"Князь Игорь" Мити в Мете

[Monstera]

Кто ещё не видел, смотрите здесь:
http://rutracker.org/forum/viewtopic.php?t=4684992
http://rutracker.org/forum/viewtopic.php?t=4683564
ИМХО, из Митиных "творений" одно из самых приличных, откровенных мерзостей гораздо меньше, чем обычно.

Спасибо, с интересом посмотрю.

На одной из приведенных страниц в дискуссии один юзер (алспб) привел цитату Фурланетто о работе с Черняковым над "Макбетом". Не могу не скопировать такой впечатляющий текст:

Фурланетто в прошлом году рассказывал в "Опера НЬюс", что заработал депрессию на постановке "Макбета" и теперь включил Чернякова в черный список у своего импресарио.

"It was the worst experience that I have had in this business," he acknowledges now. "I found myself in this very new, very controversial production, and I detested it. It was the hardest time of my career — one and a half months of depression. The fact that I don't wish to work with this director ever again doesn't mean he shouldn't work, so I will not cast aspersions, but since then I have come to enforce my own personal blacklist where directors are concerned. What I really could not accept in this situation was the following — we opera singers today are most of the time signing contracts three and even five years in advance. When we sign, there usually isn't any director named — yet. Certainly in this instance in Paris there was not. Then the time comes, we arrive ready to work and find ourselves in an impossible situation with only two alternatives — stay and perform for the money only, or leave and lose everything. To sue cannot lead to anything positive. Why haven't we the right to say, this is not what I signed on for — I want to be paid and go? Instead, one's only choice is leave and save your dignity, or stay and be a prostitute. What I couldn't forget or forgive was that I was put in this position. I stayed for the second reason. And this is not right."

There is silence on the telephone line, but Furlanetto is merely gathering breath. "I grew up with the greatest professionals in opera," he goes on emphatically. "Professional directors meant they were absolutely in control — of music, of text, and they also had ideas, and they were prepared. They brought with them a culture in which to create. Now I find myself increasingly working with people who come from German Schauspiele, from the traditional theater, from avant garde theater, but not from opera. It's a different kind of thinking. It's an approach that believes that knowledge of music, knowledge of the text and of the language in which the opera was written, is not that important. I believe that with such an approach, we are in big trouble. It is a terrible, terrible wave of — what can I say? Amateurs. We find ourselves, highly professional singers of my generation, constantly in the hands of amateurs! I don't think this happens in any other profession. Why should we be put in this situation? The problem, I think, is with the opera administrators today. They are making these choices. Why? I really don't know. Maybe they are afraid to appear conservative. But a truly innovative director like Patrice Chéreau has proven you can make glorious operas without being traditional. To do so, however, you need extra talent. And there have never been many directors with extra talent."

[FoxOles]

Прекрасен Галицкий Михаила Петренко с ровнейшим певучим басом и скарпиевской выправкой хозяина жизни, удачно подчеркнутой мундиром - тем самым, напоминающим российскую военную форму "от Юдашкина".

Читая рецензию и комментарии чуть не лопнула со смеху!
Лично я после просмотра чуть не разревелась от досады! мне не понравилось ничего. И Петренко мне не понравился особенно. я, не обладаю хорошим слухом, но когда в антракте стала в судорогах слушать на плеере Бориса Христова с песней Галицкого, стало полегче.