, first held more than 50 years ago, is not only a valuable asset of Russian musical culture but is also one of the major events in the international music community. The International Tchaikovsky Competition is held once every four years

The first, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which was held before the main competition.

The XV International Tchaikovsky Competition was held in Moscow and St Petersburg from June 15 to July 3, 2015, and was dedicated to the 175th anniversary of the great Russian composer.

In the competition participated more than 600 artists from 45 countries.

On the jury for piano was the distinguished pianists Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, and the founder and director of the Verbier International Festival and Academy, Martin Engström.



The Piano Concerto No.1 in B flat minor, Op.23, was composed by Pyotr Ilyich Tchaikovsky between November 1874 and February 1875. It was revised in the summer of 1879 and again in December 1888. The first version received heavy criticism from Nikolai Rubinstein, Tchaikovsky's desired pianist. Rubinstein later repudiated his previous accusations and became a fervent champion of the work. It is one of the most popular of Tchaikovsky's compositions and among the best known of all piano concertos.

Source: en.wikipedia.org



Sergei Prokofiev set to work on his Piano Concerto No.2 in G minor, Op.16, in 1912 and completed it in 1913. But this concerto is lost; the score was destroyed in a fire following the Russian Revolution. Prokofiev reconstructed the work in 1923, two years after finishing his Third Concerto, and declared it to be "so completely rewritten that it might almost be considered [Concerto] No.4"; indeed its orchestration has features that clearly postdate the 1921 concerto. Performing as solo pianist, Prokofiev premiered this surviving "No.2" in Paris on 8 May 1924 with Serge Koussevitzky conducting. It is dedicated to the memory of Maximilian Schmidthof, a friend of Prokofiev's at the St. Petersburg Conservatory who had killed himself in 1913.

The work is scored for piano solo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, snare drum, cymbals, tambourine and strings. It consists of four movements lasting some 29 to 37 minutes.

The work is dedicated to the memory of Maximilian Schmidthof, a friend of Prokofiev's at the St. Petersburg Conservatory, who had committed suicide in April 1913 after having written a farewell letter to Prokofiev. Sergei Prokofiev premiered the work that same year, performing the solo piano part, on August 23 at Pavlovsk. Most of the audience reacted intensely. The Concerto's wild temperament left a positive impression on some of the listeners, whereas others were opposed to the jarring and modernistic sound ("To hell with this futurist music!", "What is he doing, making fun of us?", "The cats on the roof make better music!").

When the original orchestral score was destroyed in a fire following the Russian Revolution, Prokofiev reconstructed and considerably revised the concerto in 1923; in the process, he made the Concerto, in his own words, "less foursquare" and "slightly more complex in its contrapuntal fabric". The finished result, Prokofiev felt, was "so completely rewritten that it might almost be considered [Concerto] No.4". (The Third Concerto had premiered in 1921). He premiered this revised version of the Concerto in Paris on May 8, 1924 with Serge Koussevitzky conducting.

It remains one of the most technically formidable piano concertos in the standard repertoire. Prokofiev biographer, David Nice, noted in 2011: "A decade ago I'd have bet you there were only a dozen pianists in the world who could play Prokofiev's Second Piano Concerto properly. Argerich wouldn't touch it, Kissin delayed learning it, and even Prokofiev as virtuoso had got into a terrible mess trying to perform it with Ansermet and the BBC Symphony Orchestra in the 1930s, when it had gone out of his fingers".

Source: en.wikipedia.org










Ο 15ος Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος ήταν αφιερωμένος στην 175η επέτειο από τη γέννηση του μεγάλου Ρώσου συνθέτη, πραγματοποιήθηκε στη Μόσχα και στην Αγία Πετρούπολη από τις 15 Ιουνίου έως τις 3 Ιουλίου 2015.

Στο πλαίσιο του τελικού του διαγωνισμού στην κατηγορία του πιάνου, ο Ρώσος πιανίστας Sergei Redkin (γενν. 1991), ο οποίος μοιράστηκε την τρίτη θέση με τον επίσης Ρώσο Daniel Kharitonov, ερμήνευσε το Κοντσέρτο για πιάνο αρ. 1 σε Σι ύφεση ελάσσονα, έργο 23, του Πιότρ Ιλίτς Τσαϊκόφσκι, και το Κοντσέρτο για πιάνο αρ. 2 σε Σολ ελάσσονα, έργο 16, του Σεργκέι Προκόφιεφ. Τη State Academic Symphony Orchestra "Evgeny Svetlanov" διηύθυνε ο ταλαντούχος Ρώσος μαέστρος Alexey Bogorad.

