Sound Director
A loner Lesha returns to his parental home to make arrangements for a funeral of his Dad with whom he cut any communication long ago, but finds him alive, however seriously ill. Although being deceived the young man enjoys the opportunity to get things work with his father and stays to take care of him. But soon regular arguments and recriminations make Lesha understand it is impossible to restore relationships with his Dad and his chance for a happy life without shadows of the past depends on whether he will be able to embrace his father or keep hating him.
Original Music Composer
A loner Lesha returns to his parental home to make arrangements for a funeral of his Dad with whom he cut any communication long ago, but finds him alive, however seriously ill. Although being deceived the young man enjoys the opportunity to get things work with his father and stays to take care of him. But soon regular arguments and recriminations make Lesha understand it is impossible to restore relationships with his Dad and his chance for a happy life without shadows of the past depends on whether he will be able to embrace his father or keep hating him.
Writer
This 1981 Bolshoi production performed in the concert hall of The Kremlin is by far the best available, despite the more ‘historical’ picture and mono sound. The production itself is a very classic period production, with utterly authentic costumes and aptly dramatic sets. There are even horses on stage. The depiction of the Don Cossacks’ Khan Konchak and his tribe is colourful and historically informed in one. Needless to say, the scene of the Polovtsian Dances is spectacularly presented with great choregraphy and terrific dancing, in the league of the Spartacus of Bolshoi, no less.
