{"id":5589,"date":"2025-11-18T14:16:07","date_gmt":"2025-11-18T12:16:07","guid":{"rendered":"https:\/\/muzikinis-teatras.tandemumstage.space\/recenzija-gabrieles-bukines-triumfas-kvmt-premjeroje\/"},"modified":"2025-11-24T16:51:10","modified_gmt":"2025-11-24T14:51:10","slug":"recenzija-gabrieles-bukines-triumfas-kvmt-premjeroje","status":"publish","type":"post","link":"https:\/\/muzikinis-teatras.tandemumstage.space\/en\/recenzija-gabrieles-bukines-triumfas-kvmt-premjeroje\/","title":{"rendered":"RECENZIJA | \u201eGabriel\u0117s Bukin\u0117s triumfas KVMT premjeroje\u201c"},"content":{"rendered":"
\n
\n
Justina Paltanavi\u010di\u016bt\u0117, muzikolog\u0117\u00a0 Kauno.diena.lt<\/a><\/h5>\n

Kauno valstybinis muzikinis teatras (KVMT) \u0161\u012f sezon\u0105 prad\u0117jo Fran\u010desko \u010cil\u0117jos opera \u201eAdriana Lekuvr\u0117\u201c, kuri, kaip bendro Kauno valstybinio muzikinio teatro (KVMT) ir Estijos Pernu mieste rengiamo operos festivalio \u201ePromFest\u201c projekto t\u0105sa, pirm\u0105 kart\u0105 \u012f scen\u0105 \u017eeng\u0117 rugs\u0117jo 11-\u0105j\u0105, o antr\u0105ja sud\u0117timi Kaune j\u0105 i\u0161vydome kiek v\u0117liau \u2013 spalio 25-\u0105j\u0105.<\/p>\n

\"\"<\/p>\n

Duetas: aistringoji operos istorijos pora \u2013 G. Bukin\u0117 ir T. Pavilionis.<\/em><\/p>\n

Opera, sukurta i\u0161 gyvenimo<\/strong><\/p>\n

Turint omenyje, kad KVMT pastaruoju metu labiau susitelkia \u012f kiek lengvesnius operet\u0117s ir miuziklo \u017eanrus, pasirinkimas statyti b\u016btent \u201eAdrian\u0105 Lekuvr\u0117\u201c pasirod\u0117 gerokai netik\u0117tas, nes \u0161i\u0105 oper\u0105 galima dr\u0105siai pavadinti ne tik neatrastu operos perlu, bet ir gana kietu rie\u0161utu tiek atlik\u0117jams, tiek publikai.<\/p>\n

\u0160is, ties bel canto operos tradicija ir verizmo riba stilisti\u0161kai balansuojantis k\u016brinys, net lyginant su kitomis to meto operomis, yra i\u0161ties intensyvus tiek savo partit\u016bra, tiek siu\u017eetin\u0117mis linijomis, tiek emociniu kr\u016bviu.<\/p>\n

Teatras teatre \u2013 operos veiksmas nukelia \u012f XVIII a. Pary\u017eiaus \u201eCom\u00e9die-Fran\u00e7aise\u201c teatr\u0105, kuriame vaidino ir myl\u0117jo tikroji Adriana Lekuvr\u0117, viena \u017eymiausi\u0173 savo laikme\u010di\u0173 aktori\u0173, \u2013 suteikia operai ry\u0161k\u0173 tikrov\u0117s prieskon\u012f, ta\u010diau taip pat \u017ei\u016brov\u0105 painioja, nukreipia d\u0117mes\u012f \u012f operos muzik\u0105, ne \u012f siu\u017eet\u0105.<\/p>\n

Tikroji Adriana, \u012ftaigiai k\u016brusi vaidmenis naujausiuose \u017eymaus pranc\u016bz\u0173 dramaturgo \u017dano Batisto Rasinio tragedijose, gyveno \u0161loving\u0105 scenos \u017evaig\u017ed\u0117s gyvenim\u0105, kupin\u0105 ne tik blizgesio, bet ir meil\u0117s trikampi\u0173, intrig\u0173 ir vidini\u0173 abejoni\u0173. Galiausiai ji buvo rasta negyva \u2013 skland\u0117 kalbos, kad buvo nunuodyta ant si\u0173st\u0173 \u017eibu\u010di\u0173 paskleistais nuodais. \u0160i istorija intrigavo ir \u017eav\u0117jo XIX a. ra\u0161ytojus E\u017een\u0105 Skrib\u0105 ir Ernest\u0105 Leguv\u0117, kuri\u0173 pjese ir remiasi F. \u010cil\u0117jos opera, pirm\u0105 kart\u0105 rodyta 1902-aisiais Milane.<\/p>\n

