An impressive orchestra

LVIV — Guests from the capital brought two performances to Leopolitans: their most recent production, the ballet The Lord of Borysthenes by Yevhen Stankovych, Hero of Ukraine, and Vincenzo Bellini’s opera Norma, whose premiere on the Kyiv stage took place four years ago and brought its creators Taras Shevchenko National Prize in 2011.

The tour took place with the assistance of Mykhailo Tsymbaliuk, head of the Lviv oblast state administration. The idea of taking the Kyiv artists to Lviv arose within the project “Ukraine: the History of a Great Nation,” which, as The Day was told by the governor of Lviv oblast, was initiated in 2007 by MP Volodymyr Zubanov, president of charitable foundation East-West Together. The aim was to instill citizens with the awareness of the greatness of our nation, as well as with history, patriotism, and pride in our historical Fatherland.

According to Anatolii Tolstoukhov, Doctor of Philosophy, head of the Fund for Fostering the Development of the Arts, and one of the organizers of the project, it all started from publications — the books Ukraine: A Chronology of Development, Ukraine and the World, and others. Incidentally, these works have been well-received in Ukraine and abroad. “And then it occurred to us that the printed dimension was not enough to reproduce the history of Ukraine. This is how the idea to create The Lord of Borysthenes was born,” related Tolstoukhov. He also emphasized that it was the first ballet produced in independent Ukraine. Future plans include a musical Elizabeth, Queen of Norway, which is now being made by Oleksandr Zlotnyk and Yurii Rybchynsky. The opening night will be sometime in 2012. Full-length feature films are also planned. “The history of our nation deserves them,” Tolstoukhov said.

“We feel very privileged to have been invited to Lviv,” shared People’s Artist Petro Chuprynka, director general of the National Opera. “This project is both interesting and a big responsibility for us. Touring high and low with operas and ballets is one thing. This mechanism runs like clockwork, and there are certain modes of implementation of projects. Coming to Lviv is a whole different issue; coming to extremely demanding and knowledgeable connoisseurs of the art of opera and ballet, to colleagues who know far too well ‘what is good and what is bad.’ That is why, on the one hand, we are extremely grateful for the invitation, and on the other we are excited since we are very anxious to live up to those expectations of high art of the Lviv public.”

The Leopolitans had high expectations indeed, filling the houses for both performances (spectators were sitting on loose chairs, many stood along the walls). They applauded during the performance, with ovations and bravos following it, when the artists came on stage to take a bow. However, opinions about what had been going on the stage of the Lviv Opera were divided.

Ihor DERZHKO, chair of philosophy, Danylo Halytsky National Medical University, Lviv, advisor to head of the Lviv oblast state administration:

“I was impressed by the harmony of music, dance, settings, and costumes in The Lord of Borysthenes. Also, I was impressed by the sense structure of this performance, where Prince Kyi’s times, an epoch of cruel beliefs and sacrifices, were depicted with a delicate and great romanticism of harmonious human relationships. No one has ever done this before. What also impressed me was the rhythmic pattern of dance, and the ability to unfold it by unusual scenic means. In my opinion, this too is an innovation unknown in our ballet. The orchestra’s professionalism was impressive. So I think that The Lord of Borysthenes is harmonious in conception, implementation, and execution.”

Liubov KYIANOVSKA, music critic, professor, Mykola Lysenko National Music Academy, Lviv:

“Of course, Norma is a very respectable performance. From the musical point of view, the execution was beautiful. My compliments to the conductor, who was almost impeccable throughout the entire performance, and showed high class. The company from Kyiv has a great orchestra and a great choir. As for the soloists, at the beginning of the performance I had an impression that they hadn’t had enough practice. The best singing was in the last scene. Among the soloists I would single out Serhii Mahera (Oroveso) and Natalia Nikolaishyn (Adalgisa). Meanwhile, direction was the weakest link in Norma, it’s static and dull. It even clashes with the text: the actors stand still like mummies as they sing, ‘We are fierce like beasts.’”

Viktor KAMINSKY, composer, winner of Shevchenko Prize, vice rector of Mykola Lysenko National Music Academy, Lviv:

“I didn’t like the direction in Norma. I had an impression as if we had been transferred to the mid-19th century. Though perhaps stage direction was even more dynamic and creative back then. What I am really pleased with is the work of the orchestra, which played fantastically. The musicians of our Opera’s orchestra complain about bad acoustics when you reprimand them for the quality of the play. Meanwhile, the performance by the Kyivans showed that an orchestra can sound beautiful even in piano and pianissimo, if you are a professional. You only need to play well.”

Oleksandr KOZARENKO, composer, professor, Mykola Lysenko National Music Academy, Lviv:

“I have seen both performances. The first thing I want to say is that the visit of the Kyiv Opera is a great feast. But then… the ballet by Stankovych is very important for me, as Yevhen is my teacher, a very close and special person for me. As for the production, I am very disappointed, because this was a very backward stage direction. The costumes didn’t catch the eye, either. And the choreography makes you feel like there has been no Balanchine, Dyagilev, or modern international productions. That is why, I have a question: How can such performances appear at a nation’s main opera? This lack of taste does not become the National Opera of Kyiv, which certainly must be a benchmark for all of us. As for Norma, the music was luxurious, the cohesion of tunes was beautiful, and the orchestration was subtle — but this is all Bellini’s merit. As far as the performance itself goes, it is not one that deserves the Shevchenko Prize. Just think of Kateryna Izmailova by Shostakovich produced on the Lviv stage, or The Golden Ring by Liatoshynsky staged in Lviv — these are performances worthy of state awards indeed!”