Press Conference in Serbia
This is the third tour of the St. Petersburg Opera in Belgrade. In 2020, it coincides with an important date - the 75th anniversary of the Victory over fascism. Despite all the difficulties caused by the pandemic, the St. Petersburg Opera Theatre managed to bring two performances to the Serbian capital. The arrival of our team aroused great interest among the media. Press conference took place at the National Theatre in Belgrade. People's Artist of Russia, artistic director of the St. Petersburg Opera Yuri Alexandrov, director of the theatre Evgenii Malygin, conductor Maxim Valkov, leading soloists, laureates of international competitions Larisa Pominova and Olesya Gordeeva, director of National Theatre Ivana Vujic, director of the Madlenianum Opera & Theatre Andreja Rackov, representative of the Ruski Dom (The Russian House) in Serbia Elitsa Maric participated in the press conference.
Yuri Alexandrov mentioned about the difficulties that are inevitable when organizing a tour during a pandemic, admired the beauty of the National Theater, on the stage of which the troupe was once again lucky to perform, and talked about the principles of the St. Petersburg Opera, which distinguish the theatre from other collectives.
“I think first of all we are going to Serbia to demonstrate quality of our very unusual and complex musical material. As you have already seen in the playbills, we are here to show two very unusual performances that included in the repertoire in Russia only on the stage of our theatre - "The Rape of Lucretia" by B. Britten and "The Abduction from the Seraglio" by W.-A. Mozart. Britten is a great English composer. His works, in my opinion, are a standard in every sense: musical approaches and orchestration. "The Rape of Lucretia" is an outstanding work and, of course, our task - above all - is to show the musical material. We always approach such operas very seriously, trying to comprehend not only the plot, but also the process of creation, even when staging the opera, we concluded that it is necessary to include in the context of the performance the situation in which it was born... This is post-war England, a country after the bombing, which is in ruins... Therefore, we have left the classical interpretation of Britten's work. His characters are representatives of the male and female choirs (detached commentators), while in our country, they are active characters who live a complex psychological life directly in the performance itself. They are the refugees whom the war gave birth to with its fire ...”, - Yuri Alexandrov said.