Nikita Kononov (Kryguine), stage director


Les Indes Galantes (J.-P. Rameau), 2001, Moscow


            “ … In the visual elements of the production (the direction, the scenography, the choreography) were looked through original ideas. And it is not important, that it is difficult to decipher value of many gestures and stage settings which have been thought up by director N.Kryguine and his colleagues (for example, officers with a pistol in a scene "Les Incas"). Probably, it also is not necessary in a context of the given production. Such director's style emphasizes some "delirium" of subject, irony of authors of production above an event enough (certainly, all it is not new; so to execute a bagatelle already began tradition - to recollect production in 1999 by A. Serban and W.Christie at  Palais Garnier)…”

Eugeny Tsodokov, Opera News Russia, April 2001


                “…The opera of the French composer is unfamiliar to russian audience so N.Kryguine began some kind of the pathbreaker. He has risked to recreate an opera in its protogenic kind, to dip spectators into the world of baroque theatre … but in today's execution show not museum reconstruction but a fresh sight on the forgotten opportunities of baroque acting techniques…”

Natalia Panchenko, Ekran I Scena (Screen and Scene), June 2001


Orfeo (K.W.Glück), 2001, Moscow

“…Classical museum art-performance with videoinstallation, stage provocation and spatial subjectivity. Performance abounds the latent citations and hyperreferences, among which - references to the Old Testament, Metamorphosises by Ovide, Une Saison en Enfer  by Rimbaud and Inferno by Dante. The important role in statement is played also with a interior of Moscow private residence by count Alexis N. Tolstoy in which the theatre is located: original painting by Brueghel, Tennirs and other classical masters of painting become characters of a played drama…”

The Portal Culture, December 2001



Don Giovanni (W.A.Mozart), 2004, Moscow

            “…Don Giovanni  appeared one most successful of production of theatre…”

                “…In a small hall production is shown as performance of scrolling company…”

Grigory Spektor, Muzykalnaya Zhyzn (The Music Life), March 2004


Black Man (S.Esenin – E.Tolstunova), 2004, Ryazan

            “…Dreams And Reality…”

“…Claps a door, Esenin enters … Barefooted, blond … the muffled voice of a person overtaxed: «My friend, my friend, I very much also am very sick ». The production of Black man is a dream play. Dreams for the poet are fertile elements where the reality interferes as something alien. The death is a reality, immortality is a true.

Black man is the black cloak, falling silk on a floor is almost as judicial sacerdotal robes. To sustain court of own conscience - terrible test! But the verdict is inevitable: “Anybody with me.  I lone… before broken a mirror… »

Vera Novikova, Novaya Gazeta (The New Daily Ryazan), June 2004


                “…Black man is musical dream play in fourteen episodes on Esenin’s poem. Dreams: "phantasmagoria", "madness", "death", "immortality" etc. Dreams are steps to a precipice, in the denouement only a loop…”

                “…The way of geniuses to death is terrible - neither women, nor fine sounds of a violin - nothing can avert the terrible ending. The continuous round of sounds and  of embraces fills in life and - on any time - heart, but the fate is relentless…”

Elena Koreneva, Ryazanskie vedomosti (The Ryazan Gazette), June 2004




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