Shpagin Plant, Litera A

Carl Orff (1895 – 1982)

Opera De temporum fine comoedia (1973)

Director — Anna Guseva

Production Designer — Yulia Orlova

Choreographer — Anastasia Peshkova

Costume Designer — Sergey Illarionov

Lighting designer — Ivan Vinogradov

Video Design — 2BLCK

General Producer — Ekaterina Arsenyeva

Music Director and Conductor: Teodor Currentzis

Performed by the musicAeterna Choir and Orchestra,

guest soloists, and performers


18+

The central event of the Diaghilev+ Festival will be the production premiered at the Diaghilev Festival in the summer of 2022 and nominated for the Russian national award Golden Mask-2022 in five nominations. The stage version of The Mystery on the End of Time (De Temporum Fine Comoedia) – the pinnacle of Carl Orff's late work – fits eternal themes into the post-industrial context of the Shpagin Plant and our time.

Director Anna Guseva, choreographer Anastasia Peshkova, artist Yulia Orlova, and costume designer Sergey Illarionov have conceived the production as a performance based on physical theatre. In the factory space, the modern version of the ancient doctrine of Apocatastasis, the universal salvation, is unfolding energetically, and at the same time slowly, dramatically, but also meditatively: why did people kill God? Can they be forgiven? What awaits the world at the moment of the Apocalypse? The performance interprets eternal questions in a new way, but in its core strictly follows the ideas of the reformer of the musical theatre Carl Orff.

Throughout his life Orff was developing a special type of musical theatre where he synthesized relatively simple musical forms, allegedly unprofessional singing, dance, dramatic acting, and recitation in search of the art's proto-language. The composer called this synthesis "world theatre", omitting the word "music" itself. Meanwhile, music plays a key role in his mysteries. Orff's orchestra composition is unorthodox to the extreme with the participation of many percussion instruments. Orff's soloists should not only have great acting abilities, but also be able to abandon the actor's type of existing on stage, performing not the roles, but ritual duties. Orff's choir should be able to speak and shout, and dramatic actors should be able to sing. Orff's mysteries are a far cry from conventional theatre, but they are close to medieval liturgical dramas performed in churches and on the streets.

The pinnacle of these searches was the synthetic score of De temporum fine comoedia, which only with a stretch could be attributed to the opera genre. In his Mystery on the End of Time, Orff summarized his deeply personal ideas about light and darkness, about good and evil, about the world order and the end of time, combining Latin, Ancient Greek, and German texts from the Sibylline Books, the collection of orphic hymns, and the medieval collection Carmina Burana. This grand-scale work for many soloists, several dramatic actors, a choir, and a huge orchestra with the participation of about thirty percussionists was being created over the period of ten years (1962 – 1971) and was repeatedly edited by the author. The 1973 version, premiered under the conduction of Herbert von Karajan at the Salzburg Festival, will be performed at Diaghilev + Festival.

Differing from the original score by Carl Orff, the scenic realisation of De temporum fine comoedia requires some bar repetitions as well as passages of free and notated improvisation by Teodor Currentzis.

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Perm Philarmonic Organ Hall

The programme includes:

musicAeterna Choir

Chief Choirmaster and Conductor – Vitaly Polonsky



Josquin des Prez (ca. 1450/55 — 1521)

Gaude virgo mater Christi

Tomás Luis de Victoria (1548 — 1611)

Alma Redemptoris mater a 8 voci, antiphon (before 1581)

Adrian Willaert (ca. 1490 — 1562)

Ave regina coelorum

Johann Sebastian Bach (1685 — 1750)

Ich lasse dich nicht, motet BWV 1164 (1712, 1735)

Knut Nystedt (1915 — 2014)

Immortal Bach (1988)

Alfred Schnittke (1934 — 1998)

Three Sacred Hymns (1984)

I. Our Father

II. Lord Jesus Christ

III. Hail Mary, Full of Grace

Nicolas Gombert (ca. 1495 — ca. 1560)

Lugebat David Absalon, motet (undated)

Antonio Lotti (1667 — 1740)

Crucifixus a 8 voci from Credo in F Major (before 1717)

Andreas Moustoukis (b. 1971)

The Liturgy of St. Leontius, Part III (2021)

Felix Mendelssohn (1809 — 1847)

Warum toben die Heiden, psalm No. 2 from the cycle "Three Psalms for Soloists and Choir", Op. 78 (1844)

Francis Poulenc (1899 — 1963)

O magnum mysterium

Hodie Christus natus est, motets No. 1 and 4 from the cycle "Four Christmas Motets", FP 152 (1952)


18+

The Christmas programme of the musicAeterna Choir spans over the period of 600 years encompassing pieces of spiritual music written from the 16th to the 21st century. It opens and concludes with compositions dedicated to the holy Christmas Day, but covers all the key moments of life when one turns to Christ.

