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Moscia103.639 ContribuBuciones

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jul. de 2021 • En solitario

The Galina Vishnevskaya Center for Opera Singing was opened in 2002. The initiator of the creation of this complex was Galina Vishnevskaya. It was created to improve the skills of young singers. It also hosts concerts, festivals, opera evenings.

Escrita el 21 de julio de 2021

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Svetlan_9876

3 contribuciones

Review of the opera Eugene Onegin

ene. de 2020 • Parejas

I do not advise you to listen to the opera Eugene Onegin in the center of Galina Vishnevskaya’s opera singing. I used to love this theater very much, when Vishnevskaya directed it, the level of vocals was high. The artists not only sang, but were amazingly in the image of the person they performed. If this is Tatyana, then this is really a young tender Tatyana, with a wonderful oblique length and a romantic soul. Onegin is a really impudent, cold, arrogant Onegin, who scolds Tatyana so that you start to hate him and worry about the heroine. So it was before. On January 30, 2020, we listened to Onegin and realized that everything – after Vishnevskaya passed away, everything became different. There is no such clear, chic choreography (ball scenes, the scene of peasant girls), there is no elaboration of the image. Lensky performed by Mikhail Novikov is magnificent, Tatyana (Ekaterina Yasinskaya) is a wonderful pure soprano, but Onegin – for a second, the protagonist of the opera – disgrace – no voice, no image (Andrey Dudin) – all three actions on the face of this artist kept the same facial expressions, More precisely, its absence. There is NO voice at all, it was very embarrassing for duets with Tatyana, how hard it must be to sing with such a voiceless artist !! So this “Onenin” managed to give another “rooster” at the very climax, in the scene “Aaah .. happiness was so possible, so close …”, it’s good that Tatiana “saved” him, quickly got her bearings and finished singing his part for him . Orchestra and costumes are top notch. If you want to listen to Onegin in a classical production, go, but not to Andrei Dudin in the role of Onegin

Escrita el 31 de enero de 2020

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Catherine-Catty

Moscú, Rusia54 contribuciones

Wonderful place!

Feb. de 2019 • En solitario

I came to the Galina Vishnevskaya Opera Center for the first time. And she didn’t regret it. Small, almost toy, but at the same time quite a real hall. Yes, it has only 10 rows, but there are lodges and a balcony. Very nice inexpensive buffet. But the most important thing is the wonderful young singers who perfectly match their roles in Verdi’s opera Rigoletto.

We really see the Duke of Mantua (N. Taikenov) as he should be: a handsome young rake whose blood is running. This is not an old lecher, this is a young man who sincerely falls in love with every beautiful woman. No less charming is Gilda, the daughter of Rigoletto (O. Shishenina). So thin it looks like it will break. However, this fragile blond girl has a beautiful strong voice. Her father, a jester who is forced to laugh when his heart is broken, performed by A. Aliyev looks very convincing.

I want to note not only the 100% hit in the image of the singers, but also the excellent work of the costume designer V. Frolov. The dresses of the ladies of the court remind one of the paintings of the Renaissance masters. The red outfit of the jester stands out against their background, like a drop of blood. He is different, he is not their circle. The black cloak of Sparafucile looks so ominous that you immediately begin to expect trouble from this character. The duke’s costume is bright and rich when the duke is in the palace, and modest when he is portraying a student.

I liked the performance very much. There are practically no cons.

