"Juno and Avos" is the most famous and still popular Russian rock opera. The premiere of the performance took place in 1981 at the Lenin Komsomol Moscow Theater, on the stage of which it is still being performed.
Composer
The author of the music for the performance is A. L. Rybnikov. He was born in Moscow on July 17, 1945. His parents were people of creative professions: his mother was an artist-designer, and his father was a violinist. Alexei Lvovich started writing music at the age of 8. His first compositions were pieces for the piano, and at the age of 11 he wrote the ballet Puss in Boots. A. L. Rybnikov graduated from the conservatory in composition, his teacher was Aram Khachaturian.
In addition to the work “Juno and Avos”, Alexey Lvovich wrote another legendary rock opera - “The Star and Death of Joaquin Murieta”. He is the author of music for the mystery "Liturgy of the Catechumens", for the musical drama "Maestro Massimo", for the modern opera "War and Peace", for such films as: "Treasure Island", "The Same Munchausen", "The Tale of the Star Boy ", "Andersen - Life without love", "The Adventures of Pinocchio", "Little Red Riding Hood", "The Brothers Karamazov", etc., as well as to the cartoons: "The Wolf and the Seven Kids in a New Way", "Black Hen", series " Moomin-Troll", etc. In addition, A. L. Rybnikov writes symphonic, chamber and choral music. And there is no doubt that awarding him the title of People's Artist in 1999 is quite fair.
Plot
The most famous work of the composer A. L. Rybnikov was and remains the rock opera Juno and Avos. A summary of the performance will be presented in this article. The plot is based on the poem of the same name, written by Andrey Voznesensky. It introduces us to a true story that happened at the beginning of the 19th century. The Russian statesman Nikolai Petrovich Rezanov traveled to California in 1806, where he met Conchita, the daughter of the commandant of San Francisco.
So, “Juno and Avos” (a brief summary of the opera will be described in detail later) is a story about how Nikolai Rezanov, as part of the expedition he led, stops in California on his way to Alaska. At the ball, he meets sixteen-year-old Conchita, who falls in love with him. After becoming engaged to her, Nikolai Rezanov is forced to continue the expedition and leave his bride in California. On the way to St. Petersburg, where he was going to apply for permission to marry Conchita, since she is a Catholic, Nikolai Petrovich falls ill and dies. Conchita waited for him for many years and did not believe that he had died, and having received confirmation of his death, she took the veil as a nun and took a vow of silence.
Prologue
The rock opera "Juno and Avos" (the summary goes "toe-to-toe" with the work itself) begins with a prologue. Nikolai Petrovich prays, invoking the Lord and the Motherland. After that, a prophet enters the stage, who predicts to Russia that the difficult year of 1812 is coming soon.
The first act of the rock opera "Juno and Avos"
The summary of the first part is as follows: after the funeral service in the church of his wife, Rezanov petitions Count Rumyantsev to support his project - the first round-the-world trip in Russian history, which he intends to lead in order to establish friendly relations with America, which promises Russia great benefits . Having received approval from Rumyantsev, N.P. Rezanov sets off on a voyage.
Second act
Rock opera "Juno and Avos" summary (second part) tells about what happens to the heroes already in America. The scene begins with the fact that Nikolai Petrovich writes a letter to A. N. Rumyantsev about the state in which his expedition arrived at the shores of California, and how they were met by the locals. Next, the action is transferred to the ballroom. Here N.P. Rezanov met Conchita, in honor of whose 16th birthday a ball was given. Nikolai Petrovich presents a gift to the commandant's daughter - a golden diadem from the collection of Empress Catherine. After the ball, Rezanov enters Conchita's bedroom and seduces her. The girl falls in love with him, and he feels only remorse. At confession, the girl tells everything to her confessor, about which he informs her father, who insists on the engagement in order to hide the dishonor of his daughter. Rezanov and Conchita get engaged, after which he sails away, but he is not destined to return to her. For thirty years, Conchita had been waiting for the return of N.P. Rezanov, not believing the rumors about his death.
History of creation
However, after some time, thanks to Pierre Cardin, the Lenkom Theater went on tour in Paris and on Broadway in New York, then in Germany, the Netherlands and other countries.
