On 30 October Alexei Markov will perform the role of Prince Andrei Bolkonsky in the opera War and Peace at the new Mariinsky Theatre.
The role of Prince Andrei occupies a particular place in the extensive repertoire of the Mariinsky Opera’s leading baritone: in itself it has played a significant role in the singer’s international career. In 2007 Alexei Markov, then still a soloist with the Mariinsky Academy of Young Opera Singers, made his dazzling debut in this role at the illustrious Metropolitan Opera in Andrei Konchalovsky’s production conducted by Valery Gergiev. The Russian singer immediately enchanted the hearts of American audiences and critics of major publications in the USA which awarded glorious accolades to his performance:
“The charismatic young baritone Alexei Markov, an exciting singer with a burnished voice in a promising Met debut, looked achingly vulnerable like Saint-Exupéry’s Little Prince on his lonely planet.” (Anthony Tommasini, The New York Times)
“Mr Markov sang handsomely – glowingly, compellingly. The final duet between Natasha and Andrei – a fine stretch of writing by Prokofiev – was very satisfying.” (Jay Nordlinger, The Sun)
“Markov cut a noble figure, dramatically and vocally, in both peace and war. His baritone voice was warm and lyrical in the opera’s opening scene, and he projected charismatic leadership as the head of his regiment.” (David M. Rice, Classical Source)
The young singer’s triumphant success laid the foundations for Alexei Markov’s regular collaborations with the Metropolitan Opera and brought with it invitations to perform other leading roles in Russian and European operas. The singer has appeared on several occasions at the Mariinsky Theatre as Prince Andrei in Konchalovsky’s production.
Graham Vick’s production, the premiere of which took place in 2014 at the Mariinsky-II during the Stars of the White Nights festival, is unusual and often provocative, and stands apart with its vivid portrait-like character traits in line with Prokofiev’s music score. The plot is transposed to Russia in the 2000s and in this “real-time” atmosphere the heroine of the opera adopts an increasingly “earthed” character; for example, the stage director accentuates the provincial characteristics of Natasha Rostova, who has come to the bridal inspection to see the old Prince Bolkonsky in a brief pink Barbie-doll costume, and is subdued with such attributes of the secular sheen of Hélène Bezukhova, such as Versace dresses and Manolo Blahnik shoes. Against this background the character of Prince Andrei, quite the reverse, attains an underscored noble interpretation, although the character does wear contemporary clothing. And such a reading seems to be close to Alexei Markov’s own creative persona.
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