Russia (bbabo.net), - The main secrets of the Yury Bashmet Arts Festival are calmness and proportion. Time and place are conducive to tranquility, a pacifying winter resort without crowds of vacationers. And the name of the master who invented the festival has to keep the proportions.
He has long been able to afford to choose friends from the world's musical elite and invite them to the festival on a regular basis. And in an excellent proportion, leave a backlash in the program for beginners, novelties and sensations. So, last year, pianist Daniil Trifonov excited the audience with Tsfasman's brilliant foxtrots, and now the famous Austrian countertenor Max Emanuel Tsenchich, an introverted, refined alien, a world star of baroque opera, who sang in Sochi for the first time, amazed the audience. In addition to Tsenchich, at the festival's opening gala "Parade of Stars and World Premieres", they performed for the first time a piece by Atsuhiko Gondai, which teaches our European ear, sharpened to the sound of European strings, to the traditional Japanese scale of the outlandish lip instrument sho. It was played by the outstanding musician Manabe Naoyuki. "Soloists of Moscow" in the second part was replaced by the All-Russian Youth Symphony Orchestra. Yuri Bashmet is proud of this creation of his, celebrating its 15th anniversary this year.
This year's poster shows reflections of our time, packaged in the format of a literary and musical performance.
"Don't Leave Your Planet" based on "The Little Prince" by Exupery was presented by Konstantin Khabensky; opera and three ballet dancers - Evgeny Stychkin and Maxim Paster shone first among unequals. All these performances connected "Moscow Soloists" under the leadership of Yuri Bashmet, helping the artists to splash out new ideas as if they were well-known opuses. The performances are not the first time, but every time mise-en-scenes and accents are slightly shifted, Yevgeny Mironov, one in all faces, turns pale as Ophelia, strikes enemies like Hamlet - and here the semantic knots change.
And one more property of the Winter in Sochi: it tightly, without gaps, accelerates the chamber to the large-scale, which is especially evident at musical and dramatic performances. And yet, as if by inertia, it accelerates itself, including the College of Arts, the Philharmonic Organ Hall with the Beethoven Marathon, the foyer of the Winter Theater into orbit. The accompanying program of the festival is simply huge. The tournament of poets does not contradict the competitions of young composers and producers. The lecture hall is adjacent to the Club of the Professional Listener and the School of the Young Journalist, and in the Academy of Music vocalists get along with populist performers. Plus, almost sudden forays of the orchestra to the railway and sea stations with suitable concerts - all this makes the festival global.
He can afford to choose friends from the world's musical elite and invite them to the festival in Sochi
Ballet remains a special theme - this time a dedication to Stravinsky and Diaghilev and a free interpretation of the ballets of the Russian Seasons by the soloists of the National Ballet of Spain, Hamburg and the Ballet of theater of Geneva and The Rite of Spring by Edward Clug of the National Ballet of Slovenia. All proportions are met.
bbabo.Net