December 31, 1985 on the stage of the Palace of Culture. Kapranova in St. Petersburg, the premiere of a rock opera performed by VIA "Singing Guitars" (which later became the St. Petersburg Rock Opera Theater) took place. This stage version differed from the Lenkom production. In particular, director Vladimir Podgorodinsky introduced a new character into the performance - the Zvonar, in fact, the “reified” soul of Nikolai Rezanov. The bell-ringer is practically devoid of words, and only with the most complex plasticity and emotional mood conveys the throwing of the soul of the protagonist. According to his memoirs, Alexei Rybnikov, who was present at the premiere, admitted that "Singing Guitars" more accurately embodied the idea of the creators of the opera, retaining the author's genre of mystery opera and Voznesensky's original dramaturgy. In the summer of 2010, the two thousandth performance of "Juno and Avos" performed by the Rock Opera Theater took place in St. Petersburg.
The opera has also been staged in Poland, Hungary, the Czech Republic, Germany, South Korea, Ukraine and other countries.
In the summer of 2009 in France, the State Theater under the direction of the People's Artist of Russia, composer Alexei Rybnikov, presented a new production of the rock opera Juno and Avos. The main emphasis in it is placed on the musical component of the performance. Vocal numbers were staged by the Honored Artist of the Russian Federation Zhanna Rozhdestvenskaya, choreographic numbers - Zhanna Shmakova. The main director of the performance is Alexander Rykhlov. A. Rybnikov's website notes:
The full author's version... is a serious innovation in the genre of world musical theater and is designed to return the original idea of the authors. The new version of the opera combined the traditions of Russian spiritual music, folklore, genres of mass "urban" music, with the figurative, ideological and aesthetic priorities of the composer.
The original source of the plot
According to the memoirs of Andrei Voznesensky, he began writing the poem "Maybe" in Vancouver, when he "swallowed ... the flattering pages about Rezanov of the thick volume of J. Lensen, following the fate of our brave compatriot." In addition, Rezanov's travel diary was preserved and partially published, which was also used by Voznesensky.
And after another two centuries, there was a symbolic act of reunion of lovers. In the fall of 2000, the sheriff of the Californian city of Benisha, where Conchita Arguello was buried, brought to Krasnoyarsk a handful of earth from her grave and a rose to lay on a white cross, on one side of which the words I will never forget you, and on the other I will never see you.
Naturally, both the poem and the opera are not documentary chronicles. As Voznesensky himself puts it:
The author is not so consumed by self-conceit and frivolity as to depict real persons on the basis of meager information about them and offend them with approximations. Their images, like their names, are only a capricious echo of the fates of the famous...
A similar story happened to the future Decembrist D.I. Zavalishin during his participation in a round-the-world expedition under the command of M. Lazarev (1822-24) (See Questions of History, 1998, No. 8)
Plot
- Rezanov - G. Trofimov
- Conchita - A. Rybnikova
- Federico - P. Tiels
- Rumyantsev, Khvostov, Father Yuvenaly - F. Ivanov
- Voice of the Mother of God - Zh. Rozhdestvenskaya
- Soloist in the prologue - R. Filippov
- Davydov - K. Kuzhaliev
- Jose Dario Arguello - A. Samoilov
- Praying woman - R. Dmitrenko
- Praying girl - O. Rozhdestvenskaya
- Sailor - V. Rotar
- A group of worshipers - A. Sado, O. Rozhdestvenskaya, A. Paranin
8 chord selections
Biography
Moscow, 10 July. Combining Western rock, passionate dancing, Russian church chants, a Russian-American love story, the musical gives the impression that it was made to order, so that the guardians of Soviet culture would respond to it: “No!”The play “Perhaps” is just that, but its premiere nevertheless took place last week at the Theater. Lenin Komsomol. Being in work for four years, an exquisite bizarre synthesis of themes and forms grown in the native soil and brought from outside, it is designated as the first for the Soviet stage, where rock operas in general are a rather new and rare phenomenon.
A combination of religion, half-disguised allusions to politics and frank recognition of Western rock. It is not surprising that this production had a long and thorny path. The album, recorded a year ago by the Soviet company Melodiya, had not yet been released, the director of the museum, where the recording of the opera was performed, was on the verge of being fired, and the scheduled premiere date was postponed from April.
