Is the Opera in Decline?

This question was extensively discussed at a seminar sponsored by the UNESCO International Institute of Theatre and attended by prominent composers, choreographers, stage directors, conductors and opera theatre managers from many countries.

Many of them spoke about the crisis which the opera in the West was experiencing. Audiences have lost interest, and theatres are unwilling to produce new operas. To see his opera staged is but a dream for a great many modern composers.

Boris Pokrovsky, chief stage director of the Bolshoi Theatre in Moscow, maintains that mankind has so far utilized only a fraction of the great possibilities offered by operatic art. “I am firmly convinced,” he said, “of its great future.”

Pokrovsky and his numerous pupils prove this on the stage of the Moscow Chamber Musical Theatre, which has become a sort of experimental laboratory of opera. The nucleus of the theatre company is formed by young graduates of the State Institute of Theatrical Art in Moscow. Pokrovsky himself has become the artistic director of the new theatre (parallel with his main post at the Bolshoi).

The young company has set itself the task of developing the genre of “smaller opera”, practically unknown in Russia, using new stagecraft devices capable of enriching “big opera”, as well.

Everything is unusual in this theatre: a small hall seating only 220, no orchestra pit, no customary division of the company into soloists and chorus. Those taking leading roles today, can be found in mass scenes tomorrow. Quite often, the orchestra is involved in the action. The theatre is based on the “singing actor” principle: in other words, an opera singer should also be a good actor.

The Chamber Musical Theatre has revived many works long since forgotten. It has staged unfamiliar operas by Mozart, Haydn, Schubert and Rossini. Several 18th century Russian operas were revived, too. But the outstanding event in the short history of the theatre was its contact with the famous composer of our time, Dmitri Shostakovich, who took an active part in the production of his opera “The Nose”, which he had written in his youth after the novel of the same title by Gogol. The production was extremely original in design and execution, “prickly sarcastic”, with unexpected turns and ingenious devices. For example, each performer played several roles, which was also part of Gogol’s conventionality. “The Nose” was a great success at the International “Warsaw Spring” Festival in 1976. Recently the Charles Cros Academy in France awarded its Grand Prix to the recording of this opera by the Moscow company.

All of this shows that the opera in Russia is far from being in decline but looks for new original forms and ingenious devices.

Exercise 24. Speak on these topics.

1 Moscow theatres. 2. The British (American) drama of today. 3. The theatre I like best. 4. The future of the opera. 5. My favourite actor (actress).

Lesson twelve

Conversations: A. Booking Seats for the Theatre.

B. Talk about Theatre.

C. The British Theatre is Dying.

Learn these speech patterns

1. How do you account for the success of this play?

Как вы объясните успех этой пьесы?

Exercise 1. Make up sentences using the table and translate them.

	do you		the success of his first novel?
How	does he	account for	Mary’s absence?
	did he		your being 1ate?

2. As far as I know it was a great success.

Насколько я знаю, он (спектакль) имел большой успех.

Exercise 2. Make up sentences using the table and translate them.

As far as	I know he remembers	the performance was a great success. she was a talented actress.
	I can remember	everyone liked his painting. we all agreed to join them.

Learn these words and word combinations

booking clerk [klɑ:k] кассир (театральной, ж.д. билетной или багажной кассы)

stall п театр. место в партере; Have you got any stalls?

circle [ʹsə:k1] п ярус

row [rou] n ряд; The seats are in the middle of the third row.

theatrical [θɪʹætrɪkl] season театральный сезон. I wonder when the Art Theatre is opening its theatrical season.

exist [ɪɡʹzɪst] v быть, существовать

time n 1. время (мера длительности); for quite a time некоторое (сравнительно длительное) время; 2. времена, эпоха; our time(s) наше время, наши дни; Everything was different in my time.

theatre-goer n театрал

set up v основывать, учреждать; When was your firm set up?

purpose [ʹpə:pəs] n цель, намерение; What is the purpose of his visit? for the purpose of doing smth. с целью сделать что-л.; For what purpose do you want to go to Sankt Petersburt? It should be done for the purpose of encouraging young people.

genre [ʒɑ:nr] n жанр, манера, стиль.

classical [ʹklæsɪkl] а классический

repertoire [ʹrepətwɑ:] n репертуар; I wouldn’t say this theatre has a large repertoire.

include [ɪnʹklu:d] v содержать, иметь в своем составе

composer [kəmʹpouzə] п композитор

tremendous [trɪʹmendəs] а громадный, огромный, потрясающий; The new production was a tremendous success.

