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Watching and judging are recurrent themes in the opera: throughout the three-line Prologue, Kovalev gazes into a mirror autoscopophiliacally (perhaps even in a sense that Freud would have understood: after all, the doctor does ask Kovalev if anything else is missing). The backdrop is a silhouetted queue of Petersburgers who watch and judge Kovalev and the others (it was reproduced in the booklet of the EMI LP). Act 3, like the first half of the show, starts with Shostakovich looking on. It is almost as if Shostakovich’s division of the two acts is a jokey artificiality.
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The first two acts run continuously, which is sensible given that the action is continuous. Then a brief shot from the back of the theatre brings us into the auditorium before we close in on the stage action. The film opens with shots of Shostakovich at the rehearsal and the actors preparing for the performance.
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When Ivan Yakovlevich decides to miss out on his regular morning coffee we understand all the pros and cons that are going through his head and which Gogol carefully explains, even before he sings a few of them. Of course that doesn’t make the DVD redundant! Though the vocal acting is superb, the visuals reinforce it. The timings of some of the scenes are uncannily similar, an astonishing feat of consistency, so anyone who knows the CD will have a good idea of how the DVD goes. Though separated by four years, Bogatirenko and Rozhdestvensky have identical major cast members, indeed many of the singers continued in their roles for many years. Belyankin’s film The Composer Shostakovich (1975) includes footage of rehearsals and a performance with Shostakovich in attendance, footage which appears in various documentaries and on YouTube. Then a 1991 performance under Vladimir Agronsky was filmed and released on a Japanese laser disc (EMI TOWL 3747-8) in 1995, though it is yet to resurface on DVD. More Russians saw it when, in 1979, Yuri Bogatirenko filmed it for TV. In 1975 Rozhdestvensky made his audio recording (though others had already laid down the suite) and, through an EMI LP, that became how it was best known in the West. But the company has toured the production extensively, developing a number of alterations to suit larger venues. The MCO theatre itself is tiny (as the DVD reveals) – just over 200 seats. One of these must surely be the Moscow Chamber Theatre’s 1974 revival of The Nose: a production with which Shostakovich was closely involved and which he endorsed. And while a classic Carmen won’t be the only show in town, rarer works can become inextricably linked to a single vision.Īnd yet, and yet… There are some that are simply so crucial that losing them is almost inconceivable. And that’s not even to start to address the artistic issue of how these productions sit, toad-like, excluding others. I’ve been to more than one “last ever revival” that returned “by public demand”. But they bring with them the problem of legacy: when an opera house gets a ‘winner’, they – and their audience – can be loth to lose it. 15–23 July 2008.Ĭlassic productions, in particular of operas are, well, classic.
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Recorded in the Mariinsky Concert Hall, St Petersburg. Platon Kovalev (Vladislav Sulimsky) Ivan Yakovlevich (Alexei Tanovitski) Praskovia Osipovna (Tatiana Kravtsova) A district constable (Andrei Popov) The Nose (Sergei Semishkur) Doctor (Gennadi Bezzubenkov) A clerk in a newspaper office (Vadim Kravets) Ivan (Sergei Skorokhodov) Yaryzhkin (Yevgeny Strashko) Pelagaya Podtochina (Elena Vitman) Pelagaya Podtochina’s daughter (Zhanna Dombrovskaya) Valery Gergiev, Mariinsky Soloists, chorus and orchestra.
#Mirror one and all concert dvd plus
TT: 95 minutes plus 7 minutes special features Platon Kovalev (Eduard Akimov) The Nose (Alexander Lomonosov) Ivan Yakovlevich (Valery Belykh) Praskovia Osipovna (Nina Sasulova) Policeman (Boris Tarkhov) Ivan (Boris Druzhinin) Doctor (Ashot Sarkisov).įilmed at the Moscow Chamber Opera in 1979. Gennadi Rozhdestvensky, Soloists, chorus and orchestra of the Moscow Chamber Opera.