Press

Penn news. A Russian Revolution in Opera, Created by a Penn Composer.November 14, 2017
"Rasputin,” an opera composed by the University of Pennsylvania’s Jay Reise, was performed in Moscow last weekend, part of a celebration marking the 100th anniversary of the Russian Revolution. The production also marked the opera’s 10th anniversary in repertory at Moscow’s Helikon Opera Company, directed by Dmitry Bertman. The performances, Nov. 11 and 12, were in the new Stravinsky Hall, conducted by Alexander Briger, founder and chief conductor of the Australian World Orchestra. Reise, a professor of music in Penn’s School of Arts and Sciences since 1980, was in Moscow to attend the rehearsals and performances. “I am greatly honored that ‘Rasputin’ is being performed in Russia at this time of celebration,” said Reise. “The performances were splendid, and I was very gratified at how warmly they were received. I am extremely pleased at how the production has turned out.” Reise opera Rasputin The opera "Rasputin," composed by Reise, was performed in Moscow in November. Photo courtesy of the Helikon Opera company. ​​​​​​​Reise wrote both the music and libretto for “Rasputin,” which was commissioned and premiered by the New York City Opera and the late Beverly Sills in 1988. The opera was given its Russian premiere in Moscow in 2008 by Helikon, in Russian translation.

Beckmesser.com. Óliver Díaz dirige en el Hélikon de Moscú. Abril 13, 2017
El director español Óliver Díaz ocupará el foso del Teatro Hélikon de Moscú el próximo verano en una nueva producción de Il Trovatore del director de escena Dmitry Bertman. El actual director musical del Teatro de la Zarzuela se pondrá al frente de la orquesta del teatro para dirigir seis funciones los días 27, 28, 29 y 30 de junio, 4 y 5 de julio.
El Hélikon se ha convertido en un teatro de referencia desde que, en 1990, Dmitry Bertman se pusiese al frente del mismo convirtiéndose en su director artístico, ascendiéndolo al grado de “Teatro Nacional” en el año 1993 y comenzando su primera gira en 1997.
Famoso por sus innovadoras producciones, esta será la primera ocasión en la que un director español ocupa el foso del teatro, siendo sin duda un gran reto para Óliver Díaz.
No es la primera vez, sin embargo, que el joven maestro se enfrente a la partitura de la ópera verdiana, ya que en febrero la dirigió, con la Orquesta de Castilla y León en el foso y un montaje de Gustavo Tambascio en escena.

Tartu Postimees.Vanemuise etendusele Kaunases lõppesid piletid paar kuud tagasi.March 31,2017. 
Suur osa vanemuislasi oli sel nädalal Leedumaal Kaunases, et näidata sealses riiklikus muusikateatris 29. ja 30. märtsil kaht oma muusikalavastust – ooperit «Jevgeni Onegin» ja tantsuõhtut «Crossroads. Step into the Light». Tantsutrupp jõudis tagasi eile õhtul, ooperisolistid, koor, orkester ja lavatagused tegutsejad saabuvad kodulinna täna.
Leetu külakostiks viidud Pjotr Tšaikovski ooperi «Jevgeni Onegin» on lavastanud Dmitri Bertman Moskva ooperiteatrist Helikon. Selle muusikajuht ja dirigent on Paul Mägi, Kaunases dirigeeris aga Lauri Sirp.
Ooperi esietendus oli Vanemuise väikeses majas 6. aprillil 2013, lavastusmeeskond, orkester ja trupp pälvisid 2014. aastal Eesti teatriliidu aastapreemia. Kuuldused «Jevgeni Oneginist» kui heast lavastusest olid jõudnud ka Kaunase muusikateatri publikuni.
«Mõlemad etendused läksid kenasti täissaalile,» ütles Vanemuise teatri juht Toomas Peterson. ««Jevgeni Onegin» oli eriti popp – pileteid ei olnud enam võimalik saada juba kaks kuud enne etendus.»
Alles äsja, 18. märtsil Vanemuise väikeses majas esietendunud džässlavastuse

