The theatre’s new season will see more music at the Stanislavsky Electrotheatre. The new repertoire will include several operas: “The Notebook” based on the novel by Agota Kristof (the musical score composed by Boris Filanovsky), “The Golden Ass” by Alexander Manotskov and “Catherine the Great” by Alexei Syumak. “The Orphic Games: Punk Macramé,” a six-day-long project by Boris Yukhananov presented at the end of the previous season, will also be transformed into an opera.
Yukhananov is preparing a large project titled “Pinocchio,” which will involve the entire theatre company, and artist Vera Martynov and composer Dmitry Kurlyansky – “The Parasomnias,” a performance based on poems by Stanislav Lvovsky.
“The Transcription of a Mistake” by Alexander Chernyshkov is the first premiere of the season and one of the most important music performances, with six virtuoso actors from seven countries taking part. It will be staged on 30 and 31 October and 1 November. The future of the performance will depend on the results, according to Boris Yukhananov.
“The Parasomnias” will be presented on the small stage at the end of November. The theatre’s choir will sing songs based on poet Stanislav Lvovsky’s texts. Artist Vera Martynov, winner of the Golden Mask award for the Opus No. 7 performance, and Dmitry Kurlyandsky, creator of the operas “Sverliytsy. Overture. Beginning” and “Octavia: Trepanation,” are working on the project.
Director Olga Velikanova, one of the more experienced people in the theatre, is now rehearsing “Talents and Admirers” based on a piece by Alexander Ostrovsky. The premiere is scheduled for March.
Next summer, the theatre plans to show the “Geometry” opera. Composer Vladimir Rannev (winner of the Casta Diva opera prize for the performance “Prose,” 2017) is working on. Artist Marina Alekseyeva, another Casta Diva winner, and choreographer Anna Abalikhina are also on his team.
“Pinocchio” by Yukhananov is one of the season’s main premieres. The director calls it “a five-performance blockbuster.” The project involves the entire company. The audience will see it next June or July.
The six-day “Orphic Games: Punk Macramé” project based on the myth of Orpheus and Eurydice that premiered at the end of the previous season will return to the stage, but now as an opera. Composers Vladimir Gorlinsky and Dmitry Kurlyandsky will work on it together with Yukhananov.
Othello, The Notebook and Catherine the Great
Composer Alexander Manotskov is currently working on “The Golden Ass” opera (not to be confused with Yukhananov’s project). It will directed by winner of the Russian State Prize Vladimir Mirzoyev. The premiere will be next year.
Composer Alexander Belousov (Maniosis and Maniosis 2) is completing “The Book of Seraphim” chamber opera. Alexei Syumak (“Sverliytsy: Episode III”) is working on the “Catherine the Great” mono-opera, and Boris Filanovsky (“Sverliytsy: Episode II”) is composing an opera based on “The Notebook,” a novel by Hungarian/Swiss author Agota Kristof.
Boris Yukhananov also spoke about his negotiations with several Russian directors on staging Shakespearean plots, in particular, with Dmitry Volkostrelov, winner of the Golden Mask award for the performance “Rosencrantz & Guildenstern” staged in the Bryantsev Youth Theatre (St Petersburg). Director Filipp Grigoryan, who staged “Tartuffe” at the Electrotheatre two years ago, is already working on the text for “Othello.” “I want to gradually move in a Shakespearean direction,” Yukhananov noted.
He also plans to work with foreign directors, such as Natalia Menendez (Spain) and Arthur Nauzyciel (France). The piece Menendez will be working on has not been decided yet: she needs to get to know the theatre and actors first. And Nauzyciel and Yukhananov are discussing the idea of creating an opera with company actors only.
Book, music and “The Golden Ass”
This October the presentation of “I Am a Mistake,” the first book by Belgian director Jan Fabre translated into Russian, will take place. It includes Fabre’s pieces and drawings. The event will be part of the international festival-school of contemporary art TERRITORY programme.
The theatre will continue to develop its music programme. It plans to hold concerts of classical music and invite various foreign music groups. Audience members will be able to purchase subscriptions, one of which will be dedicated to spectral music. Musician Gleb Khokhlov will coordinate this. In addition, three concerts will be held on Electrotheatre’s staircase in March, April and June 2019.
“Later we’ll begin a subscription: a series of performative concerts for percussion; Dmitry Shchelkin is the curator. The programme includes works by Cage, Xenakis and Feldman as well as the latest music,” Boris Yukhananov added.
The theatre also focuses on education. It plans to launch a theatre management course that will be called, “Working at the theatre: Russian and international experience.”
Next year audiences will see performances that conclude the large “The Golden Ass” project by Boris Yukhananov: “Hippolytus” by Alexei Kovalchuk, “Cat on a Hot Tin Roof” by Polina Fractall (based on the play by Tennessee Williams) and “The Flood” by Andrei Smirennikov (based of the piece by the Presnyakov brothers). Currently, the theatre is working on stage design.