recording [rɪʹkɔ:dɪŋ] n звукозапись; I have a very good recording of this opera.

impossible [ɪmʹpɔsəbl] а невозможный, невыполнимый, неосуществимый; next to impossible почти невозможно, маловероятно, едва ли (возможно) seat v вмещать, помещать; The new theatre will seat 700 people. Новый театр рассчитан на 700 мест.

sell out v ( обыкн. passive) распродать; I phoned the box-office and the booking clerk said, “All sold out.” «Все билеты проданы».

tale n рассказ, история

survive [səʹvaɪv] v оставаться в живых, выжить, уцелеть

survival [səʹvaɪvl] п выживание

seem v казаться, представляться; to seem old (young, new, etc.); He seemed very old to me. Мне он показался очень старым.

production-theme [θi:m] play пьеса на производственную тему

interpretation [ɪn͵tə:prɪʹteɪʃn] п интерпретация, толкование; I don’t agree with the producer’s interpretation of the play. at work на работе

seek (sought [sɔ:t]) an answer to smth. искать ответа на что-л.

take up v рассмотреть (вопрос и т. п.); проявить интерес к чему- л.; There is another matter which I feel you ought to take up.

contemporary [kənʹtempərərɪ] а современный

activity [ækʹtɪvɪtɪ] n (обыкн. pl.) деятельность, действия (ð определенной области); classroom activities классные занятия; literary activities литературная деятельность

sphere [sfɪə] n сфера

drama [ʹdrɑ:mə] 1. драма (пьеса); 2. драматургия

playwright [ʹpleɪraɪt] n драматург; T. Williams is one of the most prominent American playwrights.

youngster [ʹjʌŋstə] n мальчик, юноша

nonsense [ʹnɔns(ə)ns] n вздор, ерунда, чепуха; бессмыслица, абсурд, пустяки

in tact действительно, на самом деле, фактически

admit [ədʹmɪt] v признавать, допускать; I admit it is true. night (зд. в знач. first night) премьера, первое представление

imagine [ɪʹmæʤn] v воображать, представлять себе

prompt [prɔmpt] n подсказка, реплика

rest n (the) остаток, остальное; the rest of it все остальное

last out v быть достаточным, хватать.

exactly [ɪɡʹzæktlɪ] adv точно; вот именно, совершенно верно

prove [pru:v] v доказывать; I shall prove to you that this is true.

elderly [ʹeldəlɪ] а пожилой, преклонного возраста old hand старый работник

weakness n слабость; the weakness of old age

strength [streŋθ] n сила; He is a man of great strength. It isn’t easy to get back one’s strength after an illness.

merely [ʹmɪəlɪ] adv только, просто

humanity [hju:ʹmænɪtɪ] n человечество; род людской

renew [rɪʹnju:] v обновлять, восстанавливать

convince [kənʹvins] v убеждать, уверять; to be convinced убедиться, быть убежденным; I am convinced Peter isn’t right. to convince smb. of smth. убедить кого-л. в чем-л.; We could not convince Jane of her mistake.

A. Booking Seats for the Theatre

Peter Nikolaev: Have you got two seats for tomorrow’s performance?

Booking clerk: The first or second performance?

Peter: I usually prefer the second.

Booking clerk: I’ve got a few stalls and two circle seats.

Peter: How much are the seats in the circle?

B. clerk: Two and a half pounds each. I'll show you where they are on the plan. Here they are — in the middle of the second row.

Peter: I'll take those. What time does the second performance begin?

B. clerk: Eight — fifteen, sir.

B. Talk about Theatre

1

Diana Andrews: I know you’re an admirer of opera, Anna. Last night I heard on the radio that the Moscow Chamber Musical Theatre⁽¹⁾ was starting its new theatrical season. I’ve never heard of this theatre. Could you tell me about it?

Anna Fedorova: Though it’s existed for quite a time, most theatre-goers still call it “the new opera theatre”. It was set up for the purpose of developing the genre of “smaller opera⁽²⁾”.

Diana: What operas does the theatre stage?

Anna: Both classical and modern. Its repertoire includes over 15 productions, “Play-house Director⁽³⁾” by Mozart, “Apothecary⁽⁴⁾” by Haydn and “Marriage Bill⁽⁵⁾” by Rossini, to name only a few.

Diana: Did the theatre produce any operas by Russian composers?