Platea Magazine. Marсh 10, 2017

El presidente del Gran Teatre del Liceu, Salvador Alemany, el director general, Roger Guasch, la directora artística, Christina Scheppelmann, y el director musical, Josep Pons han dado a conocer hoy en rueda de prensa la programación para la temporada 2017/2018. Es la primera temproada del plan estratégico y de sostenibilidad que el teatro ha puesto en marcha con la vista puesta en el próximo 20 aniversario de su reinauguración. Es la primera temporada con una programación netamente asociada a Christina Scheppelmann, su directora artística. Incluye los siguientes títulos y artistas: The Demon (Rubinstein). 23 de abril - 11 de mayo. Alexander Zymbalyuk Asmik Grigorian, Igor Morosow, Roman Ialcic, etc.. Dir. escena: Dmitri Bertman. Dir. musical: Mikhail Tatarnikov.

Operaworld.com."The Golden Cockerel" (Der goldene Hahn) - April 15, 2016.
Rimsky-Korsakov's opera is considered one of the wittiest and musically sumptuous operas in the Russian repertoire. It will be directed by Dmitry Bertman, who made his name as the opera director and founder of the Helikon Opera in Moscow.

The Nation. Thailand portal.Poetry in movement.Classical and contemporary dance and opera are among the highlights of this year’s festival. September 05, 2016
Helikon Opera’s “Un Ballo in Maschera” (September 18)
We’ve never watched Giuseppe Verdi’s “A Masked Ball” here, but that’s not the only reason I’ve picked this performance. The last time this Moscow-based company performed at the festival, they showed us how new interpretation of classics filled with contemporary references could bring us closer to the original and prove that the classical can be timeless. Now here they are again, thanks to the unique vision of People’s Artist of Russia Dmitry Bertman, who regards this Golden Mask winning work – he opened the company’s season three years ago with it – as “an opera about two passions, two drugs which attract almost everyone – power and love”.

Forumopera.com. Le Coq d'or - Düsseldorf. 2016

Comme vient de le confirmer l’annonce d’un Sadko à Gand en 2017, Rimski-Korsakov est en train de faire une percée majeure en Occident, dont Düsseldorf a donné le coup d’envoi avec l’une des nouvelles productions du Coq d’or que l’on pourra voir dans les mois prochains. Pour être sûr de ne pas se tromper, le Deutsche Oper am Rhein est allé chercher le fondateur du désormais célèbre théâtre Helikon de Moscou, Dmitri Bertman en personne. Après avoir utilement secoué la routine qui régnait encore sur la scène lyrique russe dans les années 1990, les spectacles de Bertman présentés en Europe rejoignent ceux des metteurs en scène occidentaux, et il n’est pas impossible que ses options dans Le Coq d’or convergent avec celles que prendra bientôt Laurent Pelly pour Bruxelles et Madrid. Du reste, le propos satirique de Rimski-Korsakov, qui lui valut d’avoir maille à partir avec la censure sous Nicolas II, autorise la transposition : dès que l’on renonce au cadre féerique, il est aisé de reconnaître n’importe quel dirigeant en la personne de Dodon, ce tsar fainéant qui rêve de dormir et s’adonne à la luxure. Bertman respecte cependant la composante russe : tout commence dans un sauna, où Dodon batifole avec ses ministres plutôt que ses « fils » au sens propre. On voit ensuite le tsar dans son bureau, où il est harcelé par une série de téléphones de toutes les époques, de Graham Bell au sans-fil. Le champ de bataille où il doit aller défendre son royaume est en fait un cabaret parisien où la reine de Chemakha est danseuse. Au dernier acte, tandis que les babouchkas accueillent les privilégiés qui reviennent d’Occident chargés de victuailles et de produits de marque introuvables en URSS, Dodon est finalement lapidé par la foule. Heureusement, la magie reste présente avec le personnage de l’Astrologue, qui s’apparente ici à un Chinois d’opérette. Belle idée, enfin, que cette scène finale où le peuple brandit des cages vides après la disparition du coq d’or (les photos de la générale laissent deviner qu’il devait initialement s’agir d’un gallinacé en chair et en os, ce qui rendait plus vraisemblable que la nourrice Amelfa le dévore rôti au début du troisième acte), et où le monarque tant regretté dès lors qu’on le croit mort réapparaît in extremis : il y aura toujours un tsar au Kremlin, au grand dam des personnages de music-hall que sont l’astrologue, le coq et la reine.