Η συναυλία έλαβε χώρα στη Μεγάλη Αίθουσα του Ωδείου της Μόσχας, στις 28 Ιουνίου 2015.

Ο Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος πραγματοποιείται κάθε τέσσερα χρόνια, είναι ίσως ο σημαντικότερος διαγωνισμός στο χώρο της κλασικής μουσικής. Ο διαγωνισμός διοργανώθηκε για πρώτη φορά το 1958, περιλαμβάνοντας μόνο δύο κατηγορίες: του βιολιού και του πιάνου. Το 1962, στη δεύτερη διοργάνωση, προστέθηκε η κατηγορία του βιολοντσέλου, ενώ στην τρίτη διοργάνωση του διαγωνισμού, το 1966, προστέθηκε ακόμη η κατηγορία της φωνής.

Στον 15ο Διαγωνισμό, το 2015, συμμετείχαν περισσότεροι από εξακόσιοι καλλιτέχνες από 45 χώρες, οι οποίοι διαγωνίστηκαν και στις τέσσερεις κατηγορίες: πιάνο, βιολί, βιολοντσέλο και φωνή.

Την κριτική επιτροπή για την κατηγορία του πιάνου αποτελούσαν οι διακεκριμένοι πιανίστες Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, καθώς επίσης και ο Martin Engström, ιδρυτής και διευθυντής του Διεθνούς Φεστιβάλ και της Ακαδημίας του Βερμπιέρ.



Ο Πιότρ Ιλίτς Τσαϊκόφσκι άρχισε να συνθέτει το Κοντσέρτο για πιάνο αρ. 1 σε Σι ύφεση ελάσσονα, έργο 23, τον Νοέμβριο του 1874 και το ολοκλήρωσε τον Φεβρουάριο του 1875. Αρχικά σκόπευε να το αφιερώσει στον φίλο του, πιανίστα Νικολάι Ρουμπινστάιν (1835-1881), αλλά όταν αυτός σε μια πρώτη ακρόαση του έργου στο Ωδείο της Μόσχας, στις 5 Ιανουαρίου 1875, το χαρακτήρισε «κοινότοπο» και «προχειροφτιαγμένο», οι σχέσεις των δύο ανδρών ψυχράνθηκαν. Ο συνθέτης ένιωσε βαθύτατα πληγωμένος και απέσυρε την αφιέρωση, την οποία πρόσφερε στον Γερμανό πιανίστα και διευθυντή ορχήστρας Χανς φον Μπίλοβ (1830-1894), ο οποίος σε ένα πρόσφατο άρθρο του είχε χαρακτηρίσει τον Τσαϊκόφσκι «έναν πολλά υποσχόμενο συνθέτη».

Ο φον Μπίλοβ κολακεύτηκε από την αφιέρωση και στην ευχαριστήρια επιστολή του προς τον συνθέτη του δήλωνε τον θαυμασμό του και τον κατέτασσε μεταξύ των πέντε καλύτερων σύγχρονων συνθετών τους οποίους εκτιμούσε· οι άλλοι τέσσερεις ήταν οι Μπραμς, Ραφ, Ραϊνμπέργκερ και Σαιν-Σανς. Στις 25 Οκτωβρίου του 1875 ο Μπίλοβ παρουσίασε για πρώτη φορά το Κοντσέρτο, στη Βοστόνη των ΗΠΑ, όπου βρισκόταν για καλλιτεχνική περιοδεία, ενθουσιάζοντας κοινό και κριτικούς.

Στις 13 Νοεμβρίου του ίδιου χρόνου ήταν η σειρά του ρωσικού μουσικόφιλου κοινού να υποδεχθεί θερμά το Κοντσέρτο του Τσαϊκόφσκι. Το πρωτοπαρουσίασε σε συναυλία στην Αγία Πετρούπολη ο Ρώσος πιανίστας και μουσικοδιδάσκαλος  Γκούσταβ Κρος (1831-1885). Λίγες ημέρες αργότερα, στις 3 Δεκεμβρίου, ήταν σειρά των κατοίκων της Μόσχας να αποθεώσουν τον συνθέτη. Το Κοντσέρτο ερμήνευσε ο Νικολάι Ρουμπινστάιν, ο οποίος, εν τω μεταξύ, είχε αναθεωρήσει τη στάση του απέναντι στο έργο και από δεινός επικριτής του είχε μεταμορφωθεί σε ενθουσιώδη υποστηρικτή του. Σε αναθεωρήσεις του έργου προέβη και ο Τσαϊκόφσκι, λαμβάνοντας σοβαρά, όπως φαίνεται τις υποδείξεις του φίλου του. Η πρώτη έγινε το καλοκαίρι του 1879 και η οριστική τον Δεκέμβριο του 1888.

