Tchaikovsky’s famous opera appeared at the National Opera the Sunday before last
A true revelation was aroused by the Hermann performed by the People’s Artiste of Ukraine Oleksandr Vostriakov. At the premiere the singer was in a perfect vocal shape, but it was his dramatic treatment of his character that came as a real shock for the audience. No rebates for the conventions, no going through the motions, the “three, seven, ace” were wholly remunerated with heart’s blood; it was chilling when his nervous, insane laughter sounded, alternating with the moments of painful doubt and storms of passion that seized him. Irreproachable skills were demonstrated by Oleksandr Vostriakov also in the renowned arioso “Forgive Me, Heavenly Creature.” In his performance the low notes assumed the coloring of baritone, which can be approached not by any tenor, even dramatic ones. Surprising was the scenic treatment of the Countess character (People’s Artiste of Ukraine Valentyna Kochur): what we saw was not an irritated and grumbling grandam as she is usually treated on the opera stage. Here Tchaikovsky’s Countess was a virtuous matron. In addition, the opera’s Countess has to compete with here own portrait as a young and tempting Venus de Moscu. This same subtle nuance of comparison was felt by Valentyna Kochur. In the famous song of the womanly and soft Countess Ms. Kochur obtained a special embracing timbre coloring. It seems that in the rainbow of her reminiscences the images of her past bending in a graceful minuet stood before us.
A complete disappointment was Lisa performed by Lidiya Zabiliasta, who turned the whole party into a number of endless trills in which intense forcing was felt. Perhaps Lisa’s part was beyond this singer’s voice range.
The role of Polina was performed by Anzhelina Shvachka. This young singer portrays Polina for a relatively short time and has much time for polishing it up. One notes that Anzhelina combined Polina’s part and Milovzorov’s in the pastorale. Not all singers do so, but that was Tchaikovsky’s intention.
People’s Artiste of Ukraine and Russia, chief conductor Volodymyr Kozhukhar conducted the performance. He executed his mission brilliantly. It is also worth mentioning that Tchaikovsky’s symphonic work is close to maestro in general. Let us not forget that it was Kozhukhar who revived The Voyevoda score.
The Queen of Spades, with all its pluses and minuses, is already onstage. In the near future the National Opera will present its devotees yet another surprise, reviving The Fair at Sorochintsy by Modest Mussorgsky.
