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    ‘Khovanshchina’ Is Finished in Time to Be Newly Resonant

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    Mussorgsky’s “Khovanshchina” has been added onto by Rimsky-Korsakov, Stravinsky and Shostakovich. Now, another composer gets to have his say.Instead of finishing his masterpiece “Khovanshchina,” Modest Mussorgsky is drunk in a ditch. His friend Nikolai Rimsky-Korsakov urges him to compose, using a walking stick to tickle him awake. But Mussorgsky would rather stay in the ditch, drunk.That’s fiction: a scene from “Moscow-Petushki,” a 1969 satire by the Soviet writer Venedikt Yerofeyev. But, said the composer, musicologist and author Gerard McBurney, who completed a new version of “Khovanshchina” that premieres at the Salzburg Easter Festival on Saturday, the moment shows the mythic place of the unfinished opera in Russian history.“Yerofeyev, writing to an audience who had probably never been into the opera in their life — they know this story about this great genius who is the emblematic Russian failure,” McBurney said in an interview.In real life, Mussorgsky “embarked on this monstrous piece which was supposed to sum up the whole disaster of Russian history from beginning to end,” McBurney added. “And he couldn’t finish it.”A scene from Simon McBurney’s production, which will travel to the Metropolitan Opera.Inés BacherMcBurney has created a new, completed “Khovanshchina,” and he joins a long line of composers and musicologists who did the same. Mussorgsky died in 1881, leaving key scenes in the final act unfinished. Rimsky-Korsakov made the first performance edition of the opera (which Mussorgsky preferred to call a “musical folk drama”), and it premiered at the Mariinsky Theater in 1886. In 1913, Sergei Diaghilev enlisted Stravinsky (and possibly Ravel) to prepare another version for performance in Paris, and Shostakovich reorchestrated the score for a 1959 film.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      in Music