Anna: Yes, I think three or four operas were staged. The first was “The Nose” by Dmitri Shostakovich. The composer himself took an active part in its production. The opera has always been a tremendous success with the public. A few years ago the French Charles Cros Academy⁽⁶⁾ awarded Grand Prix⁽⁷⁾ to the recording of this opera by this company.

Diana: Did you happen to see it?

Anna: Yes, and I enjoyed every minute of it.

Diana: I’d like to see a few operas at this theatre. Is it possible to book seats?

Anna: I’d say it’s next to impossible. The theatre is small, it seats only 220 people. I suppose it’s already been sold out. I’ll try to help you. A friend of mine is an actor at this theatre. I’ll ask him to get seats for you.

Diana: Thank you very much. It’s very kind of you.

2.

John Spencer: I saw Roschin’s play “The Echelon⁽⁸⁾” at the Sovremennik Theatre yesterday.

Michael Vetrov: How did you like it?

John: It impressed me greatly. It’s a story of the World War II days, the tales of those who survived when survival seemed impossible.

Michael: I saw the play at the Art Theatre and I liked it very much, too.

John: By the way Roschin’s play was staged in the USA. It was the first production by a Russian producer — Galina Volchek was invited to stage it in Houston, Texas.

John: As far as I know it was a great success.

C. The British Theatre is Dying

A conversation between Alfred Leathers, an old actor, and Martin Cheveril, a playwright and producer.

Alfred: Martin, my boy, I’ve been acting too Jong and — as the youngsters like to say — I’ve had it⁽⁹⁾.

Martin: Nonsense, Alfred.

Alfred: No, no. Mean what I say. In fact the Theatre’s had it. The Theatre’s finished and we might as well admit it⁽¹⁰⁾.

Martin: It was different when you were young, of course — eh?

Alfred: Different? I should think it was.

Martin: You’ve seen some great nights in the Theatre, I imagine, Alfred — eh? (It is like a prompt.)

Alfred: I have, Martin. Great nights. And they’ll never come again. Don’t forget that in my time I’ve played with Irving⁽¹¹⁾, Ellen Terry⁽¹²⁾ and Tree⁽¹³⁾.

Martin: Great names, Alfred.

Alfred: Ah — but the Theatre was the Theatre in those days, Martin. It was all the public had, and so we all did our best with it. None of your films and radio and television and the rest of them then. It was the Theatre — and the Theatre as it ought to be.

Martin: The Theatre’s dying — though it may last out our time

Alfred: Yes, thank God. But I don’t give it much longer.

Martin (smiles at him): Well, you see, Alfred, I know that speech about the dying Theatre. I’ve heard it before.

Alfred: Exactly. And everything goes to prove

Martin: That you’re an elderly actor, Alfred, and that the Theatre’s dying for you. It’s always been dying for the old hands. And it’s always been born again for the new ones. And that’s not its weakness — that’s its strength. It lives — really lives and not merely exists, but lives as humanity lives — just because it’s for ever dying and being born, because it’s always renewing its life.

Alfred (not convinced): Now wait. It’s dying for me, we’ll say but who is it being born for?

(The door opens and Otley comes in.)

Otley: Miss Seward’s here.

Martin (to Otley): Send her in. (To Alfred) Your answer’s here.

(After “Jenny Villiers: a Story of the Theatre” by John B. Priestley)

Names

Mozart [ʹmɔ:zɑ:t] Моцарт

Haydn [ʹhaɪdn] Гайдн

Rossini [rəʹsi:nɪ] Россини

Houston [ʹhju:stn] г. Хьюстон

Texas [ʹteksəs] штат Техас

Alfred Leathers [ʹælfrɪd ʹleðəz] Альфред Летерс

Martin Cheveril [ʹmɑ:tɪn ʹʧi:vrəl] Мартин Чиврил

Seward [ʹsju:əd] Сьюард

Notes

⁽¹⁾ the Moscow Chamber [ʹʧeɪmbə] Musical Theatre Московский камерный музыкальный театр

⁽²⁾ smaller opera малая (камерная) опера

⁽³⁾ “P1ay-house Director” «Директор театра»

⁽⁴⁾ “Apothecary” [əʹpɔθɪkərɪ] «Аптекарь»

⁽⁵⁾ “Marriage Bill” «Брачный вексель»

⁽⁶⁾ the French Charles Cros Academy — академия названа по имени известного французского поэта Шарля Кроса (1842-1888)

⁽⁷⁾ Grand Prix [prɪ] «Гран при» (Большая премия, Главная премия), высшая награда на фестивале, конкурсе и т. п.

