The Press

 

"Marevo” begins with a personal car crash: out of the deformed car: this is not just a regular crash; all lives in this world faded away, having made a circle. This production
is a like of an apocalyptic thriller, ‘a slow metaphysical journey at the junction of arts’.
And the last witnesses of the apocalypse – the child, the dog, the doves and the bush
are granted a few minutes for the last words, agonizing and beautiful arias crumbling
poetic text of libretto by Anton Shramenko, dissolving it into indistinct and painfully alluring sounds this production an apocalyptic thriller, ‘a slow metaphysical journey
at the junction of arts’. It is not important in what capacity it may be qualified:
an opera, a musical piece, a performance or a museum installation’ as ‘its originality
and power are what is really significant with most powerful visual and plastic effect
akin to hypnosis or voodoo rituals”.
Vadim Rutkovsky, music critic, “Snob” Magazine /Moscow/

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The austerity of the colours and sounds and their well-adjusted relations shape a torrent with a set direction – a portal to the mental worlds; and this portal brings those,
who have found themselves inside, nearer to experience bordering on revelation which may
take place in a state of meditative trance. The characters’ monologues resemble moan
and prayer. We do not hear any words but a combination of emotionally coloured sounds
which hide the text that has lost its meaning. The words are probably blurred through
the non concurrency of time flow in the place where we see those who have perished
in the car accident as if a recording were played back at the wrong rate.
Irina Sosnovskaya, art critic, magazine “Dialog of Arts” /Moscow/

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Chamber in character, the performance has quite an epic scale and an apparently
mythologicalfoundation: the neon lamp, which is closely scanning the space, acts just
like the will-o'-the-wisp from Goethe’s Faust; the Mother spinning yarn and holding
the thread of man’s life in her hands tries out the role of one of the Parcae;
the dead tree, peacefully lying on one side of the stage till a certain time, gets spectacularly split into halves at the performance climax to remind of the fate
of the Yggdrasil world tree.
Dmitry Renansky, music critic, newspaper “Kommersant” /Moscow/

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Galina Myznikova and Sergey Provorov – the PROVMYZA art group – created
the opera “Marevo” which was showcased in Nizhny Novgorod ; the opera is organized
in such a way that its detailed script, intonation, vocal style and emotional result
are all devised by the artists beforehand. It was them who wrote the “Marevo” opera. Composers Mark Buloshnikov and Kirill Shirokov are guest interlocutors. Both do not
favor words on the territory of music. Both are professional composers of unvarnished, stylistically unguarded musical pieces and acoustic events which are discreet and
as though displaced and thus - risky.
Yulia Bederova, musical critic, www.colta.ru culture internet portal

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Theatrical project of one of the brightest representatives of the Russian art scene,
art group PROVMYZA, was most certainly triumphant: in “Marevo” a perfectly natural form
of singers-soloists stage co-existence was found – not situational and mundane,
but pointedly ritualistic; particularly convincingly looks extreme vocalist from Berlin - Natalia Pshenichnikova and soloist of the State Academic Bolshoi Theater of Russia,
Andrey Arckipov. The genre of the “Marevo” hit the bull’s eye, credit for which goes
to the tandem of Mark Buloshnikov and Kirill Shirokov, creators of the opera’s vibrating sound environment filled with Hitchcock-like suspense which tickles the audience nerves.
It is nigh impossible to predict where exactly and what particular form of acoustic
surprise would fall upon you on the next turn of the author’s thought. Impossible not just because musicians of the Nizhny Novgorod NoName Ensemble are positioned amongst
the audience in different part of the showground: it is difficult not to recognize
“Marevo” as a highly productive experience of synthesis of actual art and new academic music.
Dmitry Renansky, music critic, newspaper “Kommersant” /Moscow/