We’ve updated our Terms of Use to reflect our new entity name and address. You can review the changes here.
We’ve updated our Terms of Use. You can review the changes here.
/
1.
№ 1 06:29
2.
№ 2 00:36
3.
№ 3 00:42
4.
№ 4 00:38
5.
№ 5 01:42
6.
№ 6 01:27
7.
№ 7 01:08
8.
№ 8 00:25
9.
№ 9 01:18
10.
№ 10 01:22
11.
№ 11 00:29
12.
№ 12 01:03
13.
№ 13 01:26
14.
№ 14 01:29
15.
№ 15 01:15
16.
№ 16 01:13
17.
№ 17 01:33
18.
№ 18 00:47
19.
№ 19 00:38
20.
№ 20 00:53
21.
№ 21 01:24
22.
№ 22 00:58
23.
№ 23 00:53
24.
№ 24 00:39
25.
№ 25 00:48
26.
№ 26 00:37
27.
№ 27 00:40
28.
№ 28 00:36
29.
№ 29 02:29
30.
№ 30 01:28
31.
№ 31 01:24
32.
№ 32 02:36
33.
№ 33 00:26
34.
№ 34 00:15
35.
№ 35 00:36
36.
№ 36 00:17
37.
№ 37 00:18
38.
№ 38 00:57
39.
№ 39 00:34
40.
№ 40 01:05
41.
№ 41 00:55
42.
№ 42 00:23
43.
№ 43 00:17
44.
№ 44 00:54
45.
№ 45 00:23
46.
№ 46 00:56
47.
№ 47 01:47
48.
№ 48 01:19
49.
№ 49 01:16
50.
№ 50 01:20
51.
№ 51 01:28
52.
№ 52 04:52

about

I’d been meaning to create a chamber opera for Bolshoy Drama Theatre, we discussed it a lot with Andrey Moguchy. The actors and the instrumentalists at the BDT are amazing, they have huge experience in contemporary music. So I was able to work without any compromises and excuses. Actually, opera IS “the normal theatre”, and the appearance of operatic works in contemporary drama theatre is a natural phenomenon; it became possible at the BDT because it has the right kind of energy. I hope our work is characteristic of the general trend at the theatre.

I’d had a vague idea of what I wanted to do – even though I’m not particularly fond of the question “what is it about?” – I actually did understand what it was going to be about. And I really wanted the libretto to be written by Lev Semyonovich Rubinstein. Andrey called him, we met to talk and I mumbled, whined, groaned and danced trying to explain what I wanted. And eventually I somehow did explain that to him even though I’m not going to explain it to you. And he said he already had a text like that. You know, kind of like in that Kharms’ story : There already is such a fairy tale, said Lenochka. And I said that was impossible because I had read all Rubinstein’s texts – as I thought. But it turned out I had missed that one text (Further and Further) somehow. I opened it and immediately understood that was precisely the text that I needed.

Alexander Manotskov

credits

released December 13, 2019

Alexander Manotskov
52
based on “Further and Further” by Leo Rubenstein

Victoria Artyukhova: vocals
Anna Vishnyakova: vocals
Elena Belkina: flute
Alexander Zakharenko: clarinet
Vladimir Rozanov: accordion
Elena Raskova: violin
__

Composed by: Alexander Manotskov
Translated by:

Vsevolod Zelchenko (Latin)
Alexander Manotskov (English and Dutch)
Aare Pilv (Estonian)
Hélène Henry-Safier, Le Tripode Publishing House (French)
Günter Hirt, Sascha Wonders, Helmut Lang Publishing House (German)

Recorded by: Alexey Titov, Tovstonogov Big Drama Theatre, Saint Petersburg
Mixed, mastered by: Ruslan Zaipold
Photography by: Evgeniya Marchenko

license

all rights reserved

tags

about

FANCYMUSIC Moscow, Russia

FANCYMUSIC is a record label focused on contemporary new music recordings. FANCYMUSIC is a broad platform for a wide variety of contemporary new music composed by different russian musicians. FANCYMUSIC is also a platform on which newer names may be encountered. ... more

contact / help

Contact FANCYMUSIC

Streaming and
Download help

Shipping and returns

Redeem code

Report this album or account

If you like 52, you may also like: