Schedule for Jokonda (Season ticket №8 "State academic symphonic chapel of Russia") 2022

"Jokonda" relates to the masterpieces of operatic scene and here already more than 100 years do not leave the theaters of peace. Spectacular scenes in the spirit of large opera and winning parties determined the happy fate of composition. At the same time opera is one of the most complex musical scores of world operatic classics. In this play found the embodiment everything that thus loved the Italian music lovers - traditionally "high style" of the libretto, where is love, hatred and murder, the memory melodies, complex koloraturnye arias and the splendid choreographic picture, which in the interpretation of salient khoreografa Of mariusa Of petipa obtained independent stage biography. To supplement repertoire with so complex a work testifies about the specific courage. In our time rare theater can brag by the presence of the singers, who could manage the most complex vocal parties.
In the main parties will come out Ludmila Vorobyev (soprano), Sergey drobyshevskiy and Oleg dolgov (tenor), Ludmila Kuznetsov and Olga Davydov (mezzo-soprano), Aleksandr Kiselev (bass), Sergey moskal’kov (baritone).
As the basis of the libretto, created Arrigo Boyto is assumed Victor Hugo’s novel "andzhelo, Tirana paduanskiy", whose action is turned in Venice THE XVII century. In this case the name of main heroine - Dzhokonda - refers no to the masterpiece Of lednardo.da.vinchi. In the center of subject the history of love and death of the simple street singer Of dzhokondy. By the way, this title party is considered one of the most difficult sopranovykh parties in the world repertoire. Specifically, this party succeeded of Mary kallas in 1947 at the festival "arena di Verona", and with it it flashed for the last time 1973- m during the farewell world tour, coming out in Hamburg.
"Jokonda" - the singularly successful opera Of a. ponk’elli, which brought to its creator acknowledgement and glory. Its premier it took place in 1876 in the la of Scala. Despite the fact that the critic- contemporaries reproached Ponk’elli in the unevenness in the musical material and in the unreality of basic means, nevertheless the majority of critics recognized that for the author it was possible to convincingly transmit deep human feelings. In Europe the opera sounded on the scenes of the theaters of London, Barcelona, Budapest, Moscow, Saint Petersburg, Vienna, Zagreb, Prague, Warsaw. But after its ocean they listened to in New York, Buenos Aires, Rio de Janeiro and Mexico City.