Libretto by Sergei Prokofiev, based on Vsevolod Meyerhold`s adaption on Carlo Gozzi`s comedy of the same name, translation into Estonian by Neeme Kuningas. Estonian Premiere January 28, 2010 National Opera Estonia. Performance reviewed here took place in October 2010. (Mari-Liisi Soovik - MuKriErikursus 2010 TLU)
„The Love for Three Oranges“ is the most famous opera by composer Sergey Prokofiev. This opera is written for Chicago Opera Theatre, its World premire took place on December 30, 1921 at the Chicago Auditorium Theatre. It advances reservation and impersonates sarcasm, irony, grotesque as well as courteus humor. Prokofiev`s stage work was affected by this era political ambience additionally neoclassicism. „The Love for Three Oanges” can be taken as the composer`s manifest to stick up for new music, brave searches, catching theatres and opera arts. When the curtain raising took place at the first time in Estonia, it brought along great succeedment to the Estonian National Opera. Grand opera brought to the theatre a lot of life, more movement as well as development in dramaturgy and musical purposes.
This funny and fanciful grand opera that had been live broadcasted through ETV also ETV2 television channels, opposides generally to my expectations. By comparison with the two acts, I must say that the first one was a bit boring but instead the other act passed by inconspicuously holding the audience under constant attention and high-tension. The first act was boring because the action plan was abstruse in a way and the redundant emotionality, tragedy, and sentimentality could not let the spectators thoughts follow the action. The other act engendered a lot of excitement the succession from the first act, when the Prince was hopelessly in love with the three oranges. Further action was gripping, because out of the oranges came three beautiful princesses, and only one of them was able to be saved but by the evil Smeraldina transformed her to rat and the fairy-tale love-story was in danger. But the happy ending the story made admirable satiety and all the attendees lighted up thereout.
Especially I would like to accentuate the singers performance. There was a little bit intonation and rhythm imprecisenesses, but it did not affect the general commitment. With the vocal performances I would bring out Heli Veskus who personifies the guileful and black witch Fata Morgarina. Her excellent performance charmed me first of all because of the character that was witty and Heli Veskus was able to show it very dexterously. Very well performances gave also the other singers: with the entrancing voice impersonated Rauno Elp the roll of Kokatar as well as Aleksander Arder as Tuffaldino and all the three oranges enchanted with their beautiful voices very believably the princess‘ roles. Abit of hysterically epitomised Helen Lokuta in the roll of Clarice; very big impress gave also her outfit which at the end of the second act hit theb spectator in the eye with looking like violet spangle-marble. The backstage screen-tube which had also a pound of flesh, appeared not enough, but the costumes for that were very colorful and viable, creating strange, unforgetable feelings that made you feel like you are in the Middle-age although the opera essence would not depict the medieval times. A little minimalistic the set design could be called, it could have included more elements and the existent elements should have be amended. The lightning was little too dark but brought out the shiny role actor`s on the stage. Very professionally showed itself Estonia theatre`s orchestra who was prepared by Risto Joost`s leading glorious rendition, getting trought Prokofiev`s intrinsic harmonies that is full of surprises; alert and acrid sometimes motoric feckful rhythms; changing tempos and melodys managed to do it very well.
In the general meaning, this opera could be deem dashing and absurding where was taken place a battle between the love and the black magic. The stage director`s idea to create a show that would be like a vitamin, that would inject a dose of sunshine, energy and fantasy into the cold days of Northern Europe, worked out in a general way with its emotionallity and colourfully very good.
Mari-Liisi Soovik (TLU, student of the Department of Music)
Music Director: Arvo Volmer
Stage Director: Dmitri Bertman
Set Designer: Igor Nežnõi
Costume Designer: Tatjana Tulubjeva
Lighting Designer: Neeme Jõe
Choreographer: Edvald Smirnov
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