Performance The Marriage of Figaro. Theater poster - reviews of the play The Marriage of Figaro play buy tickets
I wanted to go to this performance for several reasons. Firstly, the performance was praised. Yes, I am wary of strong praise, but from some of the photographs and interviews I thought it would be interesting to see the performance. Secondly, Sergei Lazarev as Figaro. I was very skeptical about Lazarev the actor, to be honest. Then I saw an interview in which he said that he had been playing in the theater for almost 10 years! He was taken into a play in this theater from the theater, and has been acting ever since. He even has 3-4 titles in the theater! In general, I decided to look at him. Thirdly, Alexander Arsentiev! The same Billy Flynn from the musical "Chicago".
I really liked the performance, I can recommend it to lift your spirits and have a good evening.
I didn’t watch the recording with Andrei Mironov in the role of Figaro, I didn’t read the play, to be completely honest, I had no idea what they would show me (that’s how illiterate I am, I will correct myself as best I can). I had nothing to compare it to; I looked at it from a blank slate.
The first thing that strikes you about the performance is the 4-tier decorations! The only negative, but it is not significant: when someone runs along the fourth tier, the balcony sees only their feet (but insignificant characters rarely run there, they mostly ran away or entered).
The performance is dramatic, but with perfectly selected musical inserts, this brings even greater liveliness and dynamism to the action.
The cast was EXCELLENT!! Everyone plays in the same lineup! How they play! Very good! To play such a story seriously and not stoop to hackwork and stupid hints and jokes is worth a lot to me. A little more specific about the program.
Figaro - Sergey Lazarev. I liked it very much! All my doubts are gone, I am very happy for Lazarev that he has a theater and roles besides concerts, and for myself that I considered the actor. Apparently, Sergei is actively engaged in speech before performances, although rather in his voice, because it is one thing to sing into a microphone, another thing to say it so that I can hear everything from my penultimate row of the balcony (and I heard everything!). Maybe it's just my guess, I don't know.
The role was definitely a success! Quirky, cunning, sweet, kind, helpful - all in one person, shown wonderfully. Even at the end of the performance, when Figaro had a monologue for about 5 minutes, I was a little scared whether he would hold it. Kept it! The audience sat spellbound! And me too. Very good! It seems to me that it was good that I saw the play when about 15-20 performances had passed after the premiere, when everything had already been tested.
Count - Alexander Arsentiev. Great! Everything came together: appearance, speech, manners, you couldn’t imagine anything better) I would happily watch him (and Lazarev too) in another role, it would be very interesting (I hope I won’t be disappointed with the performance, as I already had in this theater) .
Of the female roles, of course, it is worth highlighting the Countess (Victoria Isakova) and Suzanne (Alexandra Ursulyak). The Countess has a very interesting intonation of a dying swan, but the mask periodically flies off at the right moment, which causes a reaction from both the audience and other characters in the play. The costumes are wonderful! They look great, very beautiful, highlight your figure. Suzanne is a truly worthy pair of Figaros) A super family will come out! They deserve each other) It was a good duet.
In general, I liked everyone (and not only the main characters, about whom I wrote briefly), I liked everything, so I recommend watching it, preferably from a good place (but the prices are a little steep). I would recommend and review the performance!
Beaumarchais's comedy is staged in such a way that laughter breaks out in the audience every now and then. The audience reacts vividly to the jokes of the author of the Enlightenment.
“He will return, God willing!” - “Or maybe he won’t!”; “Me too” - “Me too” - “Me too” - “What a strong echo here!”
Academic quality is inherent in this production - it is the director’s choice, and nothing can be done about it. Therefore, the performance should appeal to those who love academics. And whoever doesn’t like it should not make any claims. This means this performance is not for them. Everything is played according to the academic text by Beaumarchais in the academic translation by N.M. Lyubimov. And at the same time, it is especially interesting to observe how the artists cope with the text, what meanings they put into their lines.
The music was Mozart and Rossini. I liked that it was not like an insert number (it sounds like that in Lenkom), but as a direct part of the spectacle. Unusual arrangements – that’s what was non-academic in the performance! – made in accordance with the tempo of the performance. An academic orchestra in black tailcoats would be clearly out of place here. Melodies from “The Marriage of Figaro”, “The Barber of Seville”, themes from “A Little Night Serenade”, the 40th Symphony, the 21st Concerto by Mozart are familiar and fit well into the action.
I listened attentively to the monologue of Figaro - Sergei Lazarev about cunning principles, about deception and intrigue and thought: “What a bastard! And he considers himself right! But the time has come for such natures.”
