How Rezanov and Conchita`s history became the poem, fate - the opera and a performance? Part 2B is born 1970 Voznesensky`s poem “ Perhaps! “ and somewhere in a year 1976 - the m to the director of theater of Lenin Komsomol Mark Zakharov comes idea to imprint so fertile romantic plot in the form of a musical performance. In fact it was attempt to develop and consolidate success “ Stars and Death … “. For a role of the composer Zakharov offered Voznesensky the same Rybnikov.
As a result poem “ Perhaps! “ it was almost anew rewritten by Voznesensky for the libretto. History of this copying is very indicative.
In - the first, the poet added to the libretto fragments from other poems - “ Saga “ (widely known, as “ You will never forget me “), “ Melancholy “ - and even included own translation of the poem of Michelangelo (“ Creator “) . Which - that was finished which - that cleaned up which - that changed. Notes and changes are especially curious.
I do not know who influenced Voznesensky, but the libretto lost all irony peculiar to the poem, and as a result became excessively sublime and grandiose. Voznesensky perfectly understood that Rezanov and Conchita`s relationship had a set of the prosaic moments. The man elderly already seeks to improve trade relations with colonists of California. It is sympathized by the very young Spaniard, the commandant`s daughter. Both of them understood that their marriage has broad prospects.
I do not want to humiliate Conchita`s feelings, but, judging by documents, Rezanov was for her a person with the big future, its ambitions and will really fascinated 16 - the summer girl. Feelings of Rezanov to Conchita were more prosy. In one of letters it wrote to Russia: “ … my love at you in Nevsky under a piece of marble, and here - a consequence of enthusiasm and the new victim Otechestvu “. Here so - that. With Rezanov`s death for Conchita also all hopes for the future therefore her leaving to the monastery is quite logical failed (and what else it was necessary to do to the Catholic betrothed and abandoned forever?). Voznesensky did not hide that embellished the truth, however and embellishing the poet left enough place for irony, periodically “ grounding “ pathetics and the giving this history smack of reality.
There is only one example. Pay attention to what pieces of the poem (bold print) were thrown out from the libretto.
“ Earth new - a tabula of time.
I Will settle new race there -
the Third World - without money and loops,
of neither the republic, nor a crown!
Where lands a gold bosom,
as on gold write icons,
faces of people will be light.
There was to me a dream, bad and wonderful.
(It is visible, I overate sinyukh.) to
Yes, sluchas at court, promote -
I marry an amerikanochka ….
Refer to parents repayment
for the wife:
maxi - a fur coat with an edge from a muskrat,
a style “ the grandmother - the ingenue “ … “
Rezanov and Conchita finally turned Into the libretto in “ Romeo and Juliette “. In “ To Juno and Avos “ any more there is no place to a smile (about which, by the way, Myunkhgauzen from Zakharov`s movie so well spoke), only the pathetics and tragic element reigns here that, in my opinion, only impoverished the text, made it more “ flat “.
On a potreba to intellectual tastes of that time the text of the libretto was filled with religious motives. It was really safely and is new if to forget that from the libretto all sharply disappeared atheistic and “ it is religious rough “ pieces. Here to you excellent example of the Soviet self-censorship on the contrary! So, from a song of seamen quite poetically powerful couplet disappeared:
“ When it is powerless “ Ave Maria “
through us is vydykhivat to stars
by atheistic Russia
supernatural “ perhaps “! by
But it was in exchange added new in which, mentioning the Andreevsky flag, the poet placed emphasis on Russian (not Soviet!) patriotism:
“ Instead of a flute we will raise a flask,
That was more safely,
That was more safely,
Under the Russian krestovy flag
I the motto “ Perhaps “!
as a result “ Juno and Avos! “ turned into a true embodiment of expectations of the intellectuals of 1970 - x - the beginnings of 1980 - x years. These expectations consisted in requirement to restore lost historical spatially - temporary communication in the country where history is split into time “ before revolution “ and “ after revolution “ and outlook - on “ religious “ and “ atheistic “. “ Juno and Avos “ embodied all this so skillfully that each Soviet person could find something the here. Passages, “ de jure “ criticizing imperial Russia, at desire “ de facto “ could be postponed with ease for Russia Soviet.