\"\"
\nSpalvos: kontrastas vizualiniam spektaklio puo\u0161numui \u2013 kylanti veiksmo \u012ftampa ir dramati\u0161ka atomazga.<\/em><\/p>\n

Tarp scenos ir realyb\u0117s<\/strong><\/p>\n

\u201eAdriana Lekuvr\u0117\u201c KVMT scenoje atsirado neatsitiktinai \u2013 statyti b\u016btent \u0161i\u0105 oper\u0105 pasirinko pagrindin\u012f vaidmen\u012f operoje atliekanti Gabriel\u0117 Bukin\u0117. Dar repetuojant skland\u0117 kalbos, kad tikroji Adriana ir G. Bukin\u0117 turi ka\u017ek\u0105 bendro, tarsi susilieja \u012f viena, galb\u016bt tod\u0117l G. Bukin\u0117 ir yra vienintel\u0117 abiej\u0173 operos pastatymo sud\u0117\u010di\u0173 pagrindinio vaidmens atlik\u0117ja. Nors tikruosius j\u0173dviej\u0173 pana\u0161umus ir skirtumus tikriausiai \u017eino tik pati solist\u0117, \u017ei\u016brint oper\u0105, jau nuo pirm\u0173j\u0173 akord\u0173 nekyla abejoni\u0173, kad vaidmuo, tiek vokaline, tiek aktorine prasme, \u012fk\u016bnytas itin kruop\u0161\u010diai, \u012ftaigiai, jautriai ir originaliai.<\/p>\n

Visus keturis veiksmus i\u0161b\u016bti intensyvi\u0173 \u012fvyki\u0173 ir muzikini\u0173 vyksm\u0173 centre n\u0117ra lengva, ta\u010diau atrod\u0117, kad G. Bukinei tai pavyksta ne tik puikiai, bet ir yra labai nat\u016bralu. Galb\u016bt tod\u0117l gerokai silpnesni pasirod\u0117 vyri\u0161k\u0173 vaidmen\u0173 k\u016br\u0117jai.<\/p>\n

Tenoras i\u0161 Rumunijos Eusebiu Hu\u021banas suk\u016br\u0117 gana lyri\u0161ko ir labai \u012fsimyl\u0117jusio Adrianos mylimojo Mauricijaus vaidmen\u012f (tiesa, ry\u0161kiau atsiskleid\u0117 \u012fsib\u0117g\u0117jus operos veiksmui), ta\u010diau antrojoje sud\u0117tyje dainav\u0119s Tomas Pavilionis branda ir \u012ftaigumu kiek atsiliko nuo savo scenos partner\u0117s. Galima svarstyti, ar T. Pavilioniui \u0161is vaidmuo buvo pernelyg intensyvus, ar G. Bukin\u0117 labai auk\u0161tai u\u017ek\u0117l\u0117 kartel\u0119 savo scenos kolegoms.<\/p>\n

Veik\u0117j\u0173 kontrastai<\/strong><\/p>\n

Mi\u0161on\u0117s vaidmen\u012f taip pat k\u016br\u0117 du solistai: Adrianas Janus (Lenkija) ir Laimonas Pautienius. Abu savo vaidmenis interpretavo skirtingai \u2013 pirmojoje sud\u0117tyje dainav\u0119s A. Janus suk\u016br\u0117 jauno, naivaus, Adrian\u0105 \u012fsimyl\u0117jusio re\u017eisieriaus portret\u0105, L. Pautienius \u2013 vyresnio, glob\u0117ji\u0161ko gerb\u0117jo. Pana\u0161i\u0105 dichotomij\u0105 galima \u012f\u017evelgti Buljono prices\u0117s vaidmen\u012f k\u016brusi\u0173 Jovitos Va\u0161kevi\u010di\u016bt\u0117s ir Gabriel\u0117s Kuzmickait\u0117s interpretacijose \u2013 pirmoji atsiskleid\u0117 kaip brandi, savimi pasitikinti moteris, antroji su Adriana konkuravo jaunatvi\u0161ku \u017eavesiu.<\/p>\n

\u012e intensyvi\u0105 intrig\u0173 karusel\u0119 organi\u0161kai \u012fsiliejo ir kiti solistai \u2013 \u017dygimantas Galinis (Buljono princas), \u017danas Voronovas (Abb\u00e9 De Chazeuil), Ingrida Ka\u017eem\u0117kait\u0117 (Madmoiselle Jouvenot), Rita Preik\u0161ait\u0117 (Madmoiselle Dangeville), Povilas Padleckis (Poisson), Regimantas Gab\u0161ys (Quinault), tarnait\u0117s Taurinta Klesevi\u010di\u016bt\u0117 ir Viktorija Michailova ir KVMT choro artistai, kuriuos ruo\u0161\u0117 chormeister\u0117 Rasa Vaitkevi\u010di\u016bt\u0117.<\/p>\n