Πηγή: sansimera.gr



Ο Σεργκέι Προκόφιεφ συνέθεσε τα δύο πρώτα κοντσέρτα του για πιάνο ενώ ακόμη σπούδαζε στο Ωδείο της Αγίας Πετρούπολης. Το Δεύτερο Κοντσέρτο, αφιερωμένο στη μνήμη του στενού φίλου του, Maximilian Schmidthof, ο οποίος είχε αυτοκτονήσει τον Απρίλιο του 1913, γράφτηκε αρχικά την περίοδο 1912-1913. Το χειρόγραφο χάθηκε στη διάρκεια της Οκτωβριανής Επανάστασης κι ο Προκόφιεφ αναγκάστηκε να το ανασυνθέσει από μνήμης το 1923. Τον Αύγουστο του 1913, η πρεμιέρα του καινοτόμου έργου που περιορίζει την ορχήστρα σε ρόλο απλού συνοδού, ενώ απαιτεί από τον πιανίστα μια – τεχνικά δυσκολότατη – επίδειξη δεξιοτεχνίας, ήταν επεισοδιακή: Κοινό και κριτικοί είχαν διχαστεί και κάποιοι είχαν αποχωρήσει, μιλώντας απαξιωτικά για «φουτουριστική μουσική». Η ιστορία αποκατέστησε το Κοντσέρτο για πιάνο αρ. 2 σε Σολ ελάσσονα, έργο 16, του Προκόφιεφ, καταχωρίζοντάς το στα αριστουργήματα του πιανιστικού ρεπερτορίου.

Πηγή: culturenow.gr



XV International Tchaikovsky Competition, 2015, Piano / Final Round


Pyotr Ilyich Tchaikovsky (1840-1893)

♪ Piano Concerto No.1 in B flat minor, Op.23 (1874-1875, 1879, 1888) [00:00]*


i. Allegro non troppo e molto maestoso

ii. Andantino semplice
iii. Allegro con fuoco


Sergei Prokofiev (1891-1953)

♪ Piano Concerto No.2 in G minor, Op.16 (1912-1913) [37:33]

i. Andantino
ii. Scherzo. Vivace
iii. Intermezzo. Allegro moderato
iv. Finale. Allegro tempestoso


Sergei Redkin, piano – Third Prize**

State Academic Symphony Orchestra "Evgeny Svetlanov"
Conductor: Alexey Bogorad

Great Hall of the Moscow Conservatory, June 28, 2015


(HD 720p)


* Start time of each work
** Third place was shared by Sergei Redkin and Daniel Kharitonov

















Sergei Redkin was born in Krasnoyarsk, Siberia, on October 27, 1991. He began to play the piano at the age of five. At the age of six he began to study at the Music Lyceum of Krasnoyarsk, in the class of Galina Boguslavskaya. At the same time he began to study improvisation and composition with Eduard Markaich.

In year 2004, after becoming a laureat of the International Gavrilin competition of young composers in Saint Petersburg, Sergei continued his education at the Special Music School of the Saint Petersburg Conservatory, in the class of Olga Kurnavina. At that time Sergei won his first several prizes at competitions for young pianists, such as Rachmaninov competition (Saint Petersburg, 2005, First prize) and Chopin competition (Estonia, 2006, Grand prix). Sergei also played his first solo recitals in Russia and abroad, getting engagements from Germany, Switzerland, Poland.

Simultaneously Sergei studied composition under prof. Alexander Mnatsakanyan, one of the last students of great Shostakovich. Among the young composer's works you can find a string quartet, a trio for winds, chamber music, a lot of music for piano. Suite for cello and piano won the First prize at the young composers' competition in Saint Petersburg in 2007.

In 2008 Sergei was honored to receive the Maestro Temirkanov Award as one of the best students of Saint Petersburg Special Music School.

