[Met Performance] CID:333540

Metropolitan Opera Premiere, New Production

The Gambler
Metropolitan Opera House, Mon, March 19, 2001

Debut : Olga Guryakova, Sergei Aleksashkin, Olga Savova, Yuri Laptev, Emmanuel Di Villarosa, Franco Pomponi, Robert Brazil, Temur Chkheidze, George Tsypin, Georgi Alexi-Meskhishvili




The Gambler (1)
Sergei Prokofiev | Sergei Prokofiev
Alexei
Vladimir Galouzine

Polina
Olga Guryakova [Debut]

General
Sergei Aleksashkin [Debut]

Marquis
Nikolai Gassiev

Grammy
Elena Obraztsova

Blanche
Olga Savova [Debut]

Mr. Astley
John Fanning

Prince Nilsky
Richard Fracker

Baron W?rmerhelm
Alexander Anisimov

Baroness W?rmerhelm
Inga Rappaport

Potapich
Yuri Laptev [Debut]

A Director
Vaclovas Daunoras

Croupiers
Ronald Naldi

Croupiers
Eduardo Valdes

Fat Englishman
LeRoy Lehr

Tall Englishman
Richard Vernon

Garish Lady
Andrea Trebnik

Pale Lady
Yvonne Gonzales Redman

Lady Comme ?i, Comme ?a
Reveka Evangelia Mavrovitis

Venerable Lady
Wendy Hoffman

Suspicious Old Lady
Diane Elias

Reckless Gambler
Vladimir Grishko

Sickly Gambler
Bernard Fitch

Hunchback Gambler
Anthony Laciura

Unlucky Gambler
Kamel Boutros

Old Gambler
Philip Cokorinos

Gambler
Emmanuel Di Villarosa [Debut]

Gambler
Iosef Shalamayev

Gambler
Franco Pomponi [Debut]

Gambler
John Fiorito

Gambler
Alfred Walker

Gambler
Patrick Carfizzi

Feodor
Andrew Nies

Other Feodor
Robert Brazil [Debut]

Marfa
Carole Goldstein


Conductor
Valery Gergiev


Production
Temur Chkheidze [Debut]

Set Designer
George Tsypin [Debut]

Costume Designer
Georgi Alexi-Meskhishvili [Debut]

Lighting Designer
James F. Ingalls





The Gambler received six performances this season.
Sergei Aleksashkin was billed as Sergei Alexashkin until 2/9/07.

FUNDING:
Production a gift of The Fan Fox and Leslie R. Samuels Foundation, Inc.

Review 1:

Review of Martin Bernheimer in the June 2001 issue of Opera

Gambling on Prokofiev

The programme at the Metropolitan Opera on March 19 called the esoteric challenge on display "The Gambler." For most impractical purposes, however, this was "Igrok."

In this, its first encounter with Sergey Prokofiev, the Met took advantage of its resident hyper-overachiever, Valery Gergiev. The semi-stylized production - directed by Temur Chkheidze and designed by George Tsypin, with costumes by Georgy Alexy-Meshkishvily - suggested a variation on the version assembled and conducted by the maestro five years ago in St Petersburg, and also in Milan and Paris. Apart from a few versatile Americans allotted minor roles, the Russian cast proved almost identical to the one on Gergiev's recording. For better or worse, this was a Kirov import.

It turned out to be admirable on its own distinct and distant terms. Still, an ingrate might question the wisdom of performing this obscure opus in New York with Russians singing Russian. "Igrok" doesn't exactly abound in pretty tunes. The composer valued other preoccupations here: clever declamation, sharp conversational exchange, subtle orchestral comment, imaginative rhythmic and harmonic punctuation of a complex narrative. The words are the thing, and the expressive key is irony. Unfortunately, New York audiences do not recognize the Dostoyevskian source and cannot negotiate the dramatic curves without help. The Met offered a communicative crutch with translations flashed on tiny screens in front of every seat. The system functions well for works with simple plots. In this instance, however, the text demands minute attention. A conscientious patron was thus forced to read first, to watch and listen second. The imbalance might have been avoided, of course, if the management had chosen to perform Prokofiev in English.

Gergiev conducted with crisp bravado and a welcome concern for momentum. Chkheidze's staging scheme focused the action, and inaction, with cinematic clarity, nicely abetted by James F. Ingalls's fluid lighting design. Tsypin's rather spare sets, dominated by garish roulette motifs, made canny use of abstract decoration and structural symbolism. The enlightened ensemble was dominated by Vladimir Galuzin, overpowering as the protagonist obsessed with easy money and difficult romance. He nearly made the arduous challenge seem easy, sustaining both poise and pathos as he traced Alexey's agonizing progress from desperation to madness. Olga Guriakova emerged wonderfully earthy yet radiant as Paulina, his elusive love. Sergey Alexashkin bumbled knowingly as the greedy General. Olga Savova was suavely seductive as Mme. Blanche, and Nikolay Gassiev was incisively pompous as the manipulative Marquis. Elena Obraztsova returned as the old Bahulenka, her

mezzo-soprano now worn, her persona still vital. The accompanying Americans, led by John Fanning as a stuffy Englishman, held their own.



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