the Moscow times.Moscow Opera Season Preview: A Great Year. October4,2015. 
After an opening series of gala concerts, beginning on Nov. 2, on Nov. 10 Helikon founder and artistic director Dmitry Bertman presents his first staging in the new theater, Nikolai Rimsky-Korsakov's "Sadko," an operatic epic of considerable length set in ancient Novgorod. Following soon after, on Dec. 23, will be a reconstruction of Konstantin Stanislavsky's legendary production of Tchaikovsky's "Eugene Onegin," which held the stage in Moscow for some eight decades following its debut in the early 1920s. On June 22, Ruggero Leoncavallo's ever-popular "I Pagliacci" will premiere.

Paolo Patrizi Firenze University Press «www.Drammaturgia.it», 2015
Si scrive Puškin, si legge Cechov
Realizzato in tandem col Teatro Helikon di Mosca da quella sorta di Don Chisciotte – ma pure regista tra i più fertili dell’Est europeo di oggi – che è Dmitry Bertman, lo spettacolo ha un sapore insieme nuovo e antico, rétro eppure di sconvolgente modernità.

Giulia Vannoni, Classic Voice, 2015
Metodo Eugenio

Per celebrare il centocinquantesimo dalla nascita (1863) e il settantacinquesimo dalla morte (1938), Dmitry Bertman ha rimesso in scena l’allestimento di Stanislavskij per quest’opera di Ciaikovskij tratta dal romanzo di Puskin. Basandosi sulla ricca documentazione scritta e fotografica rimasta, non si è limitato a ricostruire in modo più o meno fedele uno spettacolo passato alla storia ma, con un’operazione di autentica filologia, ha saputo recuperare le intenzioni originali: quella ricerca di una totale immedesimazione dell’interprete con il suo personaggio, alla radice del celebre “metodo Stanislavskij”.

Roberta Pedrotti, “L’ape musicale”, 2014.12.12
“A Katerina Izmajlova, grazie di tutto”
Tutti ottimi attori, le cui prove si apprezzano sempre più… …come del resto lo spettacolo curato registicamente da Dmitrij Bertman, uno di quegli allestimenti intelligenti, basati sulla recitazione e su una lettura approfondita del testo, in cui ogni elemento risulta perfettamente coerente e i registri espressivi dosati in maniera impeccabile. L'analisi psicologica acuta, spietata, chirurgica si traduce in visioni oniriche, astrazioni e deliri che si gustano in ogni dettaglio fino all'akmé allucinata e allucinante dell'ultimo atto, in cui il viaggio verso la Siberia e l'annegamento non sono che un viaggio e un'immersione nella mente e nei suoi spettri, un eterno ritorno e un'ultima resa dei conti fra il singolo e la società, le illusioni, le maschere.

Alessandro Cammarano, “OperaClick”(http://www.operaclick.com), 2014.12.9
Bologna - Teatro Comunale: Lady Macbeth del distretto di Mcensk
La regia di Dmitry Bertman coglie con acume la carica erotica e la pone in scena sottoforma di danza costante, con protagonisti e coro che vivono in una sorta di rito bacchico senza soluzione di continuità.

