The Bridgeport Post from Bridgeport, Connecticut • Page 14

14 BRIDGEPORT POST Tuesday, July 15, 1975 More Opera in the Russian Vein-'War Peace' Goes Into Repertoire As Bolshoi Engagement Nears Finis NEW YORK As the entrance of Prokofiev's "War and Peace" and Tchaikovsky's "Pique Dame" into the Bolshoi opera repertoire at the Metropolitan Opera house signaled the approaching conclusion of the premier Russian lyric theater's first historic American engagement, familiarity replaced novelty, enabling a more objective view of the company's productions. "War and Peace," given in'its final version which the composer required a decade and much alteration to reach, re duces Tolstoy's vast novel to two sections, "Peace," the first seg ment, centers upon the domestic life, loves and relationships of those characters and families whose experiences form a connective thread in the epic novel. "War," the final portion of the operatic setting, centers upon the French invasion, the Russian preparations for combat and the beginning of the Battle of Borodino, Napoleon's camp during the battle, the Russian General Kutuzov's decision for a stra- 1115 MADISON BPT. 335-2216 Finest Quality Lowed Prices IT'S COOK-OUT TIME IN U.S.A.! STEAKS! STEAKS! STEAKS! WHY PAY MORE? BONELESS-FAT REMOVED READY FOR THE GRILL! DRMONICO STEAKS (Eye of Rib) CHICKEN STEAKS (Blade of Eo.f) CENTER CUT SHOULDER STEAKS LONDON BROIL STEAKS of Shoulder) CUBED STEAKS FLANKEN STEAKS LARGE FILLET STEAKS 10 14 GROUND CHUCK IOt'6 Our Chopped Meat it different It's tasty, freth, lean and ground in front of your eyei. 90 GROUND CHUCK PATTIES No Additives just fresh meat ground be- your Ask kids They'll lovfl 101'B 90 BEAUTIFUL THIN SLICED VEAL SCALOPINI ALSO THIN SLICED VEAL CUTLETS AND BONELESS VEAL FILLETS 10 Ibs.

Open Doily 7 P.M. Fridoy fs 6 Sunday 6 A.M. to 4 P.M. Closed Saturday tegic retreat, the abandonment of Moscow, its occupation and burning, the final meeting of Natasha and Andrei, the French retreat, and the acclamation of the victorious Kutuzov by the rejoicing populace. Readers know, the story as an heroic artistic accomplishment.

And to his credit, Prokofiev strove to translate the at- mospere, main characters and impressive sweep into a dramatic narrative akin to the music drama form. To this end, he did away with the usual set pieces and arias for the most part, aiming for continuous plot flow and economic characterization, and finally the awesome picture of a nation in war's grip and some of the major incidents of the struggle. Musically, the opera is a considerable potpourri of symphonic outpouring, vocal declamation, musical motifs meant to unify and delineate (in part) the vocal and dramatic elements and emotional experiences of the characters and situations. And to assist the enlivening of the immense fabric, there are numerous imposing marches, waltzes, mazurkas, and polonaise. Want of Continuity However, despite the musical score's virtues and variety, and no doubt in good measure, to the many years of compressing and revising, "War and Peace" founders as certainly as Bonaparte's army for want of unification and continuity of dramatic action.

Moreover, owing lo the limitations of the Metropolitan Opera house stage, some of the necessary substitutions in scenic effects, and not least to an unchecked impulse to burlesque the scenes involving the masses of troops (French In particular), plus application of that treatment to Napoleon's mannerisms, and to quite a bit of wooden, stock gesture acting, the totaljty of "War and Peace" ranged from arresting magnificence to the clumsy and ridiculous. Although much went wrong, thcr was also not a small number of things which went very well. Mark Ermler conducted with a control and authority that are an absolute must when dealing with so complex a score, and the Bolsh'oi Opera chorus discharged the rather frequent demands upon it with the distinction for which it is renowned; there also was more than a respectable amount Individual singing. Particularly successful in this last regard were Yevgeni Nes- terenko's Marshal Kutusov, a figure of dignity weighted down by concern, whose aria bemoaning the necessity of temporarily abandoning "ancient Moscow" was eloquently sung in a resplendent bass; Galina Kalinina, an appealing, if a trifle bland Natasha, who sang beautifully after some extraordinarily tones in the early scenes; Andrei Fedoseyev's Prince Andrei, who cut a handsome figure (if not an especially aristocratic one) and exhibited a fine baritone; Vladimir Petrov, who sang the role of Pierre in a mainly pleasing tenor while conveying something of the weakness and indecision, and Elena Obraztsova, a regal rtelene, whose mezzo acquired its usual authority after some initially less than satisfactory singing. In lesser roles, there was good singing and acting from Nina Grigorieva as Matryosha the bold gypsy girl, Boris Morozov, thoroughly convincing a bear-like as the coachman, Balaga, and despite his burlesquing (done one must assume at the command of a director), Mikhail Maslov's powerfully sung, intense Napoleon.

