MUSIC OF HOPE

The fate of a work of art is similar to that of a man. Like people, it has certain milestones - birth, establishment, path… These milestones are often different due to circumstances that are not always convenient. Sometimes they are dramatic. This is what we thought about at the premiere, or to be more precise, public preview of Firangiz Alizada's opera "Qarabag-nama".

"Opera breath"

Few people know that its ideological inspiration (if this word is suitable here) came from none other than the great maestro Mstislav Rostropovich. It was Rostropovich who suggested that the Azerbaijani composer write an opera to reflect our people's tragedy, known worldwide by the estranged and cold name of "the Karabakh conflict". Maestro Slava dreamt of conducting the opera's premiere in Baku and wanted to be personally involved in composing its music. They spent a long time discussing details of scenography and orchestration. Alas… How-ever, Firangiz still found an opportunity to dedicate the premiere to his name, having secured a public preview of the opera during the Rostropovich festival.

Operas are not composed every day - this is a monumental form of the musical-theatrical arts. There is even a term called "opera breath", and it is equally applicable to both vocalists and composers. Initially, no-one doubted that Firangiz Alizada, with her huge breadth of talent, has this breath, as she has a global way of thinking - the latter hardly requiring justification, how else would she manage to acquire a world audience and become one of the most popular and best-known composers of the modern period.

Our presentiment before the premiere turned out to be true. From the first moment, it was evident that the composer was not going to turn her opera into an outpost of the musical-theatrical vanguard and refined professionalism. The "vanguardism" of her music, although not an end in itself, served as the reason for a tense internal monologue. 

The Azerbaijani soul continuously made its way past the barrier of relentless reality and inexplicable logic which tolerates no compromise. It was clear that the composer was dealing with something deeply personal - the musical canvas was dramaturgically verified, convincing and embellished by the orchestra from high tragedy to culmination in a life-asserting conclusion.

The style of the opera "Qarabag-nama", written to a libretto by Nargiz Pasayeva, is lyrical and heroic. It is based on the principle of contrast - two acts which confront each other aesthetically and emotionally. The first act, opening with the festivity of an engagement party, is in sharp contrast to the second; nevertheless, although this festivity looked good, you felt subconsciously that something terrible was about to happen and that this happy bustle would end in something irreparable. The finale was left without a trace of the happy triumph on the face of the bride - Malak - at the beginning of the performance. In any event, it all evolved the way it does in real life, which is full of inexplicable contrast. Here it is - the cold which grips Susa and which also grips the souls of people from that place. 

The documented footage of the horrors of the tragedy in the depths of the stage was portrayed by actors playing refugees with their miserable belongings in sacks on their shoulders and the snow which wrought change within their spiritual climate. The forces of evil which overwhelm the stage, and their "doings", were skilfully conveyed by the orchestra. The joy of waiting for tomorrow was replaced by the darkness of inconsolable reality. In this respect, we would like to say a few kind words about the actors. The principal character of the action, Malak, played by Azerbaijan's prominent actress Gulnaz Ismayilova, looked psychologically trustworthy without any airs or unnecessary emoting. Her bright, radiant and naturally pliant voice was organically connected to her role. Avaz Abdullayev, who played the role of the alien, looked wonderful, although his role was secondary, and he managed to demonstrate both the scale of his vocal potential and his unusual talent as an actor. Among other actors, we might mention people's actress Qarina Karimova, who played the role of Malak's mother with the pathetic warmth of her voice and an ability to convey the depth of human suffering, prominent actors Hasan Enami, who played the role of Arif, and Farida Mammadova (one of the close friends), with her huge vocal potential and unusual effusiveness.

Music at its height

Were there faults? Probably yes, as there are present at the beginning of any major initiative. I will only say that the direction could have been slightly more inventive. The dramatic action was fragile, as it lacked a certain core capable of holding up the whole monumental structure of the action which became occasionally a combination of separate numbers. If we talk about the artistic embodiment of the scenic concept, the design failed, and this was obvious, to create that same transforming environment which should have depicted the "epoch" with its complicated upheavals and unresolved problems. But the performance ripens later, acquiring the perfection that the composer initially strove for. Music was at a peak on that evening. This is exactly what Alizada always does. And here I would like to tell you about a piquancy which drained my desire to make critical remarks when I heard about it: the opera was composed in just two weeks. Only Firangiz Alizada herself, those who played a direct role in the creative process - the conductor, director, librettist and vocalists - know how much effort that took. In just two weeks, they had to arrange the performance, with its stage settings and action, have costumes sewn and invite a conductor from another country to stage "Qarabag-nama"… Yes, this is why they invited Arkadiy Matveyevich Shteynlukht, a conductor of the St Petersburg Philharmonic Hall, who brought with him five concert leaders. Having looked at Alizada's score, they were all delighted with the music, admitting that "they did not expect anything like this and did not think that anyone could write such an opera on the edge of a fallen empire". "There has not been music of such a level and scale in the post-Soviet area for the last 25-30 years," they said.

