Name: Not Love Alone
Start: 2022-12-19T00:00:00.000Z
End: 2022-12-19T00:00:00.000Z
Location: Concert Hall of the Mariinsky Theater

Organization

Conductor

Valery Gergiev

Stage director

Alexander Kuzin

Set designer

Alexander Orlov

Costume designer

Irina Cherednikova

Lighting designer

Alexander Sivaev

Repetiteur

Larisa Gergieva

Chorus master

Pavel Teplov

Mariinsky Theatre

ruščina

Not Love Alone

Saint Petersburg

Russia

Concert Hall of the Mariinsky Theater

Public

angleščina

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Composer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass-baritone

Singer

Bass

Soprano

Tenor

Contralto

Baritone

Countertenor

Mezzo-soprano

Alto

Child vocalist

Continuo

Silent

Spoken

music by Rodion Shchedrin libretto by Vasily Katanyan based on stories by Sergei Antonov music director -- Valery Gergiev

The plot of the opera was borrowed from the story of the contemporary Russian writer Sergei Antonov "Aunt Lusha". The story told about the life of an ordinary Russian village shortly after the end of World War II. Men were killed at the front, and only women and beardless youths, half-boys remained in the village - in my adolescence I saw such villages with my own eyes. The heroine of the opera, an elderly woman Varvara (with the author of the libretto Vasily Katanyan, we changed her name), falls desperately in love with such a half-boy youth. Love yearning, sexual desire, and unspent maternal tenderness, secret meetings, a village love triangle (the guy has a young bride in the village - the same age), a violent conflict and a sad, bleak denouement - a sad ellipsis. The village is again immersed in boring everyday life. The text of one of the ditties seems to summarize the main idea of ​​my opera: “Oh, mother-mother, what should I do with love? Either scatter it across the field, or bury it in the ground? <…>
The premiere of my opera Not Only Love took place in Moscow, at the Bolshoi Theater, on December 25, 1961. Her production caused great irritation of the cultural authorities: frankly Freudian motifs, adjacent to the monumental patriotic processions of other Soviet operas, red banners and doxology, were too defiant contrast. The announced next four performances were replaced by Verdi's La Traviata, and only two months later the opera was shown to the public three more times, after which it silently and ingloriously disappeared from the repertoire.
Rodion Shchedrin

 

Shchedrin's very first opera, Not Only Love (1961), was the last to be staged at the Mariinsky. It turned out to be quite an unexpected performance. A risky story about a Soviet village in the 1950s, where collective farmers discuss sowing, play goat, go to a party and watch the spiritual drama of a collective farm chairman who suddenly falls in love with a young city slicker, director Alexander Kuzin decided with psychological certainty, honing his look, remark, gesture each of the fifty young singers of the academy, - his vast experience in the drama theater affected. However, Irina Cherednikova's bright, not everyday colors emphasize that this is not village prose, not "Brothers and Sisters", but an opera by young Shchedrin, where the libretto mainly consists of ditties. Their irony, glibness, passion set the tone for the performance. Passions of the Grand Opera The heroine of which is Varvara Vasilievna, the musical heiress of the schismatic Martha and Katerina Izmailova, are faced with an operetta, the language of which is spoken by her counterpart, the vaudeville dandy Volodya. In one act there is a skit concert of a home-grown village dance ensemble, in the other there is a furious monologue of the heroine about the hope and impossibility of happiness, where an invisible chorus stings Varvara like flies-erinia, telling her: “No, no, no!” In the choral epilogue - a photo for eternity, the whole village lined up as in a school photo, in the center is the chairman. This composition with a ditty "under the tongue" will tell more about Shchedrin's contemporaries than a study about the gender problems of the post-war village. the language of which her counterpart speaks - the vaudeville dandy Volodya. In one act there is a skit concert of a home-grown village dance ensemble, in the other there is a furious monologue of the heroine about the hope and impossibility of happiness, where an invisible chorus stings Varvara, like flies-erinia, telling her: “No, no, no!” In the choral epilogue - a photo for eternity, the whole village lined up as in a school photo, in the center is the chairman. This composition with a ditty "under the tongue" will tell more about Shchedrin's contemporaries than a study about the gender problems of the post-war village. the language of which her counterpart, the vaudeville dandy Volodya, speaks. In one act there is a skit concert of a home-grown village dance ensemble, in the other there is a furious monologue of the heroine about the hope and impossibility of happiness, where an invisible chorus stings Varvara, like flies-erinia, telling her: “No, no, no!” In the choral epilogue - a photo for eternity, the whole village lined up as in a school photo, in the center is the chairman. This composition with a ditty "under the tongue" will tell more about Shchedrin's contemporaries than a study about the gender problems of the post-war village. the whole village lined up as in a school photo, in the center is the chairman. This composition with a ditty "under the tongue" will tell more about Shchedrin's contemporaries than a study about the gender problems of the post-war village. the whole village lined up as in a school photo, in the center is the chairman. This composition with a ditty "under the tongue" will tell more about Shchedrin's contemporaries than a study about the gender problems of the post-war village.