In year 2009 Sergei successfully passed his entrance exams and became a student of prof. Alexander Sandler at the Saint Petersburg state Rimsky-Korsakov Conservatory. He also continued his composition studies under prof. Mnatsakanyan.

During the year 2011 with the support of St Petersburg House of Music Sergei Redkin trained at the famous International Lake Como Piano Academy in Italy, studying under such musicians as William Grant Nabore, Dmitry Bashkirov, Peter Frankl, Fou Ts'ong among others.

In year 2012 Sergei became the winner of III International Maj Lind competition in Helsinki, in 2013 – the winner of VI International Prokofiev competition in Saint Petersburg. In 2015 Sergei Redkin won the Third prize and the Bronze medal at the XV International Tchaikovsky competition in Moscow.

Currently Sergei is continuing his studies under prof. Sandler in Saint Petersburg Conservatory. In 2016 he's playing his first concerts in New York, Mexico and Paris (all with Maestro Valery Gergiev and Mariinsky Theatre Orchestra), touring with solo recitals throughout the world, from Portugal and Israel to Vladivostok and Yakutsk, taking part at prestigious classical music festivals, playing a lot of chamber music and composing in the meantime.

Source: sergeiredkin.com































More photos


See also


Sergei Redkin, piano / third prize

Sergei Redkin plays Wolfgang Amadeus Mozart: Piano Concerto No.12 in A major – Moscow Soloists Chamber Orchestra, Ayrton Desimpelaere – XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage

Sergei Redkin plays Johann Sebastian Bach, Franz Schubert / Franz Liszt & Sergei Prokofiev – XV International Tchaikovsky Competition, 2015, Piano / Round 2, First stage

Sergei Redkin plays Bach, Beethoven, Chopin, Liszt, Rachmaninov & Tchaikovsky – XV International Tchaikovsky Competition, 2015, Piano / Round 1


Daniel Kharitonov, piano / third prize


Daniel Kharitonov – All the posts



Haik Kazazyan, violin / third prize

Haik Kazazyan – All the posts


Yu-Chien Tseng, violin / second prize

Yu-Chien Tseng – All the posts



Lucas Debargue, piano / fourth prize


Lucas Debargue – All the posts


The winners of the XV International Tchaikovsky Competition, 2015








Tuesday, July 18, 2017

Sergei Redkin plays Wolfgang Amadeus Mozart: Piano Concerto No.12 in A major – Moscow Soloists Chamber Orchestra, Ayrton Desimpelaere – XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage














The International Tchaikovsky Competition, first held more than 50 years ago, is not only a valuable asset of Russian musical culture but is also one of the major events in the international music community. The International Tchaikovsky Competition is held once every four years

The first, in 1958, included two disciplines – piano and violin. Beginning with the second competition, in 1962, a cello category was added, and the vocal division was introduced during the third competition in 1966. In 1990, a fifth discipline was announced for the IX International Tchaikovsky Competition – a contest for violin makers which was held before the main competition.

The XV International Tchaikovsky Competition was held in Moscow and St Petersburg from June 15 to July 3, 2015, and was dedicated to the 175th anniversary of the great Russian composer.

In the competition participated more than 600 artists from 45 countries.

On the jury for piano was the distinguished pianists Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, and the founder and director of the Verbier International Festival and Academy, Martin Engström.

The pianists competing at the XV International Tchaikovsky Competition must perform, during the second round of the Competition, one of the seven piano concertos written by Mozart and selected by the Competition.



The undated A major Piano Concerto of late 1782 was the first of 15 that Mozart composed, mainly for his own use, before the end of 1786. Infused throughout with his special genius, these concertos became (and remain) unparalleled in Western music as a body of work, all the more astounding given the chronologically brief span in which he created them.

In the late spring of 1781, Mozart succeeded in breaking free from Hieronymous Colloredo – the haughty and parsimonious prince-archbishop of Salzburg, in whose service he felt stultified – determined to make his fortune in Vienna. If his income over the next decade did not regularly reflect the quality or quantity of music that Mozart produced, he did become famous. For four years the fickle Hapsburg capital proclaimed him its favorite pianist until, in 1786, The Marriage of Figaro triggered his fall from grace.

The patronage of his Empire's aristocracy supported Mozart after 1782 as a concert artist, publisher, piano teacher, and soloist at their soirées. When the anti-aristocratic Figaro seemed to bite this feeding hand, it was withdrawn – a situation grimly worsened by the Ottoman armies' 1788 attack on the southeastern flank of the Hapsburg' Holy Roman Empire. Music lost its priority in Vienna, then fell largely silent when Joseph II died in 1790, of a disease contracted in the field.

