Artman Productions is passionate about theatrical performances, especially Opera. Enjoy this preview of operas we have produced.
Produced by Nadia Artman
Artman Productions worked with New Opera NYC in collaboration with Illuminum Fragrance of London to unveil beautiful performances of IOLANTA, the last opera written by Pyotr Ilyich Tchaikovsky.
Stephan Rabimov writes, “Have you heard this tale? An extravagant aging ruler overcome by paranoia launches a quixotic war lead by two incompetent sons in charge of a crumbling empire until they meet their demise over unfulfilled political promises. And there are powerful women involved. Life imitates art?! Opera is often considered an attribute of elite leisure. However, it has deep socially-conscious roots.
The Golden Cockerel is a satirical classic by Nikolai Rimsky-Korsakov. It was first staged in 1909 in Moscow and promptly banned by the tsarist authorities. A decade later Russian monarchy would be toppled in a bloody revolution that ushered communism onto the world stage. Nearly forty years since its last Met curtain call in New York, the iconic show returns to New Opera NYC for five completely revamped performances at the Sheen Center for the Arts on May 18-21, 2017. This might be the first must-see opera production of the Trump era.” Click here for the full Forbes article.
New Opera NYC
New Opera NYC featured on TheTheatreTimes.com:
Black Square was conceived by Igor Konyukhov, artistic director of New Opera NYC, who co-authored the libretto with Olga Maslova (decorated costume designer and assistant professor of theatre at UIUC). The music was composed by award-winning Russian composer Ilya Demutsky, who won the 2016 Golden Mask award for the ballet A Hero Of Our Time at Moscow’s Bolshoi Theatre, where he also created the music for the much-anticipated and controversial ballet Nureyev, which opens this month. The story of Black Square’s creation is one of serendipity, perseverance, and love. I had the opportunity to sit down with the creative team as well as with producer Nadia Artman to discuss the opera.
If Victory Over The Sun is purposefully obtuse and impossible to understand, the musicality of its poetry yet leaves a visceral impression that Konyukhov and the others wanted to capture and transmit to contemporary audiences. Konyukhov explains: “Roughly three years ago, I was told about Victory Over The Sun, I read it, of course, I didn’t understand anything at first. But somehow there was a residual feeling that was very stimulating. At that time there was the idea of restaging it or doing a revival. But after looking at it carefully, I realized that the way that it’s written is not really digestible nowadays. There is shock value, but some of the things that were in the text are almost mainstream in their shock value nowadays. They wanted to shock, but today it wouldn’t have that effect. At first, the idea was to adapt the libretto to new music. We knew that it would need to be composed or compiled somehow because the music was not preserved […] But we weren’t really sure about the text. I was working on it a little, looking at translations. I was looking at one that was considered rather scientific. In Russian, there’s double and triple meanings, but the translator had chosen one of the options, cutting off all the residual meanings. I knew that we wanted to preserve those somehow.”
Click here to read the full article.