The premiere of the rock oratorio “Black January” performed by Lugansk artists took place
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A resonant premiere took place in the Moscow Concert Hall: the rock oratorio Black January. Forgiveness Sunday, written by Lugansk authors (composer Yuri Dersky, poet Vladimir Zaitsev), was performed by artists and musicians from the LPR. People’s Artist of Russia Larisa Dolina joined them. At the end of the multi-genre composition dedicated to the feat of the heroes of the “Young Guard”, the audience of four thousand, consisting mainly of teenagers, stood up.
Crowds of teenagers – schoolchildren, cadets, students of colleges and schools – walked in groups to the entrance to the “Island of Dreams”, inside which the Moscow Concert Hall was located. The first feeling is tension and doubt: how will these young people behave, who are not regulated by anyone in particular? There were not so many teachers and parents among them. It turned out – great. Free, fun, polite, and most importantly – interested, with the expectation of an event.
On the stage – a symphony orchestra, a rock band, a piano … And then there will be a choir – youth and children, a ballet group, drama artists, soloists, a guitarist, an accordion player, the magnificent Larisa Dolina … The original, non-linear design of the backdrop and side panels allows you to demonstrate various video series – from documentaries to broadcast close-ups. The lighting score is intricate and effective. The oratorio is built and thought out as a bright multi-genre performance, in an uplifting finale, it will end with a safe fireworks of brilliant serpentine. However, the meaning of the authors’ message is far from entertaining: the oratorio is dedicated to the memory of the young heroes of the Young Guard who heroically fought in the underground against the German invaders, brutally tortured and executed in January 1943.
School. Russian language lesson. The teacher dictates: “Oleg Koshevoy studied at the largest Krasnodon school – named after Gorky, located in the city park …”. Before the eyes of the audience, the students writing the dictation become the very guys they pass through the school curriculum. It is they – Oleg Koshevoy, Viktor Tretyakevich, Uliana Gromova, Lyuba Shevtsova, Sergei Tyulenin – who create the underground organization “Young Guard”, they hoist several red banners on buildings on November 7, distribute leaflets, help partisans … And this transformation makes a lot of sense: after all on the stage are not just artists and musicians, but children and teenagers who themselves have lived for years and continue to live in the mode of military events, under exploding shells. And this context gives what is happening on stage a very deep meaning.
“Forgive us, forgive us, boys, that they don’t recognize you and know little.
You are not included in the textbooks of the country, and songs about you are rarely composed … ”, the little girl sings. And the subtitle of the oratorio, Forgiveness Sunday, becomes clear: it is on stage that the teacher tells the children about the Young Guards, and in the real life of our country, Fadeev’s novel The Young Guard was withdrawn from the school curriculum. So this repentance is not for the death of the heroes in the terrible pit of the mine, where the Nazis threw them, tortured, still alive, but for the mine of oblivion into which we dump them.
The culmination is the chorus, in which Larisa Dolina is the soloist: “We will not submit, but we will say“ do not dare! ”. Living on your knees is worse than death.” None of the members of the group during interrogations at the Gestapo committed treason. The heroes, the youngest of which is 14 years old, did not give up until the very end.
Poems by Vladimir Zaitsev are simple, but not primitive. They have the necessary for the chosen way of talking with the viewer posterity, sharpness, aphorism: “The world is on its knees, all people are dumb, but we are not targets, we are not targets …”. Agitation? In a way, yes. Only now there are times when propaganda art becomes a chance to preserve national identity. And the only question is how talented and professionally all this is done.
“Black January” is made with talent and professionalism. Multi-genre, which today is the basis of contemporary art, is manifested here not only in the synthesis of music, theater, video and dance, but also within the score itself. Yuri Dersky works great with musical genres, combining today’s rock sounds with traditional waltzes and romances, without which it is impossible to feel the era of the 40s. Very touching, expressive and melodic romance “How little we said gentle words …”. But the song about betrayal, of course, refers to the image of Judas from Webber’s rock opera “Jesus Christ Superstar”: “We do not need obligations to conscience at all for betrayal.”
The authors of “Black January” were not afraid to read the terrible excerpts from the protocols of examination of the bodies removed from the mine. The audience listened with bated breath: the vast majority of young viewers learned about this tragedy for the first time. Against the background of the requiem, all the names of the dead Young Guardsmen were named. Hall stood up. The expression on their faces was impressive – perhaps it can be called stunned.
“Black January” has become a socio-cultural action that should be continued. At least, this is a clear manifestation of the state cultural policy. There are moments that raise questions: nowhere is it mentioned that the Young Guard were members of the Komsomol. On the contrary, both some texts and the subtitle “Forgiveness Sunday” refer to other values - Christian ones, which contradicts historical truth. However, on the edge of the abyss, one must unite by any means, if only to resist. And if several thousand young people that day were at least to some extent affected by patriotic feelings, then this is already a success.
Newspaper headline:
The Young Guard is reborn
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