Project Summary

Title: "Einstein and Margarita", an opera-installation
Composer: Iraida Yusupova
Libretto: Vera Pavlova (verses), Iraida Yusupova (dialogues)
Translation: Steven Seymour
Video: Alexander Dolgin
Puppets: the Dom Cultural Center Studio

This project is an attempt to transpose a traditional opera-play into the context of an exhibition-installation of contemporary art.

Because of the forthcoming fiftieth anniversary of his death, Einstein as a character is currently attracting a good deal of attention. In this regard, one of the most sensational recent discoveries related to his life was the great scientist's love affair with Margarita Konenkova who was the wife of a famous sculptor, and who turned out to be an agent of the Soviet intelligence. In terms of its emotional and dramatic pitch, that love affair easily matches any of the romantic opera favorites. This is what made it possible for Iraida Yusupova to structure her work as an anthology of the world operatic art, by including in the score numerous allusions while avoiding direct quotations. "Einstein and Margarita" is a kind of "an opera of operas," an attempt to rejuvenate a dying genre.

The international flavor of the story is reflected in the multilingual libretto (using six languages) and in its basically bilingual nature: the lyrics sung are accompanied by the running text of simultaneous translation, although at times the text "lives its own life," in the post-modernist manner.

The opera was composed for a large symphony orchestra, and it provides for the use of electronic devices (phonograms and Theremin-voice), as well as a choir and five soloists. Both the puppet and the stage versions have the potential of spectacular plays, combining as they do living sculptures and physical equations that are set to sound, as well as excerpts from film documentaries, original choreography, elements of instrumental theatre, and voices that are seldom used in traditional operas, such as basso profundo, counter tenor, and coloratura soprano.

Synopsis of "Einstein and Margarita"

An opera in four acts, with a prologue and epilogue.

The Prologue
New York in the mid-1930's. A party at the studio of Sergei Konenkov, a Soviet sculptor; the occasion is an exhibition of his sculptures of famous Americans. All attention is focused on the sculptor's wife Margarita, who is a brilliant socialite and a secret agent of Soviet intelligence. Thanks to her charm, Konenkov gets more and more customers, while his creative activities serve as a cover for her spying. But Margarita's main objective is to establish close ties with Albert Einstein, and to get access to secret data related to his scientific research. At the party she becomes acquainted with the scientist and charms him completely from the outset. They swirl in a dance; when Margarita sings, Einstein is convinced she does it for him alone.

Act One
Konenkov's studio. Princeton University has placed an order with Konenkov for a sculpture of Einstein. The scientist is expected to arrive any moment for a sitting session. While waiting for him, Margarita, wearing earphones, is leaning over a radio transmitter; Konenkov is looking out of the window. Einstein rides his bicycle up to the gate and rings the bell. The sculptor seats his model and gets to work, quietly singing. From time to time he addresses some phrases to Margarita, asking her to translate them to the scientist, but she pays no attention to her husband, being engrossed in a lively chat with Einstein. Einstein and Margarita play music and sing; he plays violin, she plays piano. Konenkov, carried away by his work, does not notice that Einstein hands over an envelope to Margarita. This is an invitation from Mrs. Elsa Einstein to visit their villa on Lake Saranac. The unsuspecting husband allows Margarita to spend a weekend with the Einsteins.

Act Two
A villa on the lake. Einstein is alone and, waiting for Margarita, sings a love song. A yacht appears at a distance, and Margarita gets ashore. Ships' sirens and screaming seagulls accompany their passionate duet. Suddenly Margarita stumbles on a low beach chair; wrapped in a blanket, Elsa is lying in it. She is gravely ill. For a while Margarita and Einstein stand by her, then Einstein gently strokes Elsa's head, straightens her blanket, and leads Margarita away. In complete loneliness Elsa sings a farewell to life.

Act Three
Konenkov's studio. He is alone, playing lyre. Suddenly a lady with a walking cane appears before him. She limps. Her name is Mileva; she is Einstein's former wife who in the past had collaborated with him, according to some information, on developing the theory of relativity, and had been his dedicated assistant in scientific research. She proceeds to have a fit of madness. In her delirium she sees formulas everywhere. She screams and throws her cane at them. Konenkov is shocked and obediently repeats after her: C E A Eb Bb. The phantom vanishes, but not before telling Konenkov the terrible truth: Margarita is unfaithful to him. With a trembling hand Konenkov gropes for a bottle…Without a sound Margarita enters, carrying a suitcase. She steals behind her husband and playfully shuts his eyes with her hands. The furious sculptor grabs an axe and destroys Einstein's sculpture. Margarita in cold anger calms her husband, reminding him of the purpose behind their stay in New York. Isn't loyalty to their motherland the highest form of faithfulness?

Act Four
Einstein's villa. Margarita and Einstein take leave of each other forever. Margarita confesses that she is a Soviet intelligence agent. But Einstein is so deeply in love that he is ready to do anything for her. Without hesitation he writes down the secret formulas and hands them over to Margarita. Margarita tears the papers to shreds: her love for Einstein is so strong that she cannot accept his sacrifice.

The Epilogue
Einstein is alone and dying in a hospital ward. In a sorrowful aria he takes stock of his life. The Angel of Death in the shape of Einstein's late son joins him in the last phrase of the aria. The son is here to claim his father. The Angel of Death sings a lullaby, and Einstein recognizes it as Margarita's song. A choir of angels mourns the deceased and welcomes him to heaven.


For more information, contact Iraida Yusupova.

Related project sites:
http://www.ovar.myweb.nl/yusup.htm
http://www.proarte.ru/yusupova
http://composers21.com/compdocs/yusupovai.htm

CLOSE