Escrita el 3 de marzo de 2019

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Elizaveta E

Moscú, Rusia129 contribuciones

Rigoletto in the Vishnevskaya Center

feb. de 2019 • Amigos

The hall of the Galina Vishnevskaya Opera Singing Center is very small – there are only six rows in the stalls, though there are still two tiers – it resembles a music box and the theater of Karabas Barabas at the same time. There is so little space that half of the orchestra pit is literally under the stage, but this diminutiveness creates a special feeling of comfort and a sense of home theater. It is amazing that on such a miniature stage classical operas of a large form are staged. Surely, the peculiarities of the stage of the Opera Singing Center require especially sophisticated imagination from the directors, but director Ivan Popovsky coped with the production of Verdi’s Rigoletto simply brilliantly. He did not camouflage the toy size of the stage, but staged a performance in the style of a puppet theater. The participants of the play copy the twitchy movements of the toys, and even on the stage there are cardboard figures that support the texture of the puppet theater. Of the decorations, there is only a movable structure that schematically imitates an Italian palazzo. But the actors are dressed in magnificent costumes of heroes of the revival. It can be seen that the artist Alla Kozhenkova was not limited in funds. The modest size of the auditorium also has its advantages: the voices of the singers reach the audience without attenuation and distortion, almost every wrinkle on the costumes and the smallest details of facial expressions can be seen, and this imposes additional responsibility on the performers both musically and in terms of acting. The cast at the Galina Vishnevskaya Center for Opera Singing is chosen very carefully – the performers are as close as possible to the heroes of the opera in appearance and age. Gilda’s performer, Oksana Shishenina, is a young, graceful blonde bandit Sparafucile (Artem Borisenko) who looks really menacing, and her low voice emphasizes his gloomy role. His sister Maddalena (Veronika Ershova) is a dazzling beauty and the Duke was certainly not the first victim of her charms. The Duke of Mantua (Narul Toikenov) is a noble rake, easily sliding through life. The title part of the jester Rigoletto is performed by Alexander Aliev and the image created by the actor is understandable and reliable. As the action progresses, the participants of the performance move away from the images of puppets and serious passions begin to play out on the stage. The jokes of the jester turn sideways to him, and he involuntarily repeats the fate of Count Monterone, whom he ridiculed – do not dig another hole. The orchestra of the Galina Vishnevskaya Opera Singing Center under the direction of conductor Yaroslav Tkalenko, although located deep under the stage, sounded perfect, not drowning out but supporting the singers. I was fascinated by this production and empathized with the characters absolutely sincerely, as if I were listening to Rigoletto for the first time.

Escrita el 1 de marzo de 2019

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Elena

Moscú, Rusia34 contribuciones

Concert of soloists and orchestra on St. Valentine’s Day

feb. de 2019 • En solitario

On February 14, I was lucky enough to celebrate in a new place for me, where aspiring opera stars are trained.
The foyer of the Center is decorated in blue and white colors with beautiful chandeliers. The hall is compact, with two tiers of balconies, I think the stage should be clearly visible from any seat.
It is always difficult for me to describe concerts, because there is no plot, only fragments of the opera. On St. Valentine’s Day, the Center’s orchestra, conducted by Yaroslav Tkalenko, took the stage and played works by Dargomyzhsky, Rimsky-Korsakov, Mozart, Bizet, Puccini, Verdi, Kalman and other famous composers. Soloists performed duets, romances and arias from the operas The Snow Maiden, Prince Igor, Don Giovanni, The Magic Flute, Carmen, Tosca, La bohemia, The Tales of Hoffmann, Silva, operettas The Merry Widow and The Circus Princess.
I realized that I ignored operas in Russian in vain, I especially liked the romance of the Demon performed by Dalay Zhargalov, and the song by Lel Xenia Vinogradova, as they say, resonated with me. Mr. X by Vasily Mihutin also turned out to be convincing.
There were no unsuccessful numbers at the concern, all the soloists sang incendiary, and it was great to watch such a large orchestra, which is very close by.
But I can’t help mentioning the most memorable number performed by Oksana Shishenina. These were Olympia’s couplets from the opera The Tales of Hoffmann. She was in the form of a doll, they carried her onto the stage, and during the performance the conductor had to wind it up twice. But this is not even the most interesting, but the way she controlled her voice, it was simply incredible, such high notes, I had never heard such a performance before and was delighted, like the whole audience.
Such concerts are held regularly, and especially in February and March, when there are many holidays, especially often. It is also interesting to visit operas at the Opera Singing Center, I think they will be of particular interest to those who like not only to sing well on stage, but also to see the artists look in accordance with their images and age.

Escrita el 19 de febrero de 2019

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Viola M

Lipetsk23 contribuciones

Ballet Nutcracker

ene. de 2019 • Familia

Magical show, classic troupe, amazing costumes, great craftsmen. Children were not to be torn off. Lovely little room, great acoustics, very friendly staff. Clean and tidy. There is a buffet with a reasonable price tag and fresh dishes.