Early in the decade, Mozart had written the Concerto No.12 along with Nos. 11 and 13, completing them in that order for his debut concerts of 1783 (during Lent, when theaters and the opera went dark by decree until Easter). He described their character in a letter to his father dated December 28, 1782, as "...a happy medium between what is too easy and too difficult; they are very brilliant to the ear, and natural, without being vapid. There are passages here and there from which connoisseurs alone can derive satisfaction; but these passages are written in such a way that the less discriminating cannot fail to be pleased, though without knowing why".

He could have remarked, too, on their thematic abundance – there are no fewer than six major subjects in the first movement alone of No.12, two of which are new in the development section. Charles Rosen has pointed out in The Classical Style that here, as well as in later concertos, "Mozart uses melodies at once so complex and so complete that they do not bear the weight of [further] development". Because he hoped to sell the three concertos for home performance with string quartet, he scored No.12 lightly – the orchestra consists of just two oboes, two horns, and strings. The middle movement is a solemn, sonata-structured Andante in D major with a minor-key development. Its main subject is taken from an overture by Johann Christian Bach, Mozart's childhood friend and teacher, who had died on January 1, 1782 – "a sad day for the world of music", wrote the boy-prodigy, now grown to manhood. The final movement is an Allegretto rondo, no less genial for being gentle, with a refrain in 2/4 time built on three motifs and contrapuntal complexities that are submerged in a delightfully light exterior in the way that only Mozart could. Here as elsewhere in the A major Concerto, cadenzas are by the composer; the soloist may choose from among several.

Source: Roger Dettmer (allmusic.com)










Ο 15ος Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος ήταν αφιερωμένος στην 175η επέτειο από τη γέννηση του μεγάλου Ρώσου συνθέτη, πραγματοποιήθηκε στη Μόσχα και στην Αγία Πετρούπολη από τις 15 Ιουνίου έως τις 3 Ιουλίου 2015.

Στο πλαίσιο του δεύτερου γύρου – στο δεύτερο από τα δύο στάδια – του διαγωνισμού στην κατηγορία του πιάνου, ο Ρώσος πιανίστας Sergei Redkin (γενν. 1991), ο οποίος μοιράστηκε την τρίτη θέση με τον επίσης Ρώσο Daniel Kharitonov, ερμήνευσε το Κοντσέρτο για πιάνο αρ. 12 σε Λα μείζονα, K.414, του Βόλφγκανγκ Αμαντέους Μότσαρτ. Την Ορχήστρα Δωματίου Οι Σολίστ της Μόσχας διηύθυνε ο 27χρονος Βέλγος πιανίστας και αρχιμουσικός Ayrton Desimpelaere.

Το ρεσιτάλ έλαβε χώρα στη Μεγάλη Αίθουσα του Ωδείου της Μόσχας, στις 24 Ιουνίου 2015.

Ο Διεθνής Διαγωνισμός Τσαϊκόφσκι, ο οποίος πραγματοποιείται κάθε τέσσερα χρόνια, είναι ίσως ο σημαντικότερος διαγωνισμός στο χώρο της κλασικής μουσικής. Ο διαγωνισμός διοργανώθηκε για πρώτη φορά το 1958, περιλαμβάνοντας μόνο δύο κατηγορίες: του βιολιού και του πιάνου. Το 1962, στη δεύτερη διοργάνωση, προστέθηκε η κατηγορία του βιολοντσέλου, ενώ στην τρίτη διοργάνωση του διαγωνισμού, το 1966, προστέθηκε ακόμη η κατηγορία της φωνής.

Στον 15ο Διαγωνισμό, το 2015, συμμετείχαν περισσότεροι από εξακόσιοι καλλιτέχνες από 45 χώρες, οι οποίοι διαγωνίστηκαν και στις τέσσερεις κατηγορίες: πιάνο, βιολί, βιολοντσέλο και φωνή.

Την κριτική επιτροπή για την κατηγορία του πιάνου αποτελούσαν οι διακεκριμένοι πιανίστες Dmitri Bashkirov, Boris Berezovsky, Michel Béroff, Peter Donohoe, Sergei Dorensky, Barry Douglas, Denis Matsuev, Vladimir Ovchinnikov, Alexander Toradze, Vladimir Feltsman, Klaus Hellwig, καθώς επίσης και ο Martin Engström, ιδρυτής και διευθυντής του Διεθνούς Φεστιβάλ και της Ακαδημίας του Βερμπιέρ.



