Child and the spells.
“The child and magic” by Maurice Ravel claimed as a children’s show. The event focused on the immediacy of perception. Of course, spontaneity is different for everyone, but at the heart of any spontaneity — not a preparation, but the involvement, lack of prejudice, but not total wildness. That is, the audience who came to the children’s Opera in theatre, at least, understands that the Opera is where they sing. We can say that this is the only condition for the direct perception of children’s melodramatic performance.
Now, if you try to directly perceive what showed the Bolshoi theatre, we get the following picture:
about an hour on the scene of animated objects and animals with insects bullying child
which is in the throes of puberty, overstimulation them hurt or offended. Torn books, broken cups, broken clock, torn Wallpaper, and even the injured squirrel scolding, name-calling, blaming, beat, trample and otherwise “snub” the poor teenager.
It is difficult to say how common in world literature educational motive of revenge things to his master, but in a Russian children’s classics enough to remember “the Fedora’s grief” by K. I. Chukovsky and his “Moidodyr”, to evaluate the degree of embeddedness of punitive didactics in our minds. Here and in the Opera Ravel, written on the play by Sidonie Gabrielle Colette,
the re-education of the child is not due to interaction with an authoritative person, and as a result panic and external violence by non-living or semi-living nature.
The fact that the Mother performs the role in the Opera “deus ex machina”, is very revealing: none of the authors of this Opera was not a full-fledged parental experience.
And the author of the libretto by Colette and Ravel — loved animals more than people (hence the boring Duo of cats in the Opera). By the way, in Opera, even not talking about a daddy boy. And this despite the fact that the nervous breakdown of the main character, most likely related to the fact that a child grows up in a single-parent family. The question is, why this painful model to replicate in the children’s work? Why be cultivated in the worldview?
Oh, and to close the issue of pedagogical severity of this piece, let me remind you that
any comparison of the “suffering” of inanimate objects (brooms, cakes, teapots and clocks) with the pain and suffering of a living person is a crime against humanity.
You can debate on the protection of the “rights of animals”, about the environment, about caring for things and so on, but when on stage, twist kettle with a spout at the level of causal places beats and tramples the living child, of negative pedagogical consequences of imposing such a “unspirituality” needless to say: if the tree should be treated as a person, then why would the person not be treated as a tree?
Generally speaking, in the context of our children’s literature, in which mother doesn’t sleep with daddy, and with sink, washing up all the holes, and the chief authority for the unwashed child becomes a crocodile walking in the Summer garden, the contents of the Opera “the Child and magic” will not seem extraordinary. But in the ballet “Moidodyr.” delivered recently at the Grand theatre, entertainment and elegance for the stage presentation was combined with a positive charge and mischievous impulsiveness music Efrem podgaits, that removed all claims to fabulous absurdities content.
You can tolerate any nonsense story in the libretto, if patience is justified by the musical merits of the piece.
Are constant mockery of the poor baby in the Opera “the Child and magic” the aesthetic value of the music of Ravel?
And then, relying on the immediacy of perception, we have to note that Maurice Ravel is certainly a great composer, and possibly for someone irreplaceable valuable and important. He is the author of “Bolero”, “Daphnis and Chloe”, and the second piano concert for “one left,” but, even kill,
the music of the Opera “the Child and magic” — this is not music for children.
At least already because it is devoid of melodic beauty. It’s depressing and form, and in fact the orchestral accompaniment to the play Colette. This is judging itself. Of course, if to use special literature and try to tune in a tragic world-view of the composer, the score and then “child”, and “magic” will sparkle with some special meanings and colors. But why? The main addressee of the presentation — children. But their perception of themselves.
But even if you disable this immediacy of perception and refer to the life and works of the authors of the Opera “the Child and magic”, in any normal parent immediately the question arises: why bring up her child through fostering him tragic worldview and a complete dependence from one of the parents?
I do not exclude the possibility of convincing arguments “for” priceless educational value of this work of Colette and Ravel, and, as a parent would their child a lot of convincing explanations of what is happening on stage. But no one, even the most creative parent under any circumstances will not be able to explain to your child the value and beauty of boring, hysterical impulsivity Ravel. And that could put the point, because
as part of such aesthetics to speak of the vocal works of artists — complete profanation,
— as, however, and about the features orchestral interpretations, estimate that only experts in that specific score.
But the problem with new premieres at the Bolshoi’s not even the fact that the selection of the works was unsuccessful. And that this failure was not compensated very worthy work of the theatre team and the production group.
Director and designer of the play Anthony MC Donald tried a little bit to smooth out the harshness of the original, as if implying that the Opera is, frankly, not children and not for children. But it turned out only the second part — “in the garden”, when the brightness of the scenery and costumes combined with choreographic and acrobatic installations allowed to escape from the idiocy of what is happening “on the text” and switch to acrylic diversity of visuals, all the more so because of the complexity of rhythm, lack of melody and indistinctness of articulation, to understand what is the meaning behind the sounds flying from the scene, was not possible.
But played their roles actors theater just brilliant.
Great work, the image of the Child at Alina Spring, band soprano which coped well with the tessitura of the party. Somewhat hysterically sounded the Juliana Aleksyuk in party Princess, and Ksenia Viaznikova with refined mannerisms voiced the Chinese party cups.
Interestingly, only after reviewing the program, I realized how interesting the singers were involved in the play (and Nikolai Kazansky, and Stanislav Mostovoy, and Konstantin Shushakov, and Anna Aglatova and many others), but to hear them in the proposed material was utterly impossible! And it was doubly sad that artists played with full dedication, from the heart.
But Opera does it? And if Opera, then why to teach children to Opera, where it is impossible to hear any melodies or vocals?
I am sure that the scholars and professionals will be able to convince me and other viewers that “the Child and magic” — this is the piece that had been missing from the children’s repertoire of the Bolshoi theatre, but it is unlikely this perception, “persuasive” and treated as such “convince” you to call direct…