“ Our generation was born early,
Is alien the foreign land to us and the house,
the Disbanded generation,
is boring We alone to truth go … “
I all was counterbalanced with the phrase:
“ The Russian Empire - prison,
But abroad too the commotion “. all Came to the end with
with the anthem of Love which could be an ideal both for the atheist, and for the believer.
“ Duality “ fate - operas also defined its further history. The Soviet ideological system appeared in perplexity. To forbid “ Juno and Avos “ it seems, there is nothing, but also to advance in masses this doubtful thing somehow … Generally, long delayed permission to a theatrical performance. Being afraid for destiny of work, Rybnikov quickly does at the end of 1970 - x record fate - operas.
N. Karachentsov, from interview of 2001:
“ Alyosha Rybnikov was frightened that his child will remain not heard. He at own risk invited different singers and wrote down a plate which dramatic art even differed from performance dramatic art because the performance was only outlined. But already certain main music turns were written, and it attached them. And there Conchita the daughter sang it. Alyosha arranged then “ presentation “ as would call now, in church where invited a floor - dioceses and their diplomatic corps. … There was a performance, we began to play its. The performance is hosted, already as it seems we exist, well and here to Alyosha allowed also a plastinochka to tisnut … And people approach and ask: “ Why there not you? “. It is quite difficult to explain all this situation to everyone “. As you already understood
, permission to a performance everything is it was received, and on July 9, 1981 in “ Lenkom Theatre “ took place his prime minister. The effect of statement was even more powerful, than her creators assumed. “ The Pig in a bag “ as usual, enclosed “ western well-wishers “ with delight having declared fate - the opera “ anti-Soviet “ …
“ New York Times “ on July 11, 1981:
“ The Musical combining the western fate, passionate dances, the Russian church chants, love russko - the American history makes impression that, it is made to order that observers of the Soviet culture responded to it: “ No! “.
“ Time Magazine “ on July 20, 1981:
“ The Noise which was making the way through walls and overlappings of theater it. Lenin Komsomol, it was rather loud to wake the founder of the Soviet state in its Kremlin mausoleum “.
After such “ advertizing “ at “ Juno and Avos “ immediately there were additional difficulties. The performance was long not let out abroad, and release of a plate in general dragged on. For Rybnikov long time did not want to recognize … copyright (an exit of a plate is already mass popularity). Nevertheless, as practice showed, it was possible to fight against it. Rybnikov just filed a lawsuit on … The Ministry of Culture, and the rights for fate - the opera everything is seized. Further - it is more. In 1983 there is a plate (subsequently dispersed 10 - million circulation), and in November of the same year famous Pierre Cardin the name “ pressed through “ tours “ Juno and Avos “ in Paris.
There were also tours on the Broadway later, and a new plate (more precisely - a compact - a disk) with record of already lenkomovsky version fate - operas. “ Juno and Avos “ became history and still enjoys popularity. The only thing for what it is worth regretting, so it that it remained only created on “ one sixth part of " sushi; SUCCESSFUL fate - the opera what we put in this vague concept.
“ Recently Mark approached me: “ You know, in “ Hallelujah … “ it is necessary to change “ inhabitants of the XX century “. I wrote: “ Children of the XXI century “. And instead of “ Declines the XX century … “ - “ We got the 21st century “. It is possible to sing further: “ We XXII got a century “ “ We got the 23rd century “. So three centuries are provided to the poem. I think that and will be because it is original love. All this is more appreciated. And this feeling of a bezoglyadnost as two persons resist to system: religious - orthodox orthodox and Catholic. Everyone fights alone, and I think that it, unfortunately, for a long time. All the rest nonsense - policy, corruption of all liberals, both right, and left “.