Bachtrack. September 2014
The [Birgitta] Festival invites companies from various different countries to come and perform. This year the Helikon Opera, Moscow, brought its cleverly-designed and wittily-directed production of Verdi’s Un ballo in maschera. Dmitry Bertman, the director, is well known for his humorous, sardonic approach to political questions in operas, and Ballo gave his imagination plenty of scope. Instead of trying for a late 18th century Boston or Stockholm, he set the opera in the present day, with plenty of topical references to keep the audience alert.

Richard Martyn-Hemphill, The Moscow Times,  20.05.2014
Stravinsky's 'Nightingale' Restaged at Helikon Opera
Despite not having the same political bite it once had, the Helikon's stage director Dmitry Bertman believes his production of "The Nightingale" carries an enduring and relevant message about the nature of artistic truth: "The performance is a mirror of what is happening in the world today," he said. "We are all living in an age of replicas and fakes … the nightingale is all about what is real and what is fake. When the emperor prefers the fake nightingale, he is banishing the prospect of creating real art from his kingdom."

Opera Now. December, 2013
Artistic Director Dmitry Bertman, designated a 'People's Artist', is a force to be reckoned with in the Russian opera world - quirky, unpredictable, inspired and infuriating.

Helikon-opera continues to ply its loyal audiences with Bertman's productions, inspired by the likes of conceptual directors such as David Pountney and the Alden brothers in the operatic heydays of the 1980s. The company isn't afraid of walking on the wild side: recent projects have included taking a production of Wagner's early opera Das Liebesverbot to Beirut - the Lebanese initiation to Wagner's music. Another very Bertmanesque project accomlished this year was www.nibelungopera.ru, a typically original tribute to Wagner, set in the fuselage of a passenger plane (Valkyries as stewardesses) and using music from all of Wagner's operas.

Boris Kehrmann. Theater, 2013
Die letzten warden die ersten sein
Jenseits des geistreichen Gedankenspiels begeistert Dmitri Bertmans Inszenierung vor allem durch die Meisterschaft, mit der sie jeden Takt der Musik in seiner emotionalen wie dramatischen Aussage transparent macht.
Dmitri Bertmans atemberaubende Lesart, der wirklich zu jeder musikalischen Figur eine szenische Begründung einfällt, gerät allerdings mit foanna Tylkowskas
Tatjana an ihre Grenzen.

Opera Now. December, 2011
Inspired by the 'Powerhouse' years of English National Opera, and trained in the straight-theatre techniques of Stanislavsky and Meyerhold, Bertman was really the first to introduce what has become known as 'Regietheater' to Russian opera.

Glyn Williams. The Opera Critic. November 2011
Wagner's Das Liebesverbot... Helikon's directors Dmitry Bertman and Edwald Smirnov, together with conductor Vladimir Ponkin, are to be congratulated for bringing this delightful work to the Russian stage for the first time.

Stephan Mosch. Opernwelt. 2011
Dmitri Bertman, der Chef der Moskauer Helikon Oper, inszeniert das sensibel und unaufdringlich aus. Er initiiert bei diesem Duett sogar Körperhaltungen, die vorausweisen auf das Ende des Paares, das am selben Bert stattfinden wird.

Bertman ist ein mit allen Wassern gewaschener Regisseur. Er hat seinen Stanislawski intus, kann aber auch einen Thriller bedienen, wenn es sein muss. Für «Otello» nutzt er beides.

Girardi Enrico Corriere della Sera  2009/3/22
La dimensione è appunto del carino e del fiabesco, come bene sottolinea la regia di Dmitrij Bertman. Che manipola un linguaggio scenico, visivo e gestuale assai rapido, televisivo, da spot pubblicitario.

John Keillor “National Post” 2009/2/3
Bertman takes a rather simple story and injects it with Fellini-like significance that doesn't slow down the action or dampen the drama…

The director is interested in how the same sort of romantic problems pass themselves on from generation to generation. Bertman allows us to view the mechanics of our eternal erotic tragedy. The fresh and seamless execution of this production makes it absolutely necessary viewing for opera veterans and newbies alike.

