On the opera “The Queen of Spades” by P. I. Tchaikovsky and the novel of the same name by A. S. Pushkin
Scriptwriter and production director - Nikolay Duksin
music director - Lev Dunaev
choreographer - Natalia Kuricheva
Production Designer - Tatiana Malkova
Herman - Aslan Namitok, Anatoly Lomunov
Liza - the winner of the international competition Irina Mkrticheva, the winner of international competitions Anna Voronina
Polina - laureate of international competitions Tamara Marchenko, laureate of international competition Natalia Krivenok
Tomsky - Honored Artist of Russia Anatoly Dichkovsky, laureate of international competitions Vladimir Vyurov
Yeletsky - laureate of international competitions Denis Kolesnikov, Vasily Govorov
Countess - laureate of international competitions Tamara Marchenko
Citizen - Nikolay Duksin, Honored Artist of Russia Gennady Spiridenkov
piano part - laureate of international competition Natalya Varlamova, Alina Svetlova
The creators have defined the genre of this production as a musical play-sketch. This is manifested in the design, costumes, musical adaptation of musical material and in the images of the characters, created by leading vocalists and actors of the Petersburg-Concert. The basis was the opera “The Queen of Spades” by P. I. Tchaikovsky and the work of the same name by A.S. Pushkin. The performance is musical, and the producers tried to take the opera score as carefully as possible, retaining the most popular and beloved arias, duets and choral fragments.
In the production in addition to the famous opera characters, there is another hero. This is a city dweller. Then he appears as a narrator, leading listeners on the tragic events he witnessed, then himself a participant in dramatic scenes: in the room at the Countess and Lisa is the butler, in the barracks at Hermann the batman, and in the gambling house he is Chekalinsky.
The creators of the play did not try to preserve the “historical truth” in design, costumes and details. All filed sketch. However, in the acting performance sought sincerity of feelings and severity of experiences. The performance turned out to be dynamic, attracting listeners from the first minutes. The combination of operatic music, prose and poetic texts make the play “democratic”, designed not only for lovers of operatic art, but also for the widest audience.
The performance premiered in December 2009.