Escrita el 20 de enero de 2019

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

MuscoviteVT

Moscú, Rusia13.429 contribuciones

Charismatic Rigoletto

abr. de 2017 • En solitario

Trust me, I am not known to be lavish of praise, but this was a real sensation . The audience went on rampage – in a good way.
The stage was hardly set for a smashing success. To start with, I bought very cheap tickets – though such modest seats in Moscow are still more expensive than the best seats in Minsk Opera. Those cheap seats in the upper circle turned out to be the best! The sound goes to the balcony, while when you sit in the stalls – as I did the last time – you mostly hear the drums, while the singing comes way too harsh to your ears.
Besides, as you know, the Vishnevskaya center is essentially a music school, and you cannot expect too much of the students.
On top of all that, they had invited a fashionable stage director – these people more than often are more interested in making waves with a fancy interpretation than working for the benefit of the audience.
Mise-en-scène – Ivan Popovski
This Macedonian stage director is very popular in Russia these days. ‘Rigoletto’ is not his only production here, the other is ‘Tsar’s Bride’. Both are not the worst possible, however; at least we are spared those funny medieval characters in jeans and sneakers.
Generally, the director’s strategy looked a bit chaotic. He starts with making the cast move like marionettes, with mechanic gesticulation and very silly faces. Gradually the whole concept fades away, as if both he and the singers got tired of all this nonsense – which in all probability was the truth.
Costumes and stage setting
The stage setting was a multi-purpose construction – four pillars and a not so steep staircase, presenting an idea of ​​an Italian patio. All that served in turns as the Ducal palace, Rigoletto’s home, the assassin’s cave and even the church where the Duke meets Rigoletto’s daughter. For a very modest-sized stage I find it very adequate.
The costumes, thank God, were made with due respect to the period, you could even spot imitated pearls crowning fair ladies’ foreheads.

Orchestra
Mostly young faces today, just a few older experienced people in key positions. Worth to note – the orchestra sounds much better in the balcony.

Cast
Duke of Mantua – Petr Sizov
The blond and slender Mr. Sizov could have with his good looks made a brilliant career in Hollywood… Especially in its mute era!
Signor Verdi showed no understanding to this light-minded character, giving him a very difficult aria just a couple of minutes after the curtain goes up. The very first notes of ‘Questa o quella’ were more than enough to anticipate a dull outcome.
It’s not that the young man has no voice, in fact, he does, and a very pleasant one. But he as absolutely no idea how to use it, apparently having skipped most of his classes. A couple of times he had slipped in the right position for singing – when he had to climb the stairs, for example – quite accidentally he had based his voice on his diaphragm and sounded very presentable.
Gilda – Ekaterina Nikiforova
Miss Nikiforova was visibly trying to do her best, which was unfortunately for a talented singer no more than average. Esides, she sounded rather like a silly 21st century student caring more about her I-phone than any Duke or Jester.
Maddalena – Victoria Karkatcheva
This cameo part could be a real jewel if Miss Karkatcheva’s voice had at least the same depth as her smashing cleavage.
By the way, it’s quite remarkable that the music center founded by the famous soprano Galina Vishnevskaya has not so far presented any female voices worth mentioning; somehow they have much more luck with baritones!
My special note goes to two young basses:
Count Monterone – Vladislav Popov
and
Assassin Sparafucile – Alexei Tolstokorov
Both are exceptionally fit for their respective parts , with clear and prominent sound and very good acting – Monterone noble and tragic (in fact I thought him to be much older and experienced than he actually is), and Sparafucile- a wicked robber, but not without his own principles.
Good job guys!
The star of the night:
Rigoletto – Alexandre Aliev
Mr. Aliev with his uncontrollable charisma had clearly overshadowed the totally colourless (save his blond locks) Duke and even managed to breathe inspiration into otherwise sort of frozen Gilda, who sounded sincere and touching at her death bed.
I wouldn’t call Mr. Aliev’s baritone exquisite or very polished, rather it’s a Khvorostovsky-type husky voice that reminds of a wounded bear roaring out of his lair in the snow of Siberia (although Mr. Aliev actually comes from somewhere in the Caucasus). His main qualities are well-trained steady breathing, which he often makes a show of, the power fit for a much bigger house than the tiny Vishnevskaya centre, and, of course, an overwhelming drive. I guess if Mr. Aliev had chosen hard-rock, he could eventually dethrone Johnny Hallyday ))
Here, too, he had an outstanding success, turning an otherwise modest performance into an unforgettable theater night. When he sand-moaned the final ‘Maledictioooooooone!’, I feared the crystal crown would go down – either with his mighty voice, or with the feverish applause of the greatful audience.
Shame indeed they have no flower stand there, Mr. Aliev would have brought home a whole truck of bouquets!

