не могу открыть, меня стазу на подписку перенаправляет. Попробую еще.
Раз так, то мы скрадем:
Imagine an experimental production of
Hamlet. The “To be or not to be” monologue becomes a discussion for two. The ghost is Hamlet’s invention. Ophelia does not love Hamlet (or vice versa). This was the wacky and provocative
Hamlet in Moscow in 1932 for which a young Shostakovich supplied some appropriately boisterous incidental music.
There will be a lot of music in the
Shakespeare400 celebrations this year. The choice is almost too great (more than 500 Shakespearean operas, not to mention tone poems, ballets and more). The musical calendar is looking competitive and it is the London Philharmonic Orchestra’s festival that is first out of the blocks.
Its free early-evening concert on Wednesday offered the suite that Shostakovich drew from his 1932
Hamlet. This was part of Foyle Future Firsts, in which student musicians are tutored by LPO players. A pit-sized band of just under 30, half of them students, created the sort of sound Shostakovich would have expected in the theatre. Several of the short movements were recycled from his scores for silent films. Not surprisingly, the music bowls along in an unruly, Keystone Cops style, delivered with high-energy precision by the young ensemble and conductor Vladimir Jurowski. Ophelia’s song, a saucy cabaret number, was notable for Bronte Hudnott’s ravishing solo flute.
The main evening programme was another of Jurowski’s adventures into little-known territory. Schnittke’s
Pianissimo piled a truly vast orchestra (pianos, harpsichord, electric guitar, bells, gongs) on stage for nine minutes of music — bizarre, cryptic. The fulcrum of the programme was Shostakovich’s Cello Concerto No. 2 with Natalia Gutman, an associate of Schnittke and Shostakovich, the eminent soloist. Or at least it would have been if Gutman had not clearly been in physical discomfort, sometimes sounding wondrously elegiac, sometimes out of tune.
After that, Bruckner’s Symphony No. 3, in its extra-long original version, gave us one of Jurowski’s more ambitious expeditions into the unknown. Even when it is as cogently played and ordered as this, it is hard to see where this symphony is going. Forever racked by doubt, Bruckner gives the impression of a composer lost on a grand symphonic safari without a map. Only Jurowski and the LPO on their current form could make it worth the journey.