Serge Schlemann, New York Times, July 11, 1981
“The noise that made its way through the walls and ceilings of the theater. Lenin Komsomol was loud enough to wake up the founder of the Soviet state in his Kremlin mausoleum. After almost three weeks of bickering with the Soviet official authorities, hard rock triumphantly captured the Lenkom stage. This happened on the occasion of the premiere of the country's first rock opera "Juno and Avos" by Alexei Rybnikov, a popular composer known for his film scores. In addition to guitars, violins, cellos, drums and a 16-piece choir, Rybnikov needed electronic instruments, including a multi-tone synthesizer and a Roland paraphonic, rarely used until now in the USSR. The opera was a bold blend of hard rock rhythms, sparkling folk melodies and traditional Russian Orthodox chants.
Already the first act clearly showed that this performance will be the greatest turning point in the theatrical life of Moscow in recent years, an exciting discovery that will enter the current repertoire of the Theater. Lenin Komsomol. The 810-seat theater was filled to capacity that evening. The privileged audience, which received free invitation cards, enthusiastically greeted Rybnikov and Voznesensky with a standing ovation, paying tribute to them.
Time Magazine, July 20, 1981
THE FIRST AND LAST RUSSIAN ROCK OPERA
“All tickets have been sold. Long queues crowd around the cash desks, and it is impossible to get a double album recorded by the Melodiya company in stores. "Juno and Avos", written by the amazing avant-garde Soviet composer Alexei Rybnikov, based on the poem of the famous Russian poet Andrei Voznesensky and staged by the chief director of the theater. Leninist Komsomol Mark Zakharov, absorbed the most subtle "vibrating" talents that are now in Russia.
Sunday Times Magazine, November 27, 1983
“This story came to life on the Moscow stage to the sounds of the brilliant music of the popular composer Alexei Rybnikov, with choreography by Vladimir Vasilyev from the Bolshoi Theater, directed by Mark Zakharov and, of course, based on the libretto by Voznesensky.”
International Herald Tribune, March 11, 1983
"The music of Alexei Rybnikov is eclectic and exciting, it is a huge palette that includes all the diversity from heavy metal rock melodies to the mesmerizing melodies of captivating romances, and often Russian Orthodox music."
Newsweek, November 28, 1983
"This is not just some eclectic composition, this is a new musical style that has nothing to do with traditional rock."
Quotidien de Paris, November 17, 1983
“In the ecstasy flowing through the synthesizers, one hears greetings from a far, far away from “Boris Godunov”. The choir borrowed the experience of the Volga barge haulers. And when they think they're getting too bogged down in the inaccuracies of disco, a church bell wedges in between.
...Super-Hallelujah turns into real frenzied applause already without amplifiers.
Die Welt, July 7, 1988
“The Russians this time again had a stunning effect on our sight and hearing: no one could have imagined that a theater from a socialist state could show such optical splendor, such dance and vocal power, such peals of rock and such a perfect musical form.”
Composer Alexey Rybnikov created a spectacular musical mix of folklore, church choir and rock songs.
The tour became a triumphant success.”
Frankfurter Rundschau, July 9-10, 1988
“This performance is amazing, because no one expects that such amazing sound material can be brought from Moscow, the creation of which we owe to the composer Alexei Rybnikov ... with an amazing constellation of mystical voices, of which the voice of the Kazan Mother of God is the most amazing ...
But the most amazing thing is to see the Parisians go out with the melodies of "rock opera" on their lips, unknown to them even the day before. With melodies that won't leave us anymore."
France-Soir, November 23, 1983
"Ultra-conservative zealots of the standard operatic repertoire may be irritated and offended, but anyone with a penchant for adventurous audio adventures will be intrigued by the sound of this recording, which contains many great moments."
Opera Australia May 1986
You go home with music in your head, says Pierre Cardin. - It's not a musical comedy, it's an opera. But not a boring opera. The music is so strong that it doesn't matter if you speak Russian."
The Scence/New York, January 8, 1990
FIRST PERFORMANCE
“In Moscow, in a baroque Russian church, which is today part of the icon museum, a motley crowd of visitors gathered to attend a peculiar performance.
