Title / author: White Crow / Yu. Rybchinsky, G. Tatarchenko Theater: National Operetta of Ukraine Director: Maxim Golenko On the occasion of the 80th anniversary of the poet Yuri Rybchinsky, the National Operetta of Ukraine returned the first Ukrainian rock opera “White Crow” to its repertoire. Musical and poetic biography of Joan of Arc, whose main conflict is the confrontation between freedom and lies. Maxim Golenko’s production is distinguished by its visual originality and sublime spirit, which energizes the hall.
The following is the text in the original language. Because the meta is great, like freedom, the yurba will always, forever become the people.
Ribchinsky Joan of Arc, melodiously, the most historically recorded, was born on the fifteenth century. Surrounded by facts that do not lead to the diversity of historians, chronicles support alternative versions of the life of the Virgin of Orleans. For example, the version that Jeanne was not with the rich villagers, but a small royal escapade, or about the routine of the national heroine before the scaffold, or the version about the abandonment of exotic villains, through which Jeannie’s heart lost an uncontrollable fire. Raptova’s appearance and knowledge from the library of the Vatican protocols will complete d’Arc before the audience with the future king to put the “Book of Poitiers” (for the name of the place where Joan was fed) on the same page with such second-hand legends.
For the French, the life of Joan of Arc is no less familiar than the path of Jesus. For them, the memory of Jeannie to know in the attack the re-coated Dauphin, the future king Charles VII, and the lifting of the siege from the mayor of Orleans - the same miracle as walking barefoot along the waters of the Jordan or the resurrection of Lazarus; proof that France is under God!
While the light genre of “rock opera” suits the authors, a stage biography of a canonized saint was always needed. Noteworthy in " None of the authors realized that they were working on the powerful Magnum opus, the main creations.
In " Director Maxim Golenko and set designer Volodymyr Kovalchuk “hung” an orchestral window over the stage. Ideally rounded, it can symbolize the heavenly bodies, and for those looking at it, it can be seen how sound magic is created. This is the main motivator of the characters: it’s clear how the rhythms throw them into battle, then into trouble. So, in artistic terms, great forces converge with heroes.
The melodies themselves scream lamp nostalgia. Gennady Tatarchenko worked for a long time as an arranger in Budinka for sound recording at the State Television and Radio Committee of Ukraine. Tom, in “White Crow”, has seen the outline of radio shows from the eighties more than once. Retro-lounge with a compelling, yet unobtrusive part of metal drums and jingly percussion. Tatarchenko’s most famous work, “Vivat, King”, also made its way into the rock opera.! "
Ribchinsky's libreto follows the plot of the chronicle of Georges Chatelain, Divy's companion, the first biographer of Charles VII. In \; Burgundians - French collaborators - who burned down the nearby village of Domremi; audience in Chenon with the upcoming king, who himself doubted his right to the throne; miraculously granted to Orleans; Coronation of Charles VII in Rhine; the recent march on Paris, which fueled the faith in Divi’s worship of God; Zrada in Komp'eni; sales to the English and half of the catuval wealth in Rouen. See what sings when engaging in non-historical reconstruction: the characters of the rock opera are more similar to our participants than to the French of the 15th century. But Pan Ribchinsky was not ignorant of the historical canon, and did not indulge in the mystification of cryptohistorians.
Before the speech, for the “literary quality” of d’Arc’s biography, supporters of the alternative theory claim that the history of the Virgin of Orleans is a political project “Operation Shepherdess”, organized by the mother of Charles VII for. Indeed, the life of Jeannie d'Arc contains all of Borges's plots. First of all, this is a story about the siege and defense of fortified places. In another way, there are a few lines about a joke: either the sword of Charlemagne for the insignia of the beast, or the reigning king of France. Thirdly, this is – absolutely – a story about God’s self-sacrifice. Knowing that she is insecure, and relying too much on her strength, Zhanna continues her free hike.. Like Achilles, who - after Borges - knew that the walls of Troy were not to be seen to fall, so Jeanne realized that the liberation of the Fatherland from the English would not be achieved. Without these sacrifices there would have been no victory over the Trojans, no liberation of France.