XV International Tchaikovsky Competition, 2015, Piano / Round 2, Second stage

Wolfgang Amadeus Mozart (1756-1791)


♪ Piano Concerto No.12 in A major, K.414 (1782)

i. Allegro
ii. Andante
iii. Rondeau. Allegretto

Sergei Redkin, piano – Third Prize*

Moscow Soloists Chamber Orchestra
Conductor: Ayrton Desimpelaere

Great Hall of the Moscow Conservatory, June 24, 2015

(HD 720p)

* Third place was shared by Sergei Redkin and Daniel Kharitonov















Sergei Redkin was born in Krasnoyarsk, Siberia, on October 27, 1991. He began to play the piano at the age of five. At the age of six he began to study at the Music Lyceum of Krasnoyarsk, in the class of Galina Boguslavskaya. At the same time he began to study improvisation and composition with Eduard Markaich.

In year 2004, after becoming a laureat of the International Gavrilin competition of young composers in Saint Petersburg, Sergei continued his education at the Special Music School of the Saint Petersburg Conservatory, in the class of Olga Kurnavina. At that time Sergei won his first several prizes at competitions for young pianists, such as Rachmaninov competition (Saint Petersburg, 2005, First prize) and Chopin competition (Estonia, 2006, Grand prix). Sergei also played his first solo recitals in Russia and abroad, getting engagements from Germany, Switzerland, Poland.

Simultaneously Sergei studied composition under prof. Alexander Mnatsakanyan, one of the last students of great Shostakovich. Among the young composer's works you can find a string quartet, a trio for winds, chamber music, a lot of music for piano. Suite for cello and piano won the First prize at the young composers' competition in Saint Petersburg in 2007.

In 2008 Sergei was honored to receive the Maestro Temirkanov Award as one of the best students of Saint Petersburg Special Music School.

In year 2009 Sergei successfully passed his entrance exams and became a student of prof. Alexander Sandler at the Saint Petersburg state Rimsky-Korsakov Conservatory. He also continued his composition studies under prof. Mnatsakanyan.

During the year 2011 with the support of St Petersburg House of Music Sergei Redkin trained at the famous International Lake Como Piano Academy in Italy, studying under such musicians as William Grant Nabore, Dmitry Bashkirov, Peter Frankl, Fou Ts'ong among others.

In year 2012 Sergei became the winner of III International Maj Lind competition in Helsinki, in 2013 – the winner of VI International Prokofiev competition in Saint Petersburg. In 2015 Sergei Redkin won the Third prize and the Bronze medal at the XV International Tchaikovsky competition in Moscow.

Currently Sergei is continuing his studies under prof. Sandler in Saint Petersburg Conservatory. In 2016 he's playing his first concerts in New York, Mexico and Paris (all with Maestro Valery Gergiev and Mariinsky Theatre Orchestra), touring with solo recitals throughout the world, from Portugal and Israel to Vladivostok and Yakutsk, taking part at prestigious classical music festivals, playing a lot of chamber music and composing in the meantime.

Source: sergeiredkin.com



















































More photos


See also


Sergei Redkin, piano / third prize

Sergei Redkin plays Pyotr Ilyich Tchaikovsky: Piano Concerto No.1 in B flat minor, & Sergei Prokofiev: Piano Concerto No.2 in G minor – State Academic Symphony Orchestra "Evgeny Svetlanov", Alexey Bogorad – XV International Tchaikovsky Competition, 2015, Piano / Final Round

Sergei Redkin plays Johann Sebastian Bach, Franz Schubert / Franz Liszt & Sergei Prokofiev – XV International Tchaikovsky Competition, 2015, Piano / Round 2, First stage

Sergei Redkin plays Bach, Beethoven, Chopin, Liszt, Rachmaninov & Tchaikovsky – XV International Tchaikovsky Competition, 2015, Piano / Round 1


Daniel Kharitonov, piano / third prize


Daniel Kharitonov – All the posts



Haik Kazazyan, violin / third prize

Haik Kazazyan – All the posts


Yu-Chien Tseng, violin / second prize

Yu-Chien Tseng – All the posts



Lucas Debargue, piano / fourth prize


Lucas Debargue – All the posts


The winners of the XV International Tchaikovsky Competition, 2015









Sunday, July 16, 2017

Homophobia at the Bolshoi? Russian theater cancels ballet about the life of famous dancer Rudolf Nureyev

Rudolf Nureyev and Erik Bruhn, 1960s





















The sold-out world premiere of a ballet about the life of famous dancer Rudolf Nureyev has been canceled at the last minute. Was the decision politically motivated?