English

Сюжет оперы был заимствован из рассказа современного российского писателя Сергея Антонова «Тетя Луша». Рассказ повествовал о жизни заурядной русской деревни вскоре после окончания Второй мировой войны. Мужчин поубивали на фронте, и в деревне остались лишь бабы да безусые юнцы, полумальчишки, – в отрочестве моем я своими глазами видел такие деревни. Героиня оперы, немолодая женщина Варвара (с автором либретто Василием Катаняном мы поменяли ей имя), отчаянно влюбляется в такого юнца-полумальчишку. Любовное томление, сексуальное желание, да и нерастраченная материнская нежность, тайные встречи, деревенский любовный треугольник (у парня есть в деревне молодая невеста – одногодка), бурный конфликт и печальная, безрадостная развязка – невеселое многоточие. Деревня вновь погружается в скучные будни. Текст одной из частушек словно резюмирует главную мысль моей оперы: «Ой, маменька-мать, куда мне любовь девать? То ли по полю развеять, то ли в землю закопать?» <…>
Премьера моей оперы «Не только любовь» состоялась в Москве, в Большом театре, 25 декабря 1961 года. Ее постановка вызвала сильное раздражение начальства по культуре: откровенно фрейдистские мотивы, соседствующие с монументальными патриотическими шествиями других советских опер, красными знаменами и славословием, были слишком вызывающим контрастом. Объявленные следующие четыре представления были заменены на вердиевскую «Травиату», и лишь через два месяца опера была показана на публике еще три раза, после чего тихо и бесславно исчезла из репертуара.
Родион Щедрин

 

Самую первую оперу Щедрина – «Не только любовь» (1961) – в Мариинском поставили последней. Получился достаточно неожиданный спектакль. Рискованный сюжет про советскую деревню 1950-х, где колхозники обсуждают сев, играют в козла, гуляют на вечеринке и наблюдают за душевной драмой председательницы колхоза, неожиданно влюбившейся в молодого городского пижона, режиссер Александр Кузин решил с психологической достоверностью, отточив взгляд, реплику, жест каждого из полусотни молодых певцов академии, – сказался его огромный опыт работы в драматическом театре. Однако яркие, не бытовых расцветок костюмы Ирины Чередниковой подчеркивают, что это не деревенская проза, не «Братья и сестры», но опера молодого Щедрина, где либретто в основном состоит из частушек. Их ирония, бойкость, азарт задают тон спектаклю. Страсти большой оперы, героиней которой предстает Варвара Васильевна, музыкальная наследница раскольницы Марфы и Катерины Измайловой, сталкиваются с опереттой, на языке которой говорит ее визави – водевильный франт Володя. В одном действии – концерт-капустник доморощенного деревенского ансамбля на танцах, в другом – яростный монолог героини о надежде и невозможности счастья, где Варвару, как мухи-эринии, жалит невидимый хор, твердя ей: «Нет, нет, нет!» В хоровом эпилоге – фото для вечности, вся деревня выстроилась как на школьной фотографии, в центре – председатель. Эта композиция с частушкой «под язык» расскажет о современниках Щедрина больше, чем исследование о гендерных проблемах послевоенной деревни.

русский

Not Love Alone by Shchedrin, Od (2022/2022), Režija: Alexander Kuzin,, Dirigent Valery Gergiev, Concert Hall of the Mariinsky Theater, Saint Petersburg, Russia

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