⁽⁸⁾ “The Echelon” [ʹeʃəlɔn] «Эшелон»

⁽⁹⁾ I’ve had it. С меня достаточно. (театра)

⁽¹⁰⁾ we might as well admit it и мы могли бы также признать это

⁽¹¹⁾ Sir Henry Inning (1838-1905) сэр Генри Ирвинг, английский актер

⁽¹²⁾ Ellen Terry (1847-1928) Эллен Терри, английская актриса

⁽¹³⁾ Sir Herbert [ʹhə:bət] Tree (1853-1917) сэр Герберт Три, английский актер

Exercise 3. Read and translate the dialogues.

Exercise 4. Find in the dialogues English equivalents for these word combinations and sentences.

1. имеется несколько мест в партере. 2. в середине второго ряда. 3. начинается новый театральный сезон. 4. Композитор сам принимал активное участие в ее постановке. 5. Я бы сказала, что это почти невозможно. 6. когда спасение казалось невозможным. 7. Насколько я знаю он (спектакль) имел большой успех. 8. Как вы объясните успех пьес на производственную тему? 9. вопросы, которые поднимают пьесы. 10. Современный человек проводит много времени на работе. 11. Не забывайте, что в мое время я играл с ... . 12. и всего прочего. 13. И в этом не слабость, а сила театра.

Exercise 5. Quote the sentences in which these words and word combinations are used in the dialogues and translate them.

circle seats, theatre-goer, to set up, classical, repertoire, to seat, to sell out, to seem, to stage, success, to account for, to take up, activities, to admit, to forget, the rest of, to prove, humanity, to convince

Exercise 6. Make the necessary substitutions and reproduce the dialogues.

1. A: Have you got two seats for tomorrow’s performance?

B. clerk: I’ve got a few stalls and two circle seats.

(A: tonight’s performance, the matinee; B.c.: two, four; three, six)

2. A: Where are the seats?

B. clerk: They’re in the middle of the third row.

(B: clerk: fourth, seventh, eighth)

3. A: What plays does the theatre stage?

B: Both classical and modern.

(A: operas, ballets)

4. A: For what purpose was the new theatre set up?

B: For the purpose of producing plays by modern play wrights.

(B: operas, composers; ballets, composers)

5. A: How did the British audience like the performance?

B: As far as I know it was a great success.

(A: American, French, Canadian)

Exercise 7. What would you say if you took part in these dialogues? Dramatize them.

1. A: Have you got two seats for the evening performance?

В. clerk: ...

A: In what row are the stalls^*?

B. clerk: ...

A: How much are they?

B. clerk: ...

A: All right, I’ll take them.

B. clerk: ...

2. A: I know you’re an admirer of ballet, Mary. Could you tell me about the new productions at the Bolshoi Theatre?

M: ...

A: Did you happen to see any of them?

M: ...

A: Is it difficult to book seats?

M: ...

A: Thank you. It’s very kind of you.

A: I saw “Faryatyev’s Fantasies” at the Sovremennik Theatre last week.

B: ...

A: It impressed me greatly. This is a play about young people. The main character, Faryatyev is a very kind man dreaming^** of cosmic contacts.

B: ...

4. A: Did you see “The Echelon” at the Art Theatre?

B: ...

A:How did you like the performance?

B: ...

A: Do you know that the play was staged in Houston, the USA?

B: ...

5. A: Could you believe if somebody told you that the theatre was dying?

B: ...

A: Can we say that the theatre is always renewing its life?

B: ...

6. A: In my opinion the theatre is always dying for some of the old actors who lose touch with^** reality. Do you agree with me?

B: ...

Exercise 8. Think of situations in which these sentences can be used. Dramatize them.

1. Are there any seats left for Saturday night? 2. Would you like something in the front stalls? 3. How do you account for the fact that a new drama theatre has been set up in Moscow this year? 4. I believe Shostakovich himself took an active part in the production of “The Nose”. 5. I know you’re an Admirer of ballet. What new ballets would you advise me to see? 6. How do you account for the success of Chekhov’s plays? 7. I think the contemporary man wants to see plays that deal with problems of his everyday life. 8. The theatre has always been dying for the old actors and it’s always been born for the young ones. 9. To my mind the theatre is always renewing its life. It’ll live for ever.

Exercise 9. Give responses using conditional sentences.

