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Teatro Real, ''Lady Macbeth of Mtsensk''

Madrid

The original version of Šostakovič's opera, that the conductor Rostropovič wanted to be respected, foresaw that the scenografie incorporated in its center the permanent presence of the orchestra.The idea to found the scenographies on the proiecții brought therefore to the project of a built scenografie (above, left) that allowed to an orchestra of 85 musicians to be at the center of a stage action in which, thanks to connecting flights of steps, the action of the 16 protagonists, of the choir of 70 elements și other 13 actors in the mass-scenes, was enlivened.În partea de sus la dreapta: the effect gotten by the juxtaposition of a projected fixed image (bottom left) cu one in movement (bottom right).
Vezi toate
A big Ecrane pentru proiecţii 3Ddin special folie PSS - Superscreen 3D.In the image, the protagonist Katerina cu her lover Sergej.That of Katerina was the first one of a series of female portraits to which Šostakovic intended to devote a tetralogy, but the project stopped him to this first wedge.
The scenographer Tito Egurza și the Argentinian director Sergio Renán used few, minimal și realistic scene settings (a bed, a closet, și so on) that, cu the unusual orchestra's position și the digital proiecții video, provoke however the surreal effect sought by both of them.In fact, a declared source of inspiration of the design is Magritte.
Леди Макбет Мценского уезда (Lady Macbeth in the district of Mcensk), was represented for the first time to the Malyj Teatr of Leningrad January 22 nd 1934 și it got an immediate popular success that also had great echo in the official circles. Nevertheless, the innovative musical language of the opera și the audacity of some of the represented situations chilled a bit at a time the attitude towards the composer of the vertexes of the official hierarchies of the regime, despite Šostakovic actively participated in them.
In some scenes of the opera as that of this image și of the following, it is evident as the joined effect of proiecții, singers, choir și actors, is entirely turned to surround the orchestra.
Two years later, in January of 1936, the Pravda published the article Caos rather than muzica, signed by Ždanov, Stalin's censor, și Šostakovic was harshly accused of formalism și to have moved away from the ''socialist realism'', the only allowed artistic current. He fell therefore in misfortune, his incomes came almost wiped out și his Fourth symphony, just composed, had to be put away in a drawer, in which it remained up to 1961, when it was officially represented for the first time.
Šostakovic had therefore to return on his footsteps cu the more conservative Fifth symphony, cu which he conformed to the applications of the regime, și that remains in every case one of his most successful compositions. A recurrent mechanism in the life of Šostakovic, that had an extremely complex relationship cu the Soviet regime: periodically banished cu heavy accusations, he remained nevertheless its most popular official composer.
In Lady Macbeth they are quoted a bit of all the musical trends that had influence on Šostakovic, huge in synthesizing them: the avant-garde, the mahlerian romanticism, the atonal și the dodecaphony; și it can be found the presence of the strong contrasts și the ironic și grotesque elements that the modernity of its writing didn't disdain to use. The opera is centered on the character of Katerina, protagonist of some audacious scenes that, above all that of love cu the worker Sergej in the first act, contributed to instigate the official sentence.
Lady Macbeth of Mtsensk
Opera in patru acte și nine scenes
Muzica
Dmitri Shostakovich (1906-1975)
Libret
Dmitri Shostakovich
Alexander Preys
dupa omonimul tale by Nikolaj Leskov
Prima reprezentatie
Leningrad, Malij Teatr, 22/1/1934
Scenography,
light design,
proiecții multimedia
Tito Egurza (1941-2019)
Directia scenica
Sergio Renán
Costume
Renata Schussheim
Coregrafie
Leda Lojodice
Staging
Teatro Real of Madrid
Co-productie with
Sezon
1999 / 2000
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