‘Gariné Cocktail’ Leaves Yerevan Audiences Shaken, Stirred

This was yet another “premiere” as far as orchestration was concerned since the opera was performed for the first time since Tchouhadjian’s lifetime with the composer’s original instrumentation recently found in Paris by the Dikran Tchouhadjian International Institute. Some never heard before melodies were also revealed on this occasion.

The aim of this evening was to generate enough interest and funds to produce the entire opera-buffa later next season.

Yet this “demo production” was not really what one would call a semi-staged performance as Papasian, playing the master of ceremonies, had announced. Viktoria Riedo’s candy store approach of sets, contemporary costumes, (casual outfits, torn jeans, shorts) lights and video work were a non-stop visual delight.

As for the staging, it certainly showed Papasian’s ability to move the singers, especially the chorus, traditionally static, rather like backup singers, who were unrecognizable during the show, displaying acrobatic moves and dances never before seen on the Yerevan opera stage. His buoyant and most humorous direction was a breath of fresh air, fully appreciated by an elated and ecstatic audience.

Our opera theater seems to be heading for a very prominent change, bringing it closer to European and international approaches where opera means theatre and a stage director is the main person to lead it in that direction. Kudos to Gerald Papasian!

As master of ceremonies, Papasian ended the first act in a take-off of TV soap opera: “What will be the fate of the heroes of the play? You shall soon find out when we present the full production. Join us next season!”