To the right and left of the altar there are huge loudspeakers of stereo equipment, in the center there is a table with a tape recorder, at which the composer Alexei Rybnikov presents his new work, which is called Avos. Rybnikov, a man of 30, said at the beginning a few words about his composition and text, and then a hundred people gathered here listened to music for an hour and a half in an unheated winter room without taking off their warm coats. The atmosphere was reminiscent of cultural programs in post-war Germany.
Why was the church chosen as the venue for the performance, why did this small amateur community gather here? .. Rybnikov created such a characteristic work in the rock opera genre that is atypical for Moscow, and perhaps for the entire Soviet Union. What happened that evening set in motion a gray area of Soviet cultural life.
Alexei Rybnikov is a famous composer. He says that since the age of ten he tried his hand at composition. Today, the list of his works is great, here is the music for television performances and films "Pinocchio", "Little Red Riding Hood", "Baron Munchausen", "Treasure Island" - only about forty. In 1976, he meets on his creative path the director of the Moscow Theater. Lenin Komsomol Mark Zakharov. Thanks to this meeting, an almost unknown genre of music and drama was born in our country until now. Rybnikov writes music for the works of Pablo Neruda "The Star and Death of Joaquin Murieta" and after that the rock opera "Juno and Avos".
The liberalization in musical life, observed for several years and aimed at eliminating the discontent of young people, the gradual admission of jazz, pop music, tours and receptions by Western groups, which were very successful all this allowed Rybnikov to take the first steps towards the music of rock opera with undoubted attraction to authentic Russian musical traditions. An interesting and consistent example of such a new opera is Juno and Avos.
Rybnikov used the libretto by A. Voznesensky, telling about a story that took place in the 19th century ... Count Rezanov undertook an expedition on the ships "Juno" and "Avos" from Russia to California, where he fell in love with the daughter of the governor of San Francisco, a sixteen-year-old girl. He left ... she waited for him for many years and, finally, went to the monastery. Count Rezanov died near Krasnoyarsk...
At first glance, a sentimental love story, nevertheless, through the text of the lyrics of Andrei Voznesensky, through the music of Alexei Rybnikov, undoubtedly reached a high level.
The current objections to censorship, which is still delaying the release of the record, are probably due to idealistic visions of Russian-American relations. Critical statements about tsarist Russia are also relevant today. This is how Rybnikov's opera can be understood.
Clear adherence to Russian traditions, primarily in the field of church music, found in the text of prayers, sacred music, sometimes very loud, sometimes very quiet, here, in the museum room or, more precisely, in the church was in its place. As a modern visual medium, she pushed the boundaries of musical and bureaucratic limitations. Music says more than a description of Rybnikov's talent as a composer, his fantasy in using modern achievements, his expression. It is a pity that this work will not become public property ... "
Klaus Kunze, Westdeutsche Rundfunk, February 1981
HISTORY REFERENCE
Rezanov Nikolai Petrovich (1764 1807) - an outstanding Russian traveler and statesman, one of the founders of the Russian-American Trading Company. He came from a poor family of noblemen of the Smolensk province. Served as a Lieutenant of the Life Guards of the Izmailovsky Regiment, later served as chief secretary of the civil department and manager of the main board of the Russian-American Company. In 1806 he took a trip to California, where he promoted the establishment of trade relations between the Russian-American Company and the Spanish colonists. On the way back to Russia, he died in Krasnoyarsk. "Juno" and "Avos" - that was the name of the ships on which Rezanov made his voyage.
LIBRETTO
The plot of the opera is based on the fate of the Russian count, chamberlain Nikolai Petrovich Rezanov, who set off in 1806 on the sailboats "Juno" and "Avos" to the coast of California.
Spiritual suffocation, the unbearability of existence in Russia make Rezanov look for new lands to fulfill the eternal dream of a free country for the Russian people. He, however, understands the utopian nature of his plans, understands that the difficulties on his way are insurmountable. But even the smallest chance of luck, faith in "maybe!" forces Rezanov to file one petition after another with a request to allow him to travel to California.