1. Would you refuse to go to the theatre if you had tickets for the first night? 2. What operas would you recommend the Chamber Musical Theatre to stage if you were asked for advice? 3. Which of the Sovremennik Theatre plays would you recommend a foreign colleague to see? 4. What problems would you advise a playwright to take up if he asked you for advice? 5. Would you have agreed with Martin or Alfred if they had asked you to support them?

Exercise 10. Reproduce dialogues А, B, C in pairs.

Exercise 11. Act as interpreter.

Jenny Shaw: I would have never believed it was possible to stage a ballet based on Dostoevsky’s “Idiot” if I hadn’t seen it myself.

Зоя Чурилова: Вы имеете в виду балет, который поставил Петербургский балетный ансамбль (ensemble [ɑ:nʹsɑ:mb1])?

Jenny: Yes. It was a marvellous performance. I hadn’t enjoyed myself so much for a long time. Tchaikovsky’s Sixth Symphony [ʹsɪmfənɪ] perfectly suits the ballet. The dancers are wonderful. Have you seen this ballet?

Зоя: Да. Я видела его в прошлом году и получила огромное удовольствие. Кстати, этот ансамбль был создан не так давно.

Jenny: Unbelievable! As far as I know there are several ballet theatres in Moscow and St.Petersburg and now there appeared this ensemble. For what purpose was it set up?

Зоя: Я читала о том, что основатели (founder) театра решили использовать камерную музыку для постановки балетных спектаклей. Репертуар ансамбля в основном включает одноактные балеты.

Jenny: I suppose one can speak of a new trend in your opera and ballet. In Moscow you have the Chamber Musical Theatre, as to St.Petersburg Ballet Ensemble you may call it the Chamber Ballet Theatre.

Зоя: Я бы не назвала это «тенденцией». По-моему, это объясняется желанием постановщиков, музыкантов, певцов, танцовщиков и зрителей расширить (to broaden) жанры оперы и балета.

Jenny: That sounds very interesting. I must say there’s a 1ot to learn and see in your country for an admirer of opera and ballet.

Зоя: Да, очень много интересного. Я бы также посоветовала вам сходить в Детский музыкальный театр. Если я не ошибаюсь, это единственный в мире музыкальный театр для детей.

Jenny: What does it stage?

Зоя: Оперы и музыкальные спектакли. Его постановки пользуются огромным успехом. Билеты достать почти невозможно.

Jenny: Thank you for the advice. I’ll try my best to get tickets there.

Exercise 12. Translate into English.

1. — Есть ли у вас места в партере на завтрашний вечерний спектакль?

— Есть только два места в десятом ряду.

— Сколько они стоят?

— По два рубля каждый.

— Я возьму их. Вот деньги.

— Вот билеты и сдача.

2. — Как летит время. (Time flies.) Мы все считали Кукольный театр Образцова молодым, нам казалось, что он недавно организован, а он уже отпраздновал свой пятидесятилетний юбилей.

— Это и мой любимый театр. Думаю, что это единственный кукольный театр в мире, который пользуется популярностью как у детей, так и у взрослых.

— Да, вы правы. И на детские, и на взрослые спектакли почти невозможно достать билеты.

— Мой любимый спектакль — «Необыкновенный концерт». Должен сказать, что этот спектакль пользуется успехом во всех странах мира.

3. — Чем объясняется популярность пьес Чехова во всем мире?

— По-моему, тем, что Чехов поднимает общечеловеческие проблемы, которые интересуют всех людей.

— Какие пьесы Чехова вам больше всего нравятся?

— «Дядя Ваня» и «Чайка».

4. — Я только что просмотрел театральную афишу (playbill) и увидел, что во многих театрах идут пьесы зарубежных авторов.

— Русский театр всегда ставил пьесы зарубежных драматургов, как классиков, так и современных.

— Кто из современных американских драматургов пользуется наибольшей популярностью?

— По-моему, Тенесси Уильямс (Tennessee [ʹtenɪsɪ] Williams. Его пьеса «Трамвай-желание» ("A Streetcar Named Desire") пользовалась (большим успехом в течение ряда лет.

Exercise 13. Make up dialogues based on this picture.

"Aren’t you ready yet?"

Exercise 14. Dramatize this situations.

1. Exchange impressions with a foreign colleague after a visit to the Bolshoi Theatre (the Moscow Art Theatre, the Sovremennik Theatre, the Obraztsov Puppet Theatre, the Chamber Musical Theatre, the Children's Drama Theatre).

2. Speak with a foreign colleague about your favourite playwrights and favourite performances.