After the three Marian Renaissance motets by Josquin des Prez, Tomás Luis de Victoria and Adrian Willaert, Johann Sebastian Bach's motet Ich lasse dich nicht ("I Will Not Let You Go Until You Bless Me") set to the text from the Book of Genesis, which tells about the mysterious and meaningful meeting of Jacob with God, sounds in sudden contrast. This motet, in turn, enters into a dialogue with the chorale by the modern Norwegian composer Knut Nystedt Immortal Bach, which transforms the first stanza of Bach's funeral chorale Komm, süßer Tod ("Come, sweet death") into a shimmering, melting echo of voices repeating the same phrase at different tempos again and again.

Three Sacred Hymns by Alfred Schnittke – Orthodox prayers for every day – meet with David's lament for his son Absalom in the Renaissance motet by the composer of the Franco-Flemish school Nicolas Gombert, a fragment of the Liturgy of St. Leontius by musicAeterna resident composer Andreas Mousotukis, and a dramatic chorale Crucifixus ("Crucified") by Baroque master Antonio Lotti.

Only after going through the full cycle of human life, the concert programme returns to its title theme. In the finale, two chants from the Christmas cycles will be performed. Felix Mendelssohn's psalm Warum toben die Heiden ("Why Do the Nations Rage?"), written for the Christmas service of 1843, literally depicts the transition from militancy to pacification. And only the psalms by Francis Poulenc from the cycle "Four Christmas Motets" are filled with unalloyed joy for the Christmas miracle.


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Shostakovich

Concert 24.12 / sa / 19:00—20:45
Shostakovich

Diaghilev+ Party

Concert 26.12 / mo / 23:00—02:00
Diaghilev+ Party

Private Philharmonic Triumph

The programme includes:

Dmitri Shostakovich (1906–1975)

String Quartet No. 7, Op. 108 (1960)

String Quartet No. 10, Op. 118 (1964)

String Quartet No. 13 in B-flat minor, Op. 138 (1970)



Performers – the soloists of the musicAeterna orchestra

String Quartet No. 7, No. 10

Dmitry Borodin – first violin

Olga Artyugina – second violin

Dinara Muratova – viola

Vladimir Slovachevsky – cello


String Quartet No. 13

Olga Volkova – first violin

Ivan Subbotkin – second violin

Nail Bakiev – viola

Miriam Prandi – cello


12+

Dmitri Shostakovich turned to the genre of string quartet being a mature master, who wrote the operas “The Nose” and “Lady Macbeth of the Mtsensk District”, three ballets, and five symphonies, and he never abandoned it until the end of his life. Since the time of the Viennese classics, quartets have been considered as a sort of reduced symphonies, it has become common to look for and find in them the features of orchestral writing, a large dramatic form – all those features that could be defined as “symphonism”. Shostakovich has it all. However, there is something else in Shostakovich’s quartets: a unique property of chamber music writing, in which the instruments have equal parts, each containing unexpected timbre finds and opportunities for major solo utterances.


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Shpagin Plant / Hall No. 5

The programme includes:

Alternative Music Concert

18+

Diaghilev + will traditionally be concluded with an alternative music concert. musicAeterna and Teodor Currentzis actively support artists working at the confluence of various styles and trends, whether this be eight-channel sound art, avant-garde noise, or club cabaret noir. At the Diaghilev+ venues new figures of the experimental music scene will be presented. 


▪ Wooden Whales (Murmansk)

It is one of the most notable Russian bands of the recent years. New Sincerity with transparent female vocals and a flow of guitar sound only becomes deeper, more complex and more diverse with each their release.


▪ kraaa (Saint Petersburg)

This is a solo project of a sound artist from Minsk who is a resident of St. Petersburg Dom Radio. Kraaa's music is a desperate leap into the void between existential anxiety and cosmic peace. Into a space filled with a sensual voice, noise textures and a low-frequency drone.


▪ Molitva [Prayer] (Perm)

What to expect from a band whose members have neither names nor faces? A band that plays in balaclavas and records live in the forest at night? The answer is naive mysticism, psychiatric atmosphere, oriental motives in arrangements, and theatrical performance on stage.



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