Вот краткое изложение основных моментов статьи о постановке “Дон Жуан/Реквием” Кирилла Серебренникова:
Необычная интерпретация: Серебренников переносит действие оперы в состояние “бардо” (промежуточное состояние между смертью и перерождением в буддизме). Все события после первой сцены похорон происходят в голове умирающего Дона Жуана, лежащего в реанимации.
Соединение “Дон Жуана” и “Реквиема”: Режиссер объединяет оперу “Дон Жуан” и “Реквием” Моцарта,используя тибетские мотивы как связующее звено. “Реквием” становится мессой по душе Дона Жуана, совершающего последние шаги к освобождению.
Дух Командора: Между сценами появляется дух Командора, произносящий цитаты из Тибетской книги мертвых, диссонирующие с происходящим.
Diversity: Дон Жуан представлен как бисексуал. Роль Донны Эльвиры исполняет мужчина, бразильский оперный певец Бруно де Са, которого называют Дон Эльвиро.
* Кульминация: В финале место Дона Жуана занимает его душа (танцовщик Фернандо Суэльс Мендоса), которая под звуки “Реквиема” возносится на небо.
“Don Giovanni/Requiem”: A Revolutionary Take on Mozart – An Expert’s Insight
Time.news: Welcome, readers! We’re diving deep into teh groundbreaking new production of Mozart’s “Don Giovanni/requiem” at the komische Oper Berlin, directed by Kirill Serebrennikov. To help us unpack this fascinating interpretation, we have Dr. Anya Petrova, a leading scholar in operatic innovation and cultural interpretations. Dr. Petrova, welcome!
Dr.Petrova: Thank you for having me. It’s a pleasure to discuss such a bold and thought-provoking production.
Time.news: Let’s start with the core concept.Serebrennikov sets the opera in a “bardo” state – a Buddhist concept of the intermediate realm between death and rebirth. Can you elaborate on how this framework influences the performance?
Dr. Petrova: Absolutely. By placing the opera in the bardo,Serebrennikov essentially reimagines the entire story as Don Giovanni’s dying consciousness. Everything after the initial funeral scene occurs within his mind as he lies in intensive care. this allows for a profound exploration of his life, regrets, and the consequences of his actions through a filter of Buddhist beliefs, changing our perspective on Don Giovanni as a piece.
Time.news: The director also intertwines “Don Giovanni” with Mozart’s “Requiem,” incorporating tibetan motifs. How does this fusion enhance the experience for the audience?
Dr. Petrova: This is a stroke of genius. The “Requiem” transforms into a mass for Don Giovanni’s soul, charting his final journey toward liberation. The Tibetan motifs act as a bridge, a visual and sonic representation of the bardo state. This fusion adds layers of spiritual depth and elevates the performance beyond a simple retelling of the Don Juan legend. This interpretation allows audiences to experience Mozart’s Requiem and Don Giovanni opera in a fully new light.
Time.news: The spirit of the Commendatore appears between scenes, reciting excerpts from the Tibetan Book of the Dead. What purpose does this serve?
Dr. Petrova: The Commendatore, in this context, becomes a guide through Don Giovanni’s subconscious, perhaps even a psychopomp from a buddhist perspective. The Tibetan Book of the Dead quotes,deliberately dissonant with the on-stage action,force the audience to confront the themes of mortality and judgment,echoing the opera’s inherent moral questions but framed within a different spiritual context.
Time.news: This production also embraces diversity. We understand Don Giovanni is portrayed as bisexual, and Donna Elvira is sung by a male soprano, Bruno de Sa, known as Don elviro [[1]]. What’s the impact of these casting choices?
Dr. Petrova: These are bold and important choices. Representing Don Giovanni as bisexual adds a layer of complexity to his character, challenging the traditional portrayal of the insatiable seducer. Casting a male soprano as Donna Elvira, as “don Elviro,” disrupts gender norms and invites us to reconsider the dynamics of love, desire, and power within the opera. It’s a statement on fluidity and the dismantling of rigid categorizations [[2]].
Time.news: the climax sees Don Giovanni’s soul, embodied by a dancer, ascending to the heavens to the sounds of the “Requiem.” How does this ending resonate with the overall interpretation?
Dr. Petrova: This ending offers a glimmer of hope and redemption. The ascent of Don Giovanni’s soul, accompanied by the transcendent music of the “Requiem,” suggests the possibility of liberation even for a character traditionally condemned. It’s a powerful visual metaphor for letting go of earthly attachments and finding peace, even after a life of transgression.
Time.news: Dr. Petrova, this has been incredibly insightful. What final thoughts would you like to leave our readers with regarding Serebrennikov’s “Don Giovanni/Requiem”?
Dr. Petrova: this production isn’t just a performance; it’s an experience. Serebrennikov challenges us to reconsider our understanding of Mozart’s masterpiece and to engage with timeless themes of life, death, morality, and redemption in a fresh and provocative way [[3]]. If you have the chance to see it, be prepared to be challenged, moved, and ultimately, transformed.