However, one cannot say that the authors of the play have modernized the production (unless Marceline’s short haircut looked anachronistic). Director Evgeny Pisarev brought to light from the ancient comedy something that is in tune with our time, in tune with his soul, and thereby became in tune with the viewer.
The Countess - Victoria Isakova - at first seemed like a fool. The whole room laughed at her stupidity! But out of female solidarity, Suzanne - Alexandra Ursulyak - helps the Countess defeat the Count and prove to her husband that indulging his corrupt nature and following the ancient customs of the overlords will not lead to good!
I liked that Sergei Lazarev and Alexandra Ursulyak show that Figaro and Suzanne really love each other. The play thus conveys the idea of the triumph of love!
Alexander Arsentiev in the role of Count Almaviva follows the instructions of the author - Beaumarchais. I see that his count is “full of consciousness of his own greatness, but he combines this with grace and ease.” The artist shows the impeccability of the count's manners very well. I agree with the author that “the role of the count is especially difficult to play because he invariably finds himself in a funny position.”
But Arsentyev plays in such a way that I felt sympathy for the count.
The artist pleased me with his performance. It is clear that he, like all the other performers, enjoys playing this performance. Creation of an image, emotions, assessments, behavior in “zones of silence” - everything is at the highest level, convincing and adequate.
I always like how Arsentiev interacts with his partners. Today it seemed that when Count Almaviva appeared on stage, the action began to spin, like the mechanism of a wind-up toy when a key is turned.
The Count doesn't like jokes - that's what ruined him. He understands documents, but not intrigues and feelings. Therefore, in this area he failed.
Tough, commanding, shooting, judging, but at the same time a farcical character. At first, the Count is somehow angry, in an exaggerated way, like, don’t lead me by the nose - I know you’re lying. And at the end, Figaro and the women managed to bring him to white heat, and he screamed completely naturally.
The scene movement is wonderful. There was a funny scene with the sledgehammer. The audience laughed like in a circus. Again, if someone doesn’t like farce, then why make complaints about the farcical nature of what is happening on stage?
There were several slips in the performance (sorry for the jargon), or so they looked like. Sometimes they spilled wine and had to wipe it off with a napkin, sometimes they spilled apples and had no time to pick them up. Sergey Lazarev - Figaro did not catch the orange thrown by Arsentiev - Graf. Then I was distracted from the text and began to wait for Figaro to pick up the rolled orange and throw it back to the Count. You could bet a thousand rubles that Arsentyev would catch him. Caught it. I knew.
It’s even strange to write about this when we are talking about a professional actor. But Arsentiev differs in a positive way from many of his peers. We can say that this is an artist with an internal culture that was inherent by default to the masters of the outgoing generation, the stars of our childhood. And it’s wonderful that among modern actors there are people like Arsentiev, who continue the best traditions of our theater and cinema, our culture.
Well, I'm delighted, this is my opinion, my impression.
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About the performance
Moscow will again have to relive one crazy day, in which there will be weddings, trials, scandals and reconciliations. The play “The Marriage of Figaro” at the Theater. Pushkina is a sparkling comedy that has been drawing full houses for several years now.
Age limit: 16+.
. Author - P.-O. Caron Beaumarchais;
. director: Evgeny Pisarev.
Roles are played
. A. Arsentiev;
. V. Isakova;
. S. Lazarev;
. T. Vilkova;
. I. Byakova and others.
The premiere took place in April 2014.
Crazy day
And in the castle of Count Almaviva there is still no peace for either the maids, or the masters, or the guests. The day is just beginning, but it is already clear that it certainly cannot be called ordinary. Figaro, a resourceful young man, advisor to the count and his housekeeper, decided to marry the beautiful Suzanne. It seemed that happiness was just around the corner, but insidious rivals stood in the way of the young people. Marceline remembered an old debt to the main character, and is now forcing her to take her as his wife, and the count himself is laying claim to Suzanne’s heart... The intrigue becomes entangled, and it becomes increasingly difficult to understand this hilariously funny collection of misunderstandings. Hurry up to buy tickets to the play “The Marriage of Figaro” in Moscow and find out how this classic story ends.