The rehearsals were held at lightning speed - the guests from St Petersburg pulled off miracles of hard work, learning the music in 15 days and "putting the orchestra on its feet". In any case, Firangiz Alizada said, "10 minutes after Arkadiy Matveyevich took charge, it was clear that things would work out well - he made various remarks, including unexpected ones, painstakingly working, not just with the orchestra, but also sharpening every phrase sung by the choir".

Galina Vishnevskaya herself, who was present, pointed out the "huge music potential of the opera", stressing that it could be staged everywhere. "The music is wonderful, and it is only necessary to arrange the scenography," said the prima donna.

Music is an art with tectonic influence on the minds and feelings of people, and no-one can deny this. Suffice to recall Verdi, whose music played a tremendous role in the struggle for the unification of Italy. Firangiz Alizada also uses any opportunity to tell the truth about Azerbaijan at her artistic level. Let's cite an example.

She recently returned from Rome where a performance based on her music was successfully staged. The performance was quite unusual - on the subject of achieving mutual understanding between peoples through the arts, in this case between Israelis and Palestinians, and on the role of music in finding a common language between these two peoples. The premiere was preceded by a news conference at which Alizada spoke about the Karabakh conflict which had brought so much suffering to her people. No-one objected to her - it is not customary there to object to artists of such a scale. People communicate with them without objections. She told them that "it is very good when attempts are made to reconcile people, and this can only be welcomed, but it is not happening with us - I mean my homeland, which is facing such an injustice while the world keeps silent. Part of my country is under occupation and no-one says - stop it! We have one million refugees and no-one in the world cares about them." No-one expected such a statement from the composer - they avoid making things so specific and raising issues so radically there. The conformist West does not like questions, preferring calm and tranquillity. Knowing this, "our people" try to behave in a manner dictated by the situation there in order "not to irritate anyone".

Patriotism can take different forms: false, zoological, round-the-clock or momentarily beneficial. There are too many "categories" of this kind. Alizada's work gives people a true and shrill patriotism that is akin to physical pain.

"Our hearths have gone out" - "Ocaqlar sondu" - one of the characters of the action says, generating an involuntary response from the audience watching anxiously. This is how a scene in an opera theatre becomes a scene from real life - when the truth of life does not contradict the truth of art.

Music cast by the images of martyrs… The height and harmony of self-expression, a poem of clarity and cleanness and a rebellious spirit of improvisation. The opera ends with a tragedy - the main character dies, but there is no anguish or hopelessness here, there is faith in the spirit of the people and, finally, in the justice of the Most High. The boy who appears on stage from time to time becomes that same hope, or to be more precise, its shoot in which we very much want to believe. Firangiz Alizada convinced us of this and also demonstrated that the potential of her creative ability has not yet run out.

A knight in shining armour

The prominent Georgian and Soviet actor, Gia Kancheli, who visited the Rostropovich festival, told R+ that Firangiz Alizada enjoys great authority abroad. "I always find it interesting to familiarize myself with her new works. I think that the openly expressed individual style is the main thing in her music, and I saw this for myself again when I watched her new opera. It seemed to me that not everything has been brought to fruition in terms of performance and artistry. I think that if music and libretto already have recognizable national motives, it is not helpful to underline them in the performance and scenography. Despite this, I regard the new opera as a great creative success for Firangiz," he said.

It was and is an artist's task to embody time, passing through its difficult essence and creative vision. The presence of skills, their quality and harmony between the desire and the achievement of such a level come to the fore here. Alizada proved to be capable of that.

One of the strongest episodes in terms of impact is the scene in which the frost-bitten main character dies. Her dying aria, her mother's crying, the roll call with the kamanca (musical instrument), her "psychological" failure and incomprehensible wisdom, the sounds organically melding with the orchestra - all these, coupled with the skill of the sound recorder, made the scene absolutely chilling.

I remember the words Firangiz spoke in one of our meetings: "My creative aim is to create music that reflects my view of the world and the state of my soul which rushes between hope and despair. Music should bear beauty even if it tells you about tragedy. Music should always be emotional… It is very important to make people believe in themselves and in their victory." The zurna (music instrument) at the very end of the opera, with its unreasonable, childish triumph, sounds as a harbinger of hope.

At the same time, the unclear image of a knight in shining armour is shown on the screen. This is an anthem and challenge. It is an appeal and a spell.

I suddenly remembered Mstislav Rostropovich's lines from his foreword to Firangiz's book which was recently published in Germany: "I have said and will say: Firangiz Alizada is an exceptionally talented composer who can do absolutely everything, both in terms of style and coverage!"

The sun was rising over Susa at the heart of the stage. It was the sun of our hope.