I was looking forward to this premiere. It should have taken place two years ago. It was postponed for various reasons, but there was a concert performance on 31 January 2020.
The history of "The Queen of Spades" on the Sofia stage is long and triumphant. The first Bulgarian production was in 1926 with conductor Yuri Pomerantsev. On 18 and 19 November, the directorial concept of Vera Petrova and her team – set designer Nela Stoyanova, costume designer Hristiana Mihaleva, of the plastics Aleksandra Tihomirova – was presented. Both performances were conducted by Andrey Galanov from Belarus, who is well known to the audience in Sofia from his previous guest appearances.
Two ensembles were engaged for the premiere performances. Of the central parts, only Violeta Radomirska was in both evenings as Polina/Milovzor. On 18 November the singers were Martin Iliev – Herman, Tsvetana Bandalowska – Liza, Gergana Rusekova – The Countess, Count Tomsky – Ventseslav Anastasov, Prince Yeletsky – Atanas Mladenov, Chekalinsky – Nikolay Pavlov, Biser Georgiev – Surin, Rosen Nenchev – Chaplitsky, Nikolay Voynov – Narumov, Ayla Dobreva – The Bat. On 19 November: Eduard Martyniuk – Herman, Anton Andreev – Count Tomsky, Ilya Silchukov – Prince Yeletsky, Angel Antonov – Chekalinsky, Angel Hristov – Surin, Rosen Nenchev – Chaplitsky, Alexander Georgiev – Narumov, Diana Guglina – Liza, Vesela Yaneva – The Countess, Silvia Teneva – The Bat.
"The Queen of Spades", staged by the Sofia Opera Clean and lean concept – visually, plastically and emotionally. An adventure we are invited to join and experience together with the musicians.
A huge revolving stage is the main set. It breaks up into separate panels that form parallel spaces, and these lead and bring the characters. Sometimes the levels meet, sometimes they diverge. A whirlpool, a spiral, an endless movement that propels searing passions. Lavish, stylish costumes in muted pastel colours, more in gold and black, masks and masterful makeup, beautiful wigs, elegant ladies and dashing gentlemen. And some white. For specific characters and moments. That's what the stage space lends to the eyes. And then it's the emotion's turn.
A young man enters the fore-stage in anticipation of the spectacle. He holds a ticket and sits down in seats placed on purpose. He faces the audience. He looks at it with interest. And just then the masks appear – first they and then their owners – Tomsky, Surin and Chekalinsky. In white elegant redingotes – just according to the fashion of the Russian dandy. From this moment they will accompany our spectator. The curtain falls and the orchestral introduction brings them into the action. Oh, our friend was Herman himself! He suffered as the Russian soul knows how – quietly, despairingly, grimly. The wheel turns. Tomsky's narrative gives the first impetus – the secret of the fortune of the "Moscow Venus", now a grumbling old countess. Three cards brought her wealth, three cards revealed to her by an important admirer, three cards that Herman must learn to be rich, to be with his beloved Liza, niece of the Countess. This same Liza is betrothed to the Prince Yeletsky.
"The Queen of Spades", staged by the Sofia Opera With each successive encounter, the young officer's obsession becomes more manic, culminating in the encounter with Liza in scene six, when he tells her, "Who are you, I don't know you", and heads for the gambling hall. In pursuit of the salvageable fortune, he causes the deaths of the Countess, Liza and his own. "What is life? A game!" he screams in the face of the entire world, moments before putting down the third card. A three, a seven, an ace – so the Countess, who has appeared in his ramblings at his higher bidding, has arranged them. But before that she had commanded him, "Save Liza, marry her". Is that why the ace became queen of spades? At the last moment, along with the ghastly ghost of the Countess, he sees Liza – "Beauty! A goddess! Angel!" Only then does she touch him for the first time. Interesting reading. From the first moment of their meeting they are together, side by side, but so far apart, living in parallel worlds and meeting is impossible.
In addition to the heart-breaking lyrical scenes, "The Queen of Spades" offers several lavish celebrations. There are walks in the garden, an ominous storm tears the sky and the tormented soul of Herman, the Empress's welcome is grand, there are noisy officer's entertainments. For each of these Tchaikovsky created extraordinary musical themes – beautiful arias, folk songs, scenes quoting popular motifs of the era, slightly bawdy jokes, even an entire pastoral piece in the act itself. The transitions from the tension-filled chamber scenes between Liza and Herman, Herman and the Countess were masterfully woven into the general euphoria and festivity with the smooth rotation of the stage space, brilliantly acted without unnecessary pomposity. Even the Countess's fawning entourage found an attractive and rather comic mise-en-scene in both the costumes and the plasticity of the movements. Yes, such is the world. Suffering and gaiety.