Escrita el 22 de junio de 2017

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

MuscoviteVT

Moscú, Rusia13.429 contribuciones

‘Eugene Onegin’ at Vishevskaya center

feb. de 2017 • En solitario

The Galina Vishnevskaya center is essentially a music school with a built-in theatre. The orchestra are middle-aged professionals – anyway, the ones I’ve seen, while the cast are sometimes graduates, but most often students. And they sound like ones, too! I mean, one may spot a real gem – like I did the other week. But on the whole they really could do well with further schooling, IMHO, before they are fit to appear on the stage.
Vishnevskaya’s Eugene Onegin has quite a history behind it. Tchaikovsky’s Tatiana was the first part of the opera’s grand lady Galina Vishnevskaya at the Bolshoi, and she chose it for the closure of his singing career, too, some 30 years later in Paris. Then in early 2000s, as far as I remember, the Bolshoi invited the stage director Dmitry Cherniakov – much in vogue these days – for a new Eugene Onegin production. It really made waves – to the point that Vishnevskaya vowed to never set her foot into her former ‘home theater’ again. Instead, she had made her own production in her own theatre, and it is still going on for 10 years unchanged.
Mise-en-scène
Not that I’ve noticed any. The singers just come to the forestage, position themselves looking directly into the audience and deliver their arias. I really didn’t expect any such upright approach still exists in the 21st century. I would understand if we were talking of a big space where the voice does not always easily reach the upper circle. But in this fairly small-sized opera house it is totally unnecessary, in fact the sound comes so loud that one is tempted to turn it down a little!
While generally the stage directing was as simple as that, all dancing scenes struck me as very elaborate. The 3rd act Polonaise made me especially happy – very few companies care to stage it at all these days. This leaning of an opera more to a ballet side surprised me at first, as I did not have the time to read the theater bill before the performance. Then in the entr’acte I found the clue – Andris Liepa, the son the legendary Bolshoi star Māris Liepa, himself a ballet dancer and choreographer, was behind the production.
Stage and costumes design
My greatest respect goes to Anna Nezhnaya. This is the most stylish design I’ve seen lately. Honestly. Cost effective, too. Can you believe it – they take sort of Ikea an sofa covered with simple white cloth and paint it into an ornamental 19th century settee! The curtain and backdrops are made in the same style, looking like the period sepia, and the costumes are all in the same white / gray color grades – very classy. And yes, it’s the right period – 1820s, no such nonsense here like moving it years ahead to Anna Karenina’s time for completely unjustified reasons.
Cast
If it were not this ‘students’ theatre’, I would be surprised to see four (!) debuts for nine characters – Tatiana, her mother Mrs. Larina, Lenski and the two minor parts performed by the same singer – Zaretsky and the military orchestra conductor. The acting director in all probability was a novice, too – I noticed someone behind the stage showing the singers where to go and what to do; I guess a few more rehearsals would have done them all a lot of good!

