Lost C / É Tardi

(...about the end) performance at Luna Bar, Hotel Kyjev, 13 April 2007
Together with a former Opera soloist Maria Turnova (soprano) I prepared 4 arias about the end. For the purposes of this performance I adapted the original libreto in a way that an aria is even more unit and it is based on a composition of Antique drama which is obvious for a staged Opera (because of functional reasons) but useless for a solo interpretation. I also tried to involve a feeling of definitiveness (selected arias are from advanced stages of the story - disaster or climax, natural expectation of the end). All 4 arias were sung one after another according to their time placement in a particular Opera. Graduation of the story of all the 4 arias was preserved. At the same time Opera doubts the understanding of the end as a static, definite parameter.

(...about the end) performance at Luna Bar, Hotel Kyjev, 13 April 2007
Together with a former Opera soloist Maria Turnova (soprano) I prepared 4 arias about the end. For the purposes of this performance I adapted the original libreto in a way that an aria is even more unit and it is based on a composition of Antique drama which is obvious for a staged Opera (because of functional reasons) but useless for a solo interpretation. I also tried to involve a feeling of definitiveness (selected arias are from advanced stages of the story - disaster or climax, natural expectation of the end). All 4 arias were sung one after another according to their time placement in a particular Opera. Graduation of the story of all the 4 arias was preserved. At the same time Opera doubts the understanding of the end as a static, definite parameter.

(...about the end) performance at Luna Bar, Hotel Kyjev, 13 April 2007
Together with a former Opera soloist Maria Turnova (soprano) I prepared 4 arias about the end. For the purposes of this performance I adapted the original libreto in a way that an aria is even more unit and it is based on a composition of Antique drama which is obvious for a staged Opera (because of functional reasons) but useless for a solo interpretation. I also tried to involve a feeling of definitiveness (selected arias are from advanced stages of the story - disaster or climax, natural expectation of the end). All 4 arias were sung one after another according to their time placement in a particular Opera. Graduation of the story of all the 4 arias was preserved. At the same time Opera doubts the understanding of the end as a static, definite parameter.

(...about the end) performance at Luna Bar, Hotel Kyjev, 13 April 2007
Together with a former Opera soloist Maria Turnova (soprano) I prepared 4 arias about the end. For the purposes of this performance I adapted the original libreto in a way that an aria is even more unit and it is based on a composition of Antique drama which is obvious for a staged Opera (because of functional reasons) but useless for a solo interpretation. I also tried to involve a feeling of definitiveness (selected arias are from advanced stages of the story - disaster or climax, natural expectation of the end). All 4 arias were sung one after another according to their time placement in a particular Opera. Graduation of the story of all the 4 arias was preserved. At the same time Opera doubts the understanding of the end as a static, definite parameter.

(...about the end) performance at Luna Bar, Hotel Kyjev, 13 April 2007
Together with a former Opera soloist Maria Turnova (soprano) I prepared 4 arias about the end. For the purposes of this performance I adapted the original libreto in a way that an aria is even more unit and it is based on a composition of Antique drama which is obvious for a staged Opera (because of functional reasons) but useless for a solo interpretation. I also tried to involve a feeling of definitiveness (selected arias are from advanced stages of the story - disaster or climax, natural expectation of the end). All 4 arias were sung one after another according to their time placement in a particular Opera. Graduation of the story of all the 4 arias was preserved. At the same time Opera doubts the understanding of the end as a static, definite parameter.

(...about the end) performance at Luna Bar, Hotel Kyjev, 13 April 2007
Together with a former Opera soloist Maria Turnova (soprano) I prepared 4 arias about the end. For the purposes of this performance I adapted the original libreto in a way that an aria is even more unit and it is based on a composition of Antique drama which is obvious for a staged Opera (because of functional reasons) but useless for a solo interpretation. I also tried to involve a feeling of definitiveness (selected arias are from advanced stages of the story - disaster or climax, natural expectation of the end). All 4 arias were sung one after another according to their time placement in a particular Opera. Graduation of the story of all the 4 arias was preserved. At the same time Opera doubts the understanding of the end as a static, definite parameter.