Andrey Galanov led the ensemble with a clear awareness of the overall development of the musical fabric, sculpted the specific timbral characteristics in the orchestra and on the stage, and masterfully guided the singers in the exceptional emotionally and vocally charged parts.
The singers – all of them inspired by the new tasks and the elegant surroundings. I'll start with the Countess – she's on the stage almost all the time and has her own tasks beyond those written by the composer. With the fan, she points, she dismisses, she turns the action. She is terrifyingly beautiful, drawing universal adoration. She is portrayed by two singers who never cease to surprise me with each successive image I find them in. Gergana Rusekova – more ironic than angry, most notably in the situation of fourth scene when she reminisces about her glorious Parisian experiences. Even, I would say, her voice carried that irresistible, sweet love flavour. And in her next supernatural appearance she was remarkably memorable. Vesela Yaneva – I realize now that this is the first major role I've watched her in. Her excitement was tremendous, but her rich timbral voice gave the character more earthy traits.
I will continue with Count Tomsky, a nobleman in every respect, who, with Surin and Chekalinsky accompanying him, is the engine of the action. He is the soul of the company, of the community, the well-meaning friend. An imposing Ventseslav Anastasov with a fine sense of style and a consciousness of the importance of his position – such was his Count. Certainly, the voice is quite controlled and the playful notes add to the charm of his interpretation, especially in the pastoral scene and in the final fun in the playroom.
The Russian baritone Anton Andreev was right in line with the refined bon vivant of high society. Wonderful voice, manners and elegant stage presence.
"The Queen of Spades", staged by the Sofia Opera I think Liza is another dream role for Tsvetana Bandalovska. Vulnerable, fragile, desperately devoted to the intoxication of love that overwhelmed her – that's how I felt her character was, with a special exploration of timbral nuances for the different states – gentle pianissimos, metallic pitches, a smooth cantilena. On the second night, I was looking forward to Diana Guglina. And in life you can't pass up meeting her indifferently. From her very first appearance on the stage, she obsesses. A blazing fire under an icy beauty is her Liza – a gorgeous vision and a passionate vocal experience.
Atanas Mladenov again filled Prince Yeletsky's part with noble grandeur, as well as the emotionally intense aria. At the second premiere the nobleman was performed by the Belarusian baritone Ilya Silchukov – radiant timbre, elegant posture of a typical Russian nobleman.
Violeta Radomirska was the little jewel, the beautiful colourful temptation in the production. Her deep voice thrilled in Polina's two arias in the second scene, and in the pastoral scene in the third.
In the company of Count Tomsky, the custodians and instigators Surin and Chekalinsky enliven the stage with special plastic solutions. Wonderful Biser Georgiev and Rosen Nenchev, Angel Hristov and Angel Antonov!
I will finish with Herman. I always admire Martin Iliev's ability to refract each image through his own idea of it, without turning his back on his directorial solutions. I listened to him in concert, but now, in addition to unleashing the richness of his voice, an idea more heroic than befits the character, he masterfully revealed the suffering, pain and despair of his character. The Ukrainian Eduard Martyniuk gave an incredibly accurate rendition of a character clearly close to his heart. He is the typical desperately lonely Russian officer with no lineage, seeking a quick rise in high society. This is exactly the timbre with which I imagined the singer who should perform this part – gentle and caressing to the ear.
I will also mention the other smaller roles: Rosen Nenchev as Chaplitsky, Nikolay Voynov as Narumov, Yuliana Todorova, Ayla Dobreva and Silvia Teneva as Masha and the Bat, who had bright individual characteristics and memorable vocal performances.
The overall plastic concept, specifically and inextricably linked to the director's vision, reinforced the ideas of the impermanence of what was happening on the stage, giving the characters additional confidence.
Is a life filled with so much passion, torment and despair real? Let everyone who has entered the hall of the Opera come to the answer for themselves. The three masks, taking our spectator out of the action, leave us with the opportunity to continue the experience of encountering Pushkin's images, musically clothed by Tchaikovsky and woven into Vera Petrova's heartbreaking drama.