The refusals broke his will. In boundless anguish and despair, Rezanov prays to the Mother of God. In prayer, he confesses his most intimate and most frightening feeling - love for the Mother of God as a woman. This painful obsession completely embraces him. At the height of his ecstatic state, Rezanov hears an unearthly voice blessing him. Following this, like an echo of divine radiance, his dream comes true he receives permission to travel, moreover, an important state mission is entrusted to him from the highest.
After the most difficult journey across the Pacific Ocean, Rezanov comes into contact with the Spanish Franciscan monks, with the governor of San Francisco, Jose Dario Arguello. Being invited to a reception with the governor, Rezanov meets his daughter, sixteen-year-old Concepsia de Arguello. At the ball, Conchita's fiancé Federico sings a sonnet about the sad fate of two lovers, and Rezanov sees in Conchita the earthly embodiment of the supernatural passion that torments him.
At night in the garden, Rezanov hears Conchita and Federico talking about their upcoming engagement, but he himself can no longer cope with the feeling that has gripped him. Penetrating into Conchita's bedroom, he first begs her for love, and then, despite all Conchita's despair, takes possession of her... And again a sad, quiet unearthly voice is heard. At this moment, love is born in Conchita's soul, only repentance and bitterness remain in Rezanov's soul.
Happy fortune from this moment turns away from Rezanov. The business of the Russian-American Company is going badly. The scandal caused by his act forces the Russians to urgently leave San Francisco.
In his letter to Rumyantsev, Rezanov writes that his dreams of enlightening human souls in the new Russian colonies have been shattered, and he dreams of one thing: to return the ships and sailors to Russia.
Having made a secret engagement with Conchita, Rezanov embarks on a sad return journey. In Siberia, he falls ill with a fever and dies. And Conchita remains true to her love for the rest of her life. After waiting thirty years for Rezanov, she takes the veil as a nun and ends her days in the cell of the Dominican monastery in San Francisco.
The bright hymn "Hallelujah of Love" sounds the finale of the opera.
On the verses of the poet Andrei Voznesensky. The premiere took place on July 9 on the stage of the Moscow Lenin Komsomol Theater (director Mark Zakharov, choreography by Vladimir Vasilyev, artist Oleg Sheintsis), whose repertoire still includes the play.
The name of the performance uses the names of two sailboats, "Juno" and "Avos", on which Nikolai Rezanov's expedition sailed.
History of creation
However, after some time, thanks to Pierre Cardin, the theater went on tour in Paris and on Broadway in New York, then in Germany, the Netherlands and other countries. Subsequently, the opera was staged in Poland, Hungary, the Czech Republic, Germany, and South Korea.
The original source of the plot
According to the memoirs of Andrei Voznesensky, he began writing the poem "Maybe" in Vancouver, when he "swallowed ... the flattering pages about Rezanov of the thick volume of J. Lensen, following the fate of our brave compatriot." In addition, Rezanov's travel diary was preserved and partially published, which was also used by Voznesensky.
And after another two centuries, there was a symbolic act of reunion of lovers. In the fall of 2000, the sheriff of the Californian city of Benisha, where Conchita Arguello was buried, brought to Krasnoyarsk a handful of earth from her grave and a rose to lay on a white cross, on one side of which the words I will never forget you, and on the other I will never see you.
Naturally, both the poem and the opera are not documentary chronicles. As Voznesensky himself puts it:
The author is not so consumed by self-conceit and frivolity as to depict real persons on the basis of meager information about them and offend them with approximations. Their images, like their names, are only a capricious echo of the known destinies. Yes, and the tragedy of the gospel woman, trampled down by the highest dogma, is unprovable, although undoubted. For the idea that corrects living life and feeling is not right.
Plot
Anniversary performances
| Performance | the date | Rezanov | conchitta | Fernando |
|---|---|---|---|---|
| 1st | 20.10.1981 | Nikolai Karachentsov | Elena Shanina | Alexander Abdulov |
| 700th | 25.02.1999 | Nikolai Karachentsov | Inna Pivars | Viktor Rakov |
| 800th | 03.02.2002 | Nikolai Karachentsov | Anna Bolshova | Viktor Rakov |
| 1000th | 10.09.2008 | Dmitry Pevtsov | Alla Yuganova | Stanislav Ryadinsky |
Performance in numismatics
Notes
see also
Links
- "Rezanov and Conchita - a love story in the memory of generations" O. Nikolaev
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"Juno and Avos" is the most famous and still popular Russian rock opera. The premiere of the performance took place in 1981 at the Lenin Komsomol Moscow Theater, on the stage of which it is still being performed.