Deja, tarp pirmojo ir antrojo operos rodym\u0173 buvo juntamas \u0161ioks toks atotr\u016bkis \u2013 pirm\u0105 kart\u0105, diriguojant operos muzikiniam vadovui estui Erkiui Pehkui, orkestras tolygiai su solistais k\u016br\u0117 muzikin\u012f operos vyksm\u0105, o antr\u0105j\u012f kart\u0105 (dirigavo Virgilijus Visockis) pasirod\u0117, kad orkestrui pritr\u016bko keli\u0173 repeticij\u0173.<\/p>\n

\u012e laisv\u0119<\/strong><\/p>\n

Ne\u017einia, atsitiktinumas tai ar ne, bet ne kart\u0105 teko pasteb\u0117ti, kad kai re\u017eisuoti oper\u0105 imasi moteris re\u017eisier\u0117, stipriuoju pastatymo re\u017eis\u016briniu elementu tampa moteri\u0161k\u0173 persona\u017e\u0173 \u012fvairialypumas, dinami\u0161kumas, tam tikr\u0173 moterims labiau nei vyrams b\u016bding\u0173 i\u0161gyvenim\u0173, vidini\u0173 abejoni\u0173 i\u0161ry\u0161kinimas. Ne i\u0161imtis ir \u0161is \u201eAdrianos Lekuvr\u0117\u201c pastatymas, kur\u012f re\u017eisavo est\u0117 Marta Aliide Jakovsk\u0117.<\/p>\n

Kad ir kaip nor\u0117t\u0173si vengti stereoripi\u0161kai lytims priskiriam\u0173 kli\u0161i\u0173, \u0161is spektaklis, ypa\u010d finalin\u0117 jo scena, siun\u010dia feministinio atspalvio \u017einut\u0119: Adriana mir\u0161ta dviej\u0173 j\u0105 mylin\u010di\u0173 vyr\u0173 akivaizdoje, ta\u010diau, tiesiogine prasme i\u0161silaisvinusi i\u0161 korseto (kur\u012f galima interpretuoti kaip var\u017ean\u010di\u0173 visuomen\u0117s standart\u0173 simbol\u012f), i\u0161eina \u012f \u0161vies\u0105, \u012f laisv\u0119 \u2013 viena, stipri ir laisva.<\/p>\n

Toki\u0105 mint\u012f patvirtina ir spektaklio scenografija (kostiumus k\u016br\u0117 estas Madis Nurmsas, \u0161vies\u0173 dailinink\u0117 Monika \u0160erstabojevait\u0117, scenos judes\u012f kuravo Kristina \u017delvien\u0117), artima kultinio 9-ojo de\u0161imtme\u010dio draminio serialo \u201eDinastija\u201c estetikai. Tam tikr\u0173 s\u0105saj\u0173 ar aliuzij\u0173 \u012f serial\u0105 galima \u012f\u017evelgti ir operos \u201eAdriana Lekuvr\u0117\u201c siu\u017eete bei operos veik\u0117j\u0173 tarpusavio santykiuose, kuriuose \u012f pirm\u0105 plan\u0105 i\u0161kyla ne tik galios santykiai, bet ir galios siekimas per intrigas.<\/p>\n

Ta\u010diau \u0161ios operos pastatymo branduolys, pagrindinis elementas yra G. Bukin\u0117 ir jos kuriamas perso\u017eanas, kuriame telpa viskas, ko reikia stipriai dramai: meil\u0117 ir neapykanta, trapumas ir stipryb\u0117, gro\u017eis; abejon\u0117s esamais ir b\u016bsimais pasirinkimais, vidinio ir i\u0161orinio pasauli\u0173 prie\u0161prie\u0161a ir, svarbiausia, vis\u0105 \u0161i\u0105 dramatini\u0173 element\u0173 skal\u0119 sujungiantis laisv\u0117s leitmotyvas.<\/p>\n <\/div>\n <\/div>","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":4580,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[177],"tags":[],"class_list":["post-5589","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en"],"acf":[],"yoast_head":"\nRECENZIJA | \u201eGabriel\u0117s Bukin\u0117s triumfas KVMT premjeroje\u201c - Muzikinis Teatras<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"RECENZIJA | \u201eGabriel\u0117s Bukin\u0117s triumfas KVMT premjeroje\u201c - 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