      This ‘Magic Flute’ Has Ringtones, Bird Tracks and a Foley Artist

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      Supernatural happenings, curses and romances, heartbreaking arias and vocal fireworks — what’s not to love?Mozart’s “Die Zauberflöte” (“The Magic Flute”), a wildly popular gateway opera, has been a frequent presence on stages since its premiere in 1791. It’s a fair bet, though, that Simon McBurney’s production, which opens at the Metropolitan Opera on Friday, is the first to feature a ringtone duplicating the bird catcher Papageno’s five-note musical trademark. Or to use about 100 speakers strategically placed all over the house.Morley (Pamina) and Brownlee (Tamino) rehearsing “Die Zauberflöte.”Lila Barth for The New York TimesThe tenor Brenton Ryan, as Monostatos, in the production.Lila Barth for The New York TimesFor McBurney, the use of technology is less about embracing the present than about nodding to the creation of “Zauberflöte.” That was at Theater auf der Wieden in Vienna, which was run by the multitasking Emanuel Schikaneder, the opera’s librettist and originator of the role of Papageno.“Schikaneder had the latest ways of making thunder, he had machines make the sound of rain, he had bird calls, he had people making the sound of horses’ hooves,” McBurney said in an interview. “The use of sound creates a magical world, and yet at the same time at the heart of ‘The Magic Flute’ are real human concerns.”The juxtapositions of intimacy and cosmic scale, simplicity and complexity, low and high technology have long been emblematic of McBurney’s work as a founder and artistic director of the London-based theater company Complicité. Audience members at his solo show “The Encounter” (which had a Broadway run in 2016) experienced the production through earphones, immersing them in sophisticated soundscapes. Something that could have added distance between performer and theatergoer brought them closer.Morley rehearsing with the orchestra, which is raised almost to the level of the stage.Lila Barth for The New York TimesMcBurney experimented with sound again for “Zauberflöte,” which was first staged in 2012 at the Dutch National Opera and has been presented around Europe. (It replaces the 19-year-old Julie Taymor production at the Met; her abridged, English-language version for families remains in the repertory.) A distinctive trait of McBurney’s “Zauberflöte” is the importance of the sonic environment.“For a forest scene I have five or six bird tracks that I can send out, a running brook that I’m going to put in a speaker in the far right side of the stage, two tracks of wind blowing in trees,” Matthieu Maurice, a sound designer, said at a recent rehearsal.The singers are amplified through body microphones, though only for the spoken sections — plentiful in “Zauberflöte,” which is a singspiel, a numbers show with dialogue between arias. The mics are turned off for the sung parts, requiring constant adjustments by two sound mixers.“There’s so much more I can do with the dialogue with a mic,” said the soprano Erin Morley, who plays the pure-hearted princess Pamina. “I can face upstage, I can whisper something. I’m sure there will be some purists out there who will hate this, but the important thing is that we are not singing with mics.”The director Simon McBurney at the Met. “The use of sound creates a magical world,” he said, “and yet at the same time at the heart of ‘The Magic Flute’ are real human concerns.”Lila Barth for The New York TimesNathalie Stutzmann, this production’s conductor, was also on board. “In a house as big as this one, it is obvious to me that we need to use modern technology,” she said. “The Met is huge. It’s a lack of intelligence not to adapt to a space. It’s normal to help the singers fill the space when they are speaking. It’s also important that the volume of the spoken parts match the volume of the sung parts in an opera like this one, otherwise it feels like two different works.”Amplification also allows the integration of a live Foley artist, Ruth Sullivan, who operates out of a self-contained space, visible stage left, that looks like a zany inventor’s laboratory. “Her relationship with the actors is a musical one, essentially,” McBurney said of Sullivan. “They know the sounds she is going to make, and so it is a dance in the same way Nathalie Stutzmann is dancing with the singers, trying to make the cellos and the voices work together.”The artist Blake Habermann contributes drawings and ingenious effects to live projections.Lila Barth for The New York TimesHabermann’s drawing adds to the projections.Lila Barth for The New York TimesStutzmann works as closely with Maurice as she does with the musicians and singers. (The associate sound designer, he has been implementing Gareth Fry’s original vision for the past eight years, while adding flourishes of his own, including the ringtone.) The sound effects are indicated on the sheet music, so she knows exactly what to expect and when.Adding to the increased interconnection among the opera’s moving parts, the pit is almost level with the stage.“We decided, ‘Let’s raise the orchestra, let’s make people aware of the players,’” said Michael Levine, the set designer. “Because we’re so used to the players being hidden, and they weren’t in the 18th century.”From left, Luka Zylik, Deven Agge and Julian Knopf as the three spirits that guide Tamino and Papageno.Lila Barth for The New York TimesDuring the spoken sections at rehearsal, players in the orchestra turned toward the stage like flowers to the sun. They could watch the action for a change.“There’s nothing more boring than being an orchestra musician and being in the back of a cave with no idea of what’s happening on the stage,” Stutzmann said. “Can you imagine spending three or four hours, five for Wagner, at the bottom of a pit and have no idea what’s happening above you?” Not only can the musicians see this “Zauberflöte”; some also become part of the action.Being positioned higher creates a challenge, though. “We have to be careful not to cover up the singers,” Stutzmann said. “The sound balance is changed because we’re up and above, so we’re louder. You have to be vigilant while avoiding being bland.”Ruth Sullivan, the production’s live Foley artist. “Her relationship with the actors is a musical one, essentially,” McBurney said. “They know the sounds she is going to make, and so it is a dance.”Lila Barth for The New York TimesMuch of the production’s visuals are also created in plain view. The artist Blake Habermann contributes drawings and ingenious effects — watch how he renders a starry sky — to live projections. “I show all my tricks and then they become doubly magical,” McBurney said with an impish grin.For Levine, making the entire house part of one organism reminds everybody that the artificiality and evanescence of the art form constitute its strength. “What we wanted to do is to bring the audience into the fallibility of theater,” he said. “Things are being made before your eyes, and it’s live, and it’s not going to happen again. And the people that are constructing it are here with you in the same room, and we’re all doing it together.”A scene from the production at the Met.Lila Barth for The New York TimesIf the projections are the modern equivalent of the magic lanterns developed in the 17th century, McBurney and Levine also came up with a contemporary version of a magic carpet: a central square platform that can transport the characters, but that also suggests the instability they experience. It can go up and down, and it can be inclined as various angles; the singers can scamper on top or scurry below. “It is much more secure when you’re on it,” Morley said. “From afar, it looks terrifying.” Laughing, she allowed that “when we go underneath the platform, there were a few moments in rehearsal when I said, ‘You want me to do what?’”Some modern directors have been criticized for overemphasizing an opera’s staging over its music, and forcing interpretations that depart from the familiar. But McBurney’s North Star remains the music, and trying to stay faithful to what it meant for its creator.“I think that for Mozart, if you can make music so beautiful, people will come out changed,” he said. “We can debate whether he was right or not well, but it’s called ‘The Magic Flute.’ The flute changes the way that people behave.”Mozart, he added, had confidence in his music: “He knew that it could move people in a way that might alter their lives.” More