Composer
The author of the music for the performance is A. L. Rybnikov. He was born in Moscow on July 17, 1945. His parents were people of creative professions: his mother was an artist-designer, and his father was a violinist. Alexei Lvovich started writing music at the age of 8. His first compositions were pieces for the piano, and at the age of 11 he wrote the ballet Puss in Boots. A. L. Rybnikov graduated from the conservatory in composition, his teacher was Aram Khachaturian.
In addition to the work “Juno and Avos”, Alexey Lvovich wrote another legendary rock opera - “The Star and Death of Joaquin Murieta”. He is the author of music for the mystery "Liturgy of the Catechumens", for the musical drama "Maestro Massimo", for the modern opera "War and Peace", for such films as: "Treasure Island", "The Same Munchausen", "The Tale of the Star Boy ", "Andersen - Life without love", "The Adventures of Pinocchio", "Little Red Riding Hood", "The Brothers Karamazov", etc., as well as to the cartoons: "The Wolf and the Seven Kids in a New Way", "Black Hen", series " Moomin-Troll", etc. In addition, A. L. Rybnikov writes symphonic, chamber and choral music. And there is no doubt that awarding him the title of People's Artist in 1999 is quite fair.
Plot
The most famous work of the composer A. L. Rybnikov was and remains the rock opera Juno and Avos. A summary of the performance will be presented in this article. The plot is based on the poem of the same name, written by Andrey Voznesensky. It introduces us to a true story that happened at the beginning of the 19th century. The Russian statesman Nikolai Petrovich Rezanov traveled to California in 1806, where he met Conchita, the daughter of the commandant of San Francisco.
So, “Juno and Avos” (a brief summary of the opera will be described in detail later) is a story about how Nikolai Rezanov, as part of the expedition he led, stops in California on his way to Alaska. At the ball, he meets sixteen-year-old Conchita, who falls in love with him. After becoming engaged to her, Nikolai Rezanov is forced to continue the expedition and leave his bride in California. On the way to St. Petersburg, where he was going to apply for permission to marry Conchita, since she is a Catholic, Nikolai Petrovich falls ill and dies. Conchita waited for him for many years and did not believe that he had died, and having received confirmation of his death, she took the veil as a nun and took a vow of silence.
Prologue
The rock opera "Juno and Avos" (the summary goes "toe-to-toe" with the work itself) begins with a prologue. Nikolai Petrovich prays, invoking the Lord and the Motherland. After that, a prophet enters the stage, who predicts to Russia that the difficult year of 1812 is coming soon.
The first act of the rock opera "Juno and Avos"
The summary of the first part is as follows: after the funeral service in the church of his wife, Rezanov petitions Count Rumyantsev to support his project - the first round-the-world trip in Russian history, which he intends to lead in order to establish friendly relations with America, which promises Russia great benefits . Having received approval from Rumyantsev, N.P. Rezanov sets off on a voyage.
Second act
Rock opera "Juno and Avos" summary (second part) tells about what happens to the heroes already in America. The scene begins with the fact that Nikolai Petrovich writes a letter to A. N. Rumyantsev about the state in which his expedition arrived at the shores of California, and how they were met by the locals. Next, the action is transferred to the ballroom. Here N.P. Rezanov met Conchita, in honor of whose 16th birthday a ball was given. Nikolai Petrovich presents a gift to the commandant's daughter - a golden diadem from the collection of Empress Catherine. After the ball, Rezanov enters Conchita's bedroom and seduces her. The girl falls in love with him, and he feels only remorse. At confession, the girl tells everything to her confessor, about which he informs her father, who insists on the engagement in order to hide the dishonor of his daughter. Rezanov and Conchita get engaged, after which he sails away, but he is not destined to return to her. For thirty years, Conchita had been waiting for the return of N.P. Rezanov, not believing the rumors about his death.
