Competition “Nano-Opera” have announced their winners. This unique project, designed by Dmitry Bertman, this is the third time produces a group of young Opera Directors, who very quickly “from our future” becomes “present”. The winner of the Grand Prix became Ruslan Bitsoev (student of GITIS, workshop Bertman). The prize, mediaguru got Alexei Smirnov (GITIS, workshop of Alexander Titel). He also shared the third prize with Lisa frost (GITIS, workshop Andris Zagars). Second place was awarded to Daniel Dmitriev (GITIS). Well, got the first Ochakovskogo Dmitry from Saint-Petersburg. Music reviewers “MK” Ekaterina Kretova and Arthur Gasparyan were, mediaguru, also decided to celebrate Dmitry Ochakovskogo and invite him for an interview as a participant, which caused their performances the biggest protest and objections.
photo: youtube .com
Four years ago, launched the first “Nano-Opera”, and over the years the competition has gained the highest rating in the professional environment. Here are a few winners — and all will become clear: Philipp Razenkov, Dmitry Alenushkin, Aleksey frandetti, Pavel Sorokin, Catherine Vasilev… These talented young people put on plays all over Russia, in Moscow, in Saint Petersburg, are nominated for the award “Golden Mask”, led by Opera houses as the main Directors. New contest, gathering a huge audience, re-presented the most interesting professionals that will show the audience their vision of Opera.
One of them — Dmitry Ochakovskiy in St. Petersburg, a professional singer (baritone), soloist of Academy of young singers of the Mariinsky theatre. Showed three contest excerpt: Aria of Rigoletto (Verdi, Rigoletto), the Duo Mother and a Neighbour (Stravinsky, “Mavra”), the final scene from Prokofiev’s Opera “Love to three oranges”. After the contest we talked with Dmitry Ochakovskiy.
— You’re a musician, a singer and currently sing in the Mariinsky theatre. What do you think: is it necessary for an Opera Director to have a musical education?
— I am very grateful to the Academy of young Opera singers Abisalova Larisa Gergieva, who found it possible to let me in on the contest, despite a busy schedule of performances. This is a unique practice to work at the Mariinsky theatre with outstanding conductors, Directors, from which one can endlessly learn. And in the profession, and organizational things. For example, we all were called to the rehearsals of “don Carlos” — the chorus, the supers, and only worked with soloists — this caused resentment. And I’ve learned: it is not necessary to do so.
Directing studying in acting school and Conservatory. There is a significant difference: our emphasis on score analysis, musical drama. Of course, now have a lot of experience staging Opera performances drama Directors — and often very successful. But still good if the Director can work with the piano, and even better with the score. Music is not an accompaniment of the text. And if the text is the phrase “I love you”, and in the orchestra the cellos sounds the theme of fate or some evil forces, the mise-EN-scene needs to match the orchestra. The musicians feel that I understand them: for example, will force singer to sing in an uncomfortable position, which affected the musical and psychological components of performance. But there is a downside: the singer will not be able to dissemble with me. And if he says he is unable to do something, I can give him to show that he is quite able to perform its task.
— Judging by the tricks that you showed at the competition, do you prefer music of the twentieth century and more than adequate for her formal approach…
— The conditions of competition are largely provoke us to this approach: the show lasts only 10 minutes, very brief training period. It’s almost a circus event, which aims to provide effective solution. If I do put “Rigoletto”, we would have spent many hours on psychological analysis. In terms of the competition it was impossible. But I have to admit: I love the music of the twentieth and even twenty-first century. My favorite piece of music — “Russian seasons” by Leonid Desyatnikov. As to the ratio of formal and psychological… the Director works with the form. The psychology expressed in the music.
— You were born in 1991. The concept of “Soviet culture” you belong to another universe?..
— I’m that kind of people who are not inclined to idealize the Soviet past. The parents ‘ stories of what it was in reality, not in movies or in books, formed my perspective on this period: the presence of freedom at the state level. And I’m strongly against returning to it. But aesthetically there are a lot of positive things, including musical, theatrical education those artists who did “despite”. Not so long ago at the festival “Day of Russian music” I staged “Antiterroristicheskoy Rayok” by Dmitry Shostakovich. In this performance, expressed my attitude towards the Soviet time.
A young artist often works from scratch. And for you the cultural background matter?
— A huge. Cultural baggage allows the Director to encrypt in his performances, plenty of characters to explore and decipher the codes that are laid down by the authors. Before us is not the picture that says the f-word, but the word, as if written by Dmitri Prigov, which encrypts it multi-level meanings. Someone does not read these characters, someone who understands them at their level. But in fact the audience of any level of education distinguishes intuitively the emptiness and superficiality of meaning and depth.
— Imagine that you judge the contest. Young Directors propose the studies on the theme “Arina sang little Sasha Pushkin lullaby”. The first shows the old lady in cap and curly boy. The second rocker with the guitar, oblivious to the screaming child. And the third is of two men, one of whom is under twelve-tone series manipulates the axe behind the other, Who, in your opinion, will win?
My problem is that I’m too classic for lovers of radicalism and too radical for those who prefer the classics. Fond of experimental plays axe and the traditional performances of the Mariinsky theatre. Everything you listed can be brilliant and can be mediocre. There is only one criterion: here it is now, in the moment, then sometime after thinking it through, and right this second, what I saw touched me.
— Good luck to you, Dmitry, on behalf of all the readers of “MK!”