Larina0060 This first appearance could just as well be the last, IMHO. No offence! Miss Tourbina has a tempting and pleasant girly voice, it would nicely fit a Bradway musical, or a crossover show. But it doesn’t really suit opera, to my taste.
Tatiana – Ekaterina Yasinskaya
I have mixed feelings here. Act I was a real disaster – Miss Yasinskaya’s performance was quite a mess, both as voice and presentation goes. I witnessed a music lover – every theater has a team of such devoted fans – come up to the administration to launch a complaint! I had to calm her down a bit, and it proved quite sensible in the long run. In Act II the composer wisely gives Tatiana a break, she hardly sings a single line. And in Act III she emerges as a completely different personality – ‘is it the same Tatiana?!’ – as the dumbfounded Onegin wonders. Turning into a ‘socialite’ worked wonders – or, maybe strict teachers gave her a piece of their minds – but somehow Miss Yasinskaya collected herself and made a very decent summing up for Pushkin’s drama. good for her.
Olga – Victoria Karkacheva
Can’t say anything negative or anything special at all, for that matter
Lenski – Pavel Semagin
This is the perfect fit! With his naive face, youthful voice and charmingly shy ways Semagin is absolutely the best possible choice for this romantic and thin-skinned 19th century poet. His higher notes sound fairly clear, though the medium register needs some polishing, IMHO; however, I do believe a bright future awaits this young man – contrary to that of his unfortunate character.
Prince Gremin – Kouz’ma Rybalkin
Now this is completely unacceptable! Mr. Rybalkin appeared to have asthma and amnesia at the same time – he sounded irreparably coarse, he had managed even to forget his lines – and it was not even his first night performance either!
The star of the night
Onegin – Stanislav Lee
Now you see why the opera is called ‘Eugene Onegin’ – he definitely makes the most prominent character of this piece! Mr. Lee had made himself a reputation for singing the Russian music, and with a good reason – he has a true aristocratic color of his full baritone; besides, he genuinely cares for what he is doing which is not always the case with opera singers often more obsessed with the high pitch notes than with the feelings of their characters.
Mr. Lee was born in Alma-Ata (Kazakhstan), but judging from his name and appearance he must be of Korean origin. He is a Vishnevskaya school graduate, and this year he has been drafted by the Stanislavsky opera theater in Moscow.
P.S.
There’s just one little grievance, and it has more to do with the costume attendant. Onegin is famously attested as a ‘dandy’, then how does it happen that his trousers are two inches – at least – longer than they should be?
Special note
Nanny Filippyevna – Valeria Lagodyr
Can you believe it? This is the third ‘Eugene Onegin’ I’ve heard where the modest Nanny clearly outshined more prominent characters! Really, it’s a shame that the composer could not bring her to sing a few lines in Act III. Miss Lagodyr has a wonderful fruity voice, deep and powerful, she delivers her part without the slightest visible (that is, audible) effort which shows very good training and natural abilities, and her acting is equally clear-cut and natural. She is now in the second year of her studies at the Vishnevskaya school, and I do hope to hear more of her. You may see – though vaguely – in the photos, she is the one in brown head-wear
P.S.
Forgot to say: 1500 roubles, less than 25 euro for the stalls, 3rd row – that’s fairly little, especially in comparison with the Bolshoi theater in Moscow. But the Bolshoi theater in Minsk will welcome you for half the price, as you will see from my local reviews.
P.P.S.
The text goes in Russian, as it was originally written, but you may follow the captions from the two screens on either side of the stage.

Escrita el 15 de marzo de 2017

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Allevtina

Moscú, Rusia43 contribuciones

Wonderful place

oct. de 2016 • Parejas

The intimacy of the hall and the high professionalism of the performers are the main characteristics of the centre. You begin to appreciate the adherence to classical productions especially when you mainly see the director’s modern interpretation of the plot of the work.
The Pagliacci opera, in my opinion, is the best production of those that are or have been staged on other stages in Moscow.
When choosing seats, remember that there are many places with significant reduced visibility on the 1st and 2nd tiers, which are not announced in advance. The best choice is the stalls.

Escrita el 2 de noviembre de 2016

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

Tatyana P

20.027 contribuciones

Rigoletto at the Vishnevskaya Theater

jun. de 2016 • Amigos

I am not a fan and connoisseur of opera. But in Vishnevskaya’s opera, the productions are so interesting, and the performers are young and energetic, that even for me going here is a pleasure.

Escrita el 23 de junio de 2016

Esta es la opinion subjetiva de un miembro de Tripadvisor, no de Tripadvisor LLC. Tripadvisor realiza comprobaciones de las opiniones.

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