There were many others in small roles whose singing was worthy of praise, and even though Proko- fiev and his wife (the librettist) reduced the characters from over 500 to 60, that is still more than space can accommodate. If "War and Peace" tends to awe and confuse many opera patrons with its mingled positive, negative and in between quantities, such was not the case with Tchaikovsky's "Pique Dame" (known otherwise as "The Queen of Full Justice Done With one exception the singing and acting left little to be desired, while the orchestral playing under the baton of Yuri Si- monov, did full justice to the lyric and dramatic properties of the score. There was just one really bald staging atrocity, and it stemmed from representing the ghost of the Countess by a match-like red light out of darkness, and a not even slightly eerie voice from beyond the grave. Heading' the cast, Vladislav Piavko conveyed the impression of a Hermann not just obsessed with winning at cards, but of an, almost daemonically intense young man ruthlessly bent on gaming with the Devil, win or lose, nnd caring not a bit for friend or lover. Equally forceful was the tenor's singing, for he has an ample voice and uses it unstintinsly, thought not to the point of forcing.

Partnering i a Silvermine Chunber Music Festival-Rarely Performed Scores Open Silvermine Festival NEW CANAAN Undeterred economy and certainty which inclement weather, cannot be mUtaken for anything nd patroni of tic annual the creation ot particular SilTcnnim Chamber. Mu.ic genlui-in a 'from the com- pelllng, exciting and passionate- posittoni of Beethoven, Hummel ly beautiful ai only Beethoven. a pnrtwroptii-Hufok Bolshoi' Stagecraft and Singers Ing eye towards Vladimir Valaltls (center right), the ruthless gambling-obsessed officer, Hermann, who Is exclaiming bitterly on learning that the Countess' granddaughter it betrothed to the Prince Yeletsky, In the opening of Tchaikovsky's "Pique Dame." Tamara Milashkina was inclined to vary in the quality of her singing, while her- acting' was about on a par with the old stock gesture variety expected (and usually' found) in the lesser Italian lyric theaters. 'Still, on several occasions, she did make respectable showing, most notably in her aria expressing sorrow and nervous apprehension whilst awaiting Hermann on the canal bank in a bleak winter night. Here the voice was true, the phrasing admirable, and the show of emotion convincing.

One could not help wondering why this had to he the exception. As the tall, formidable Old Countess, Larisa Avdeyeva, not only acted, but sang superbly; the total impression was of a large, once beautiful and vital woman, whose magnetism had not been taken from her even by" approaching death, which one fancied she might have sufficient power of will to hold at bay (had not the drama required otherwide). But far the best singing of the evening was that done by Yuri Mazurok as Lisa's gallant princely suitor. The possessor of a splendid baritone, he displayed commendable artistry in phrasing and delivery. For example, the Prince's aria in Act Two expressing his devotion to and love for Lisa, was the epitome of lofty and fine sentiment.

And as if that were not enough, Mr. Mazurok also cut a handsome, dignified and convingly patrician figure; cast as a prince, he tempered regal manner and carriage with gentility, graciousness and sincerity. Supporting roles were capably sung and acted by Tamara Sln- yavskaya, as Lisa's companion, Pauline; Nina Grigorieva, the Governess, and Vladimir Vaitis, cast as Hermann's friend Tomsky. The exception already noted with an after-the-fact thought that the last scene in the gaming room might-have been laid on a bit too thickly, the staging was of ths lavish, realistic sort which the Bolshoi at its best does better than almost any other opera theater rope or America. The ball scene: was absolutely brilliant, the opening Summer Garden scene inviting, and the interior of the Countess' sleeping chambers, with its gown manequins and semi-darkness, was precisely the sort of lair that might be ex-: pected to contain so sinister, a dowager.