Kirill Serebrennikov, director of Moscow's Gogol Center theater is responsible for putting the ballet "Nureyev" on the stage – a piece that focuses on the life of the famous gay Russian dancer of the same name. Yet the last-minute cancellation of the production has raised an important question: Is Russia's most significant theater not allowed to show love between two men?

"They apparently didn't understand the story before the premiere of the performance", Vladimir Urin, director of the Bolshoi Theater, told journalists. During a press conference on Monday, Urin explained why the long-awaited piece was canceled just three days before the sold-out world premiere. The topic has since been hotly debated in the Russian capital and elsewhere.

The official justification is that the ballet, which was to be premiered on July 11 in the Bolshoi was "not finished", according to the director. However, he added that it was not canceled, but merely postponed. The new premiere is currently set for May 4, 2018.

"It is not the choreography, but rather the execution", explained Urin. The decision was made following a dress rehearsal last Friday, July 7. "It is a risk for our theater, but for us quality counts", said the 70-year-old director.

He and his artistic director, Makhar Vaziev, had followed the rehearsals distressed, he said, and subsequently made their decision to postpone the show. Neither Serebrennikov nor his choreographer Yuri Posochov were present at the press conference.


Rudolf Nureyev
"The worst scenario for an artist"

Lead dancer Vladislav Lantratov reacted with dismay. "I do not have words. I had just fallen in love with the role and immersed myself in the piece. Everything was going ahead", he posted on Instagram. "This is the worst for an artist."

He was to play Rudolf Nureyev, the most famous ballet dancer in Russia. Born in 1938, somewhere between Irkutsk and Slyudyanka in a train to Vladivostok, Nureyev was one of the first Soviet artists to go into exile in the West in 1961.

Before fleeing the Soviet Union, he was a top dancer in the Russian ballet and spent three years in the Kirov Theater, which is today the Mariinsky Theater in Saint Petersburg. The artist, who lived in Paris until his death, was in a romantic relationship with Danish ballet dancer Erik Bruhn for more than 25 years.

Responding to whether the cancellation of the premiere was connected with the main character's love life, the theater's director said, "No political discussions!".

But it was precisely this "propaganda of non-traditional sexual values" that is said to have led to the last-minute postponement of the production by Russian culture minister Vladimir Medinsky. News agency TASS reported the minister's involvement, citing a source close to him. According to the report, the minister had conversed with Urin, but did not see the piece himself.


Rudolf Nureyev and Erik Bruhn, January 20, 1962
"No political discussions!"

In 2013 the Russian government implemented a law against "propaganda of non-traditional sexual values". It punishes those for making positive statements about homosexuality in the presence of minors. Homosexuality is largely a taboo subject in Russia and the call for legal equality between homosexuals and heterosexuals has largely been rejected by the Russian government.

One of the dancers in the performance, who wished to keep his identity a secret, told news agency AFP that he was skeptical of the rational behind the decision. He said there had been problems during the rehearsal, but that this was normal. "That's why no one in the group believes the reasoning", he said. Additionally, no one believes that the performance will one day make it to the stage, he added.

The Bolshoi's director largely avoided critical questions from the press. He would not speak "at all" about the director of the piece. The Gogol Center, founded by Serebrennikov, has a reputation for putting on avant-garde productions. While other theaters are more traditional, the Gogol Center pushes boundaries – even allowing nude actors on stage.

In May, Serebrennikov's apartment was searched after he was accused of having misappropriated more than $35 million. Allegations have not been confirmed, and the theater leadership is still under investigation.

In place of the production, the theater will present "Don Quixote" from July 11 to 14. The entrance fee for the sold-out performances of "Nureyev" will be refunded to visitors. Whether the original performance premieres this year or next, one thing is certain: "Rudolf Nureyev will trigger discussions", says Urin – he's already doing so now.

Source: Christopher Braemer, July 11, 2017 (dw.com)















Tο ιστορικό Θέατρο Μπολσόι της Μόσχας ακυρώνει την πρεμιέρα της παράστασης «Νουρέγιεφ» με θέμα τη ζωή του μεγάλου χορευτή μπαλέτου Ρούντολφ Νουρέγιεφ.