Old story in new scenery
The generosity of the production’s creators seems to know no bounds! The costumes are stunning, the surroundings are delightful, the scenery is monumental. Made in pastel colors, they become the ideal backdrop for a bright and colorful carnival of passions, which picks up all the characters like a whirlwind and swirls them around, not letting go, until the last minute. An absolutely canonical plot unfolds before the audience, in the implementation of which the director did without fashionable modernization techniques. On the stage is truly 18th-century Spain, but without the dust of outdated classics. Freshness, youth, expression - today's Figaro is full of life and definitely does not smell of mothballs.
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Duration: 2 hours 50 minutes (with intermission).
The booking period for the performance is 2 hours.
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Theater address: Mayakovskaya metro station, Moscow, Tverskoy Boulevard, 23
- Mayakovskaya
- Tverskaya
- Chekhovskaya
- Pushkinskaya
Pushkin Theater
History of the Pushkin Theater
The Pushkin Drama Theater traces its history back to the drama theater of the famous director of the era, Alexander Tairov, opened in 1914. Therefore, it is considered one of the oldest Moscow theater venues. The building on Tverskoy Boulevard in which it is located is an even later construction. The first mention of it dates back to the reign of Catherine the Great. Its first owner was Prince Vyazemsky. Since that time, during the 19th century, it often passed from one owner to another, it was rebuilt and repaired several times, until the Chamber Theater appeared here at the beginning of the 20th century.
The Alexander Tairov Theater existed until 1949, when it was disbanded for its aesthetics and formalism. Its place was taken by the Pushkin Drama Theater, which is currently one of the best theater venues in the capital. It has been completely restored to 19th-century interiors and is richly decorated.
This venue hosts mainly performances based on plays by foreign playwrights of the 20th century, such as “The Mousetrap”, “Talents and the Dead”, “Happy Days” and “The Good Man from Szechwan”, but the repertoire also includes Russian classics and modern masters of drama.
How to get to the Pushkin Theater
The building of the Pushkin Theater is located on Tverskoy Boulevard. Finding it is not difficult, but first you need to get to either the Tverskaya or Pushkinskaya metro station. When you exit the metro, you will find yourself at the beginning of Tverskoy Boulevard, where it intersects with Tverskaya Street. Go to the right side of the boulevard. You can walk to the building of the Pushkin Drama Theater in just five minutes.
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ATTENTION! The deadline for booking tickets for this event is 1 hour!
Pierre-Augustin Caron Beaumarchais
ComedyDIRECTOR - Evgeny Pisarev
SCENOGRAPHY – Zinovy Margolin
COSTUMES – Leonid Alekseev
LIGHT - Damir Ismagilov
COMPOSER – Igor Gorsky
CHOREOGRAPHER – Albert Alberts
The comedy “The Marriage of Figaro”, invented by the court watchmaker Beaumarchais, has enjoyed enormous success for three centuries thanks to its perfect, clockwork-like composition, dynamism and humor, which has not lost its freshness.
But the main secret of success, of course, is in the character of the protagonist: the talented Figaro failed in all his social and creative endeavors, but he is full of dignity, creative power, love of life, and most importantly, he is in love. It is because of love that he has a “crazy day”, during which he has to weave intrigues, get out of court, find his lost parents, experience the betrayal of a friend, the imaginary betrayal of his young wife, but at the same time not lose faith in either love or into yourself...
Many people know that “in love, as in war, all means are fair.” The characters of this cheerful, dynamic play are also guided by this principle. Marriage of Figaro" The Pushkin Theater offers the public a production with a fascinating plot that will pleasantly surprise with many unexpected turns, funny episodes and beautiful design.
The comedy is based on the famous work of Pierre de Beaumarchais, who told about the adventures of the clever and resourceful Figaro. One day the hero rendered a friendly service to Count Almaviva by arranging his wedding with the beautiful Rosina. However, the aristocrat proved himself to be an ungrateful person: after some time, he became imbued with an ardent passion for Figaro’s own bride, the charming Suzanne. The girl did not respond to the Count’s advances, as a result of which another negative quality of Almaviva was expressed - vindictiveness. He begins to intrigue the couple in love, hoping to prevent the marriage. However, Figaro and Susanna show remarkable ingenuity, wanting to outwit the arrogant aristocrat. They are helped in this by Countess Rosina, annoyed by her husband’s frivolity, as well as the inventive page Cherubino. At the same time, many secrets are revealed, in particular, the characters will find themselves in court, and some of them will even find their lost parents. Spectators who buy tickets to the play “The Marriage of Figaro” will see many comical scenes, confusion and transformations, making the action exciting and interesting.