As this is written, the Bolshoi will be introducing the last of its six productions in New York, giving one more performance of each, and at week's end moving on for a brief stand in the opera house at Kennedy center, Washington. The company's visit has been most interesting and impressive for devotees of lyric theater, and patrons have given some of the fervent responses within -acts, not uncommonly keeping singers and conductors re turning for curtain calls upwards of a hall hours. (Indeed, the only longer one in New York during recent years, was given the American soprano for her interpretation of the title role "Salome" at the New York City opera-in March of this yeaT). Certainly no" other lyric theater can boast the quality of (at its best); few can equal the choral singing or orchestral the Bolshoi concept of ensemble opera, staffed by singing actors and without peer anywhere in, the world. And, like any great institution, it must be noted that when the Boishoi does something wrong well, that too is done with all stops drawn.

RICHARD DAY estlval embarked on their 17th eason, Sunday evening In the Ifford auditorium at the ilvermine Guild of Artists. Artists for the first concert, pressione. II "regulars," played quartets liness, noon imwr nd trios for various com- surging dramatic utterances and Nations of strings, and strings reposeful lyricism, it is com- eontn-Araericiin composer, In. Dahl, ill infre- Mainly soulful work, Dahl'i oncerto Tre for Clarinet, iolin and Cello, is Initially pervaded by a icarching, melan- holy lyricism of mildly eerie uality, with a em- ellishvents occurring in the arinet line. In its final phase, lyric element gives way to a ghly ornamental, rhythmic yle, ending on su note of wry umpr.

Without marking any retense to originality or relying gimmicky contemporary riting, it nevertheless It agree- ble and effective music plainly enimlng from a sensitive, ex emely capable mind. Hummetl Quartet From the now largely shelved reductions of Johan Nepomuka ummel, much admired' con- rnporary of Beethoven, Mozart nd Haydn, there was the uartet in -E-flat major for arinet and Strings. A charm- living score without much epth or a clear resolution liaracteristic generally assc- ated with and responsible for ummel's diminished repute), quartet roughout the first movement, ith the flow broadening, ac- elerating and increasing in lythmic accentuation during le second. The slow movement, an an- ante, brings a marked change, ith its lyric pliancy and ireeabte atmosphere of repose. Ith the finale, Hummel comes II circle, giving us an oc- asionally decorated brightly owing rondo which strongly sembles the first movement.

Possibly Beethoven's finest ork in the chamber category to 97, the String Trio in minor, pus 9, Number 3, possesses an most symphonic richness and nority, and is set down with an THE FOUR WINDS NOW Every Tues. thru Sat. Lira' THIS WEEK WHEELING DISCO 9 TO 1 TONITE 1031 North Bpt. Following the sombre hues, liUtlon and compactness of first movement, comes the outstanding Adagio con ei Alternitlnx linear can be. On the heels of brief, tranquil scheno In the minor mode, the quartet endt in extended outpouring of viUI lyric- rhythmic buoyancy.

The artists, Vukovic, vWlit Paul Wolfe, violinist, Samuel Mayes, celllft. Keith Wilson, clarinetist approached the music with boundless enthusiasm and a 11 i technical facility. i ensemble tone was full of pleasing quality, while their rapport, both with music etch other, was the sort born of affectionate familiarity and easy. rapport. Altogether, the conctrt an beginning, and the sec state- oni program of the series, grace, comprised of works by Brahms.

Schubert and Haydn, is good cause for pleasant expectations. -RICHARD DAY BOY AND COL -87 ROUSON The Three Bears are back from vacation and ready to serve you again The great siiiiin' again. Lobster and Stuffed Scunpt are more sucoulent thmn ever. The menu is an tipandcd diner'i delight The gardens are blooming. The waterfall is running.

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