Το μπαλέτο «Νουρέγιεφ» έχει σκηνοθετήσει ο Κυρίλ Σερεμπρένικοφ, διευθυντής του κέντρου Γκόγκολ στη Μόσχα. Το έργο περιέχει μεταξύ άλλων αναφορές στις ομοφυλόφιλες ερωτικές σχέσεις του διάσημου Ρώσου χορευτή Ρούντολφ Νουρέγιεφ. Επιτρέπεται όμως να ανεβαίνει ένα έργο με αυτήν τη θεματική στη σημαντικότερη κρατική σκηνή της Ρωσίας;

Η παράσταση, τα εισιτήρια της οποίας είχαν εξαντληθεί προ πολλού, ακυρώθηκε μόλις λίγα εικοσιτετράωρα πριν από την πρεμιέρα.

Όπως αναφέρει σε δημοσίευμά της η DW, τη Δευτέρα 10 Ιουλίου η διεύθυνση του Θεάτρου παραχώρησε συνέντευξη τύπου κατά την οποία ισχυρίστηκε ότι το έργο απλώς δεν ήταν έτοιμο. Επιπλέον, ο διευθυντής του Μπολσόι, Βλάντιμιρ Γιούριν, επισήμανε ότι το έργο δεν ακυρώνεται, απλώς αναβάλλεται για τον Μάιο του 2018.

«Δεν φταίει το έργο αλλά η εκτέλεση. Με θλίψη παρακολουθήσαμε την πρόβα», δήλωσε χαρακτηριστικά ο διευθυντής.


Rudolf Nureyev and Erik Bruhn
Το έργο έχει ως κεντρικό ήρωα τον Ρούντολφ Νουρέγιεφ, τον διασημότερο Ρώσο χορευτή μπαλέτου.

Ο Νουρέγιεφ γεννήθηκε το 1938 και εγκατέλειψε τη Σοβιετική Ένωση το 1961, αφού είχε σημειώσει ήδη μια πολύ επιτυχημένη καριέρα στην πατρίδα του. Μέχρι το θάνατό του έμενε στο Παρίσι και διατηρούσε σχέση για περισσότερα από 25 χρόνια με τον Δανό, επίσης χορευτή μπαλέτου, Έρικ Μπρουν.

Ο διευθυντής του Μπολσόι αρνείται ότι η ακύρωση της παράστασης σχετίζεται με τις σεξουαλικές προτιμήσεις του Νουρέγιεφ, που αποτελούν μέρος του έργου και δηλώνει κατηγορηματικά: «Όχι πολιτικές συζητήσεις!».

Πηγές ωστόσο αναφέρουν ότι ο λόγος για τον οποίον η παράσταση ακυρώθηκε την τελευταία στιγμή και μάλιστα με ευθύνη του Ρώσου υπουργού Πολιτισμού Βλάντιμιρ Μεντίνσκι, είναι ο «Νόμος κατά της προπαγάνδας μη παραδοσιακών σεξουαλικών σχέσεων» που υπάρχει στη Ρωσία από το 2013 και στρέφεται κατά «όσων προπαγανδίζουν μη παραδοσιακές σεξουαλικές αξίες».

Ο σκηνοθέτης του έργου Κυρίλ Σερεμπρένικοφ είναι γνωστός για τις προκλητικές του παραστάσεις. Ο ίδιος είναι και ιδρυτής του Κέντρου Γκόγκολ, το οποίο θεωρείται πρωτοποριακό για τα δεδομένα της Ρωσίας. Τη στιγμή που στα περισσότερα ρωσικά θέατρα ανεβαίνουν κλασικές παραστάσεις, στο Γκόγκολ οι ηθοποιοί εμφανίζονται ακόμη και γυμνοί στη σκηνή.

Αντί της παράστασης «Νουρέγιεφ» το Μπολσόι παρουσιάζει τώρα στη Ρωσία τον «Δον Κιχώτη» ενώ οι θεατές που είχαν πληρώσει ήδη για τα εισιτήρια της sold out παράστασης, θα πάρουν πίσω τα χρήματά τους και όχι εισιτήρια για την πρεμιέρα του Μαΐου με ό,τι συνεπάγεται αυτό.

Πηγή: dw.com / iefimerida.gr


Rudolf Nureyev