Ribchinsky will create a rock opera with a fourth plot - back home. " The story begins with the love affair of young Jeannie (with. Ukraine Tamara Khodakova) її named Julien (h. Ukraine Oleksiy Kirillov). The fragments of Zhanna hear the voices of the saints, then in them he allowed him to ask for dear pesto. Here the Virgin looks like a naive, pious village woman. And over time, Jeannie’s dignity becomes more and more obvious due to her ostentation, her otherness (whiteness) and her closeness to spiritual light.. The scene is like a gathering on the mountain. Until you go to riches, and when you go, you sing in the sky. Zhanna is a warrior of great powers, and that one will turn to the hands of Yogo.
Having read " In his interpretation of the present large-scale, spectacular scenery of Volodymyr Kovalchuk, among others there are also gigantic gatherings and drabins - the path to the mountain. The director's re-interpretation of the characters. This is how French Orleans and American New Orleans are depicted: and the Historic War is personified (with. Ukraine Asya Sereda-Goldun) and her accomplice take away their identities from Louisiana voodooism - Maman Bridget and Barona Suboti. Olenya Levchenko’s stringy costumes transform other characters into heroes of Bruegel’s paintings, and in the outfits of the Burgundians it’s easy to recognize a departure from Kubrick’s “The Mechanical Orange”.
But in order to visually engrave on the revelation of history, the viewer is guilty of being familiar with the narrative of the “White Crow”, and would like to remember the life story of Zhanni from the assistant for the 5th grade. The same rumors, about the voices of the saints in the head, about the trials of Charles VII, who was among the courtiers, about the omission of a place in the Companion... Unfortunately, Golenkov’s version does not expand the libreto, does not provide any further explanation. Soon we will see animated video clips to Ribchinsky's aria. Here it is good to praise the soloists of the National Opera - their singing is clear, and the text is a little better. This story is conveyed only through poetry, which must be carefully followed in order to understand the gloomy carnival on stage.
The libreto " Ribchinsky made the heroes close to our present day, so that we would associate ourselves with them more strongly. Only Zhanna is different, chosen, holy. And this effect of separation, the side characters (that side) from the main character in the libreto, is achieved step by step. But there, where I’m still talking about “comical”, Golenko is already switching to “cosmic”. From the first scenes, three levels of epic-ascension degrees of atmosphere are evoked here. But through the obsessive pretentiousness - coupled with the stringent costumes and decorations - one sometimes gets the impression that what we are looking at is not average France, but a revolution “for everything good against everything bad” with the childish prose of Gianni Rodari.
According to Ribchinsky, the main conflict of the Vistavi is between freedom and nonsense. Why the author created such a dichotomy is easy to understand, as it would be important to remember if a rock opera was created. The end of the eighties, the period of " The first production in 1991 became a hit. The fashionable one sings precisely in the spirit of the hour: Ukrainians are emerging from Moscow’s propaganda nonsense and are taking back information freedom.
Golenko's re-interpretation of " The pathos of the fight for freedom and nonsense seems relevant. Here we are, free Ukrainians, simply to the lying Russians.
In 2025, there are two main goals for information on the monopolized TV station: “Don’t be surprised at the heights” and “This is about to be broadcast in the public domain”? " And the non-disposable support hall \! Freedom! " " Peace, goodness - like the drunken words" And at the same time, the pre-revolutionary nature of the return of “The White Crow” to the stage of the National Opera is easily explained by the round river girl of Yuri Ribchinsky, who received 80 births in his life.
A massive ten-day ovation at the final.
The deep composition of the genius Tatarchenko and Ribchinsky at the core, the unimaginable musical design, the masters of both the game and the actors, the magnificent scenery and costumes, which do not forget about the permanently exalted atmosphere,. It is important not to succumb to the hysterical mood that the hazel-nose of the Hamelin barnacle catcher will sniffle.. If you need to remember the heroic-epic mood, this version of the rock opera is suitable for such recharging.