Director's production Evgenia Pisareva tells about what tricks people are ready to go to in order to achieve their goal: to seduce a girl, have a wedding, teach a lesson to an unfaithful husband. The development of events in the play “The Marriage of Figaro” takes place to music written by Igor Gorsky. The melodies, along with the colorful costumes and scenery, and choreography by Albert Alberts, fully convey the sophistication and grace inherent in this entertaining story.
CHARACTERS AND PERFORMERS:
COUNT ALMAVIVA –Alexander Arsentiev
COUNTESS – Victoria Isakova
FIGARO – Sergey Lazarev
SUZANNE – Taisiya Vilkova / Alexandra Ursulyak
MARCELINE – Irina Byakova
ANTONIO – Alexey Rakhmanov
FANCHETTA – Anna Begunova / Stasya Miloslavskaya
CHERUBINO – Sergey Kudryashov
BARTOLO – Oleg Pyshnenko
BAZIL – Alexander Matrosov
DON GUZMAN BRIDUASON –Sergey Miller
DOUBLEMAN – Ivan Litvinenko
PEDRILO – Nikolay Kislichenko
PERFUME: Egor Komarov, Veronica Mokhireva
Anna Evgenievna has about thirty film works to her credit, of which there are quite a lot of leading roles - Vika in the drama “Cruelty”, Dasha and Yulia in the psychological detective story “Voices”, Asya in “The Heiress”, Lena in the melodrama “In the Hour of Trouble”, etc.
((togglerText))His first works on this stage were Shpekin from the play “The Inspector General” and Fistakh in “Testosterone”. Now fans of the artist can see him in many repertoire productions - “The Scarlet Flower”, where he plays Anton, - Amalia Balike, - Robin, - Ted Bundy, - Claude Riviera, Ivan in “The Three Ivans”, etc.
His debut work in cinema was an episode in the Russian-Ukrainian project “Kill me!” Well, please,” filmed in 2004. Later he played Sasha in the melodrama “Happiness by Recipe”, an episode in one of the episodes of the series “Law and Order”, Sasha in the same series, Dyusha in “Wedding Ring”, Oleg Isaevich in “Daddy’s Daughters”, Kostya in “Ranetki” , Sevu in the series “Katina Love”.
((togglerText))In the cinema, Alexander Arsentiev played more than sixty characters, including the main characters - Andrei in the melodrama “Under the Sky of Verona”, Igor in the “League of Betrayed Wives”, Yakov in the military drama “Heavy Sand”, Maxim in the melodrama “I Will Give Myself a Miracle” , Chulimova in “Yurochka”, etc.
((togglerText))The artist immediately showed his talent and played more than two dozen roles on this stage. This is Gavrilo in "The Dowry", Puss in Boots from the fairy tale of the same name, Charles Bovary from the play "Madame Bovary", Aubin from "The Ladies' Tailor", Mario from "Nights of Cabiria", Tybalt from "Romeo and Juliet", Bobchinsky and Derzhimorda from " The Inspector", the bishop from "Joan of Arc" and others.
Now fans of Alexander Valerievich can see him in such performances as, where he plays Friedrich, “Hedda Gabler” - the role of Eilert, - Metcalf, “Treasure Island” - Billy Bones, “The Christmas of O. Henry” - Berman, - Kuvykin. In the production of "The Three Ivans" Matrosov plays the role of Babadur, and in "The Marriage of Figaro" - Basil.
The artist successfully combines work on the dramatic stage with filming. To date, his filmography includes more than thirty-six films and TV series. In 2004, Matrosov starred in the detective story “MUR is MUR.” Later he played Lepa in “Liquidation”, a gentleman in “The Most Beautiful”, Mishanya in “Law and Order”, Lekha in “Turkish March”, Uramanov in the action film “Paid in Death”, Andron in “Atlantis” and other film characters.
((togglerText))Alexey Igorevich began his artistic career with the roles of Anton from “The Scarlet Flower”, Oreste from “The Great Magic”, Dobchinsky from “The Government Inspector”, and the Ogre from the fairy tale “Puss in Boots”. Now he is busy in such repertoire productions as “Treasure Island”, where he plays Crooked Morgan and Billy Bones - the role of Antonio, “The Three Ivans” - Melnik, “The Office” - Kruse.
His first film work was the role of Misha in one of the detective series “Law and Order”, filmed in 2007. Later he played an assistant investigator in the series “I am a bodyguard”, Molodoy in “Bus”, Gichko in “Zagradotryad”, Sanya in “Tender Encounters”, Kostya in “Interns”, Kesha in “Group of Happiness”, etc.
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