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      in Theater

      Review: ‘Drive Your Plow Over the Bones of the Dead’ in London

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      The British experimental theater company Complicité turns the Nobel laureate Olga Tokarczuk’s novel “Drive Your Plow Over the Bones of the Dead” into a thought-provoking, entertaining spectacle.Some books lend themselves to stage adaptation more than others, and the experimental theater company Complicité has a strong track record of turning awkward novels into plays. The British troupe, led by the director Simon McBurney, has already created acclaimed productions from Mikhail Bulgakov’s “The Master and Margarita” and Max Porter’s “Grief Is the Thing With Feathers.”Complicité’s latest show is a suitably idiosyncratic treatment of “Drive Your Plow Over the Bones of the Dead,” the surreal eco-thriller by the Polish author and Nobel laureate Olga Tokarczuk. It runs at the Barbican Theater in London through April 1, then tours Britain before playing at some major European venues and festivals, including the Ruhrtriennale in Germany, and the Odéon — Théâtre de l’Europe in Paris.Tokarczuk’s novel revolves around a series of grisly murders in a remote village in southern Poland. The narrator-protagonist, Janina, a semiretired teacher and passionate animal lover in her 60s, takes a keen interest in the case, pestering the local police force with her unsolicited insights and pushing a bizarre theory that, since all the victims were avid hunters or poachers, the murders must have been carried out by animals as an act of revenge. Along the way she holds forth on animal cruelty, astrology and her love of the English poet William Blake.Complicité’s decision to foreground these freewheeling digressions is to be commended: This is not a conventional whodunit but, rather, a kind of fable. The production’s blend of philosophical purpose and irreverent humor rings true to the book’s spirit, and makes for an entertaining and thought-provoking spectacle.The spine of the play is a spotlit monologue by Janina, who dips in and out of the action as it unfolds around her. Amanda Hadingue — standing in for Kathryn Hunter, who has been unwell — brings a disarmingly self-effacing grace to the lead role, ensuring Janina retains the audience’s sympathy, even as she rails abrasively against the industrial slaughter of animals, the hypocrisy of organized religion and the unquestioning passivity of her fellow townspeople.Indeed, the entire production is delivered with a playful esprit that borders on the pantomimic: Self-important cops are played for laughs, as is the supercilious local priest; there are charming cameos from animals played by humans — a dog here, a fox there; and César Sarachu almost steals the show in a wonderfully droll performance as Janina’s endearingly hapless neighbor, Oddball.Interiority is the perennial challenge when adapting literary novels for stage or screen. A slick 2017 movie adaptation of “Drive Your Plow” called “Spoor,” by the Polish director Agnieszka Holland, rendered it as a straight-up nor thriller. It was well wrought but inevitably one-dimensional: Janina’s distinctive narrative voice, which treads a fine line between eccentric and downright cranky, is integral to the novel’s charm; the story feels flat without it. Complicité’s adaptation neatly sidesteps this problem by juxtaposing the inner and outer worlds in a way that feels lively and dynamic.From left: Maria, Uzoka, Sophie Steer, Kathryn Hunter, Amanda Hadingue and Tim McMullan. The company’s director is known for his exuberant use of audiovisual effects.Marc BrennerMcBurney, the director, is known for his exuberant use of audiovisual effects, and his team have conjured an impressive sensory texture here. A big screen at the rear of the stage displays eye-catching images that complement the action. Some are scene-setting, such as snowy landscapes evoking the bitterly cold Polish winter; others, such as a series of detailed drawings of horoscope charts, are thematic.Richard Skelton’s atmospheric score alternates between brooding suspense and doleful solemnity, though the sound designer Christopher Shutt is maybe a little too trigger-happy with the sudden loud noises: I feared for some of the older theatregoers, but it certainly kept the audience alert.Rae Smith’s costume design is understatedly on point: Janina pads around in a jarringly mismatched sports-casual ensemble that is precisely the kind of thing an unabashed eccentric might wear, and the local huntsmen look appropriately forbidding in their uniformly dark puffer jackets.Clocking in at 2 hours and 45 minutes, “Drive Your Plow” is a bit too long. A subplot about Janina’s unspecified chronic illness (“my ailments”) could perhaps have been significantly abridged, or even cut, to give the play a zippier feel. But its shortcomings are essentially those of the novel: its single-track didacticism; its neat pitting of romantic idealists against macho, insentient normies; and the fact that a decisive plot twist can be spotted a mile off.Complicité is no stranger to politics: “The Encounter,” adapted in 2016 from a novel by the Romanian-American author Petru Popescu, addressed environmental destruction in the Amazon; the company’s 2015 children’s play “Lionboy” touched on the ethically dubious machinations of Big Pharma. Crucially, the company’s dissident ethos extends to form as well as subject matter. “Drive Your Plow’s” parable of hubris offers considerable food for thought as we continue to hurtle toward climate disaster: Janina is a Cassandra figure for the 21st century, a voice of reason doomed to be met with indifference, condescension or ridicule. The political message is deadly earnest. Thankfully, Complicité serves it up with a dose of fun.Drive Your Plow Over the Bones of the DeadThrough April 1 at the Barbican Theater in London, then touring in Europe through June 17; complicite.org. More