ORPHEUS
OPUS-POSTH String Group and Theatre “Ten” , Moscow
Director Maya Krasnopolskaya, Ilya Eppelbaum
The opera Orpheus begins when Maya Krasnopolskaya announces in an apologetic, but imperious tone that the stage is really small, the space is very cramped, that they’ve found little space for the musicians, but that there is no way you can fit a choir of the Olympic gods in as well. Since the show cannot go on without them, she continues, you, the audience, will be the gods.’
Evstignei Fomin is a unjustly forgotten composer of the 18th century, who combined European Rococo music with Russian melodies, trying to transplant opera culture onto Russian soil.
The directors dress the musicians in the costumes of funny little angels, and turn them into plying and talking cliffs; in the epilogue they transform them into a ballet of monsters and amphibians. A graceful shadow theatre sometimes appears behind the curtain. This is a baroque travesty.
There are a lot of things mixed in Orpheus: there is mock dance and recital, shadow theatre, spectacular video art… sometimes a little scary, sometimes sarcastic.
Alexander Sokolyansky, Vremya Novostei
Evstignei Fomin is a unjustly forgotten composer of the 18th century, who combined European Rococo music with Russian melodies, trying to transplant opera culture onto Russian soil.
Olga Romantsova, Novye Izvestiya
The directors dress the musicians in the costumes of funny little angels, and turn them into plying and talking cliffs; in the epilogue they transform them into a ballet of monsters and amphibians. A graceful shadow theatre sometimes appears behind the curtain. This is a baroque travesty.
Petr Pospelov, Vedomosti
There are a lot of things mixed in Orpheus: there is mock dance and recital, shadow theatre, spectacular video art… sometimes a little scary, sometimes sarcastic.
Dina Goder, Russkii Zhurnal