John Coulbourn “Toronto Sun” 2008/2/4
Under the masterful direction of Dmitri Bertman, creates a work of bleak but stunning beauty that pulses with life.

Robert Thicknesse “Opera Now” 2006/1
Bertman is one of those producers, like Calixto Bieito, who enjoys (literally) an épatant reputation, and whose Helikon opera continues to try manfully to overturn a stultified operatic culture…

Rod Biss, New Zealand Listener, 8-14 october 2005
Bertman is the director that La Traviata deserves, he understands Verdi’s humanity and his particular sort of realism, and he matches the composer’s creative imagination with his own.

William Dart “The New Zealand Herald”, 2005/9/14
Bertman… finds opera one of the most erotic of all arts - "if we can't find an erotic experience in opera we are not doing it right"

Isabelle Truchon, “Le Bien Public”, 2004/11/20
Mais l’âme de ce Nabucco, c’est aussi et surtout, son metteur en scène, Dmitri Bertman, le directeur du Théâtre de Helikon, qui réussit à équilibrer, d’une part, les « trouvailles » de mise en scène, assez nombreuses pour que le public les remarque sans toutefois en être importuné, et d’autre part, un classicisme de bon aloi et un esthétisme incontestable.

Miguel Angel Lucas “Hoy” 2004/8/14
El director ruso prepara cada montaje como si fuera el último de su vida.

Cree que hoy día la ópera abusa de lo artificial sin fijarse en el sentimiento.

Miguel Angel Lucas “Hoy” 2004/8/13
A las riendas del montaje se encuentra Dmitry Bertman. El director ruso, acostumbrado a las puestas en escena lúdicas y delirantes, también resultó más sobrio que de costumbre. Planteó ‘La clemenza di Tito’ con senciliez y elegancia, basándose en la naturalidad y en fuerza dramática de la música, más allá de los efectos escénicos o los artificios operísticos.

Como no podía ser de otra forma, el espectácolo no estuvo exento de lo visión innovadora del director ruso. Bertman anima la obra sin traicionarla. Lo hace, además, con una gran economía. Donde otros gastarían el presupuesto en una escenografia impactante, él prefiere echar mano de la inteligencia y la imaginación.

Enrique Franco “El Pais” 2004/8/7
No se arruga, pero lo pide todo. Resuelve la falta de recursos con imaginacion desbordante y fecunda, sus montajes son explosions de color, movimiento, accion, resoluciones poéticas. Es moderno, agil, busca publicos amplios, no tiene prejucios con el repertorio.

“Alerta”, 2004/8/3
Hablar de Dmitry Bertman es referirse a uno de los grandes creadores escénicos de la actualidad. La puesta en escena de sus producciones han supuesto un revulsivo en el panorama escénico del momento.

Erica Jeal “The Guardian” 2004/5/7
His productions have sometimes been controversial, yet even though they haven't garnered universal approval - far from it - nobody seems to feel that they lack, in the words of one Canadian reviewer, "theatrical wallop".

…yes, there may be a touch of the Calixto Bieito about Bertman, whose international career, outside the Helikon, is burgeoning and whose Paris Hoffmann carried a rider proclaiming it unsuitable for children. When he talks about opera he's thoughtful, full of questions, seemingly wrestling with the whole idea of what to do with the art form. He approaches his new productions with respect for the music (he was a first-study pianist), and with a disregard for the idea of "concept" stagings.

George Loomis, “Financial Times”, 2004/5/5
Bertman says he doesn’t feel limited by an opera’s words, but always respects the underlying music.

Erica Jeal “Opera”, may 2004
In Russia he’s known as something of an iconoclast, a director who’s not afraid – indeed, some say over-inclined – to experiment, and who gets results that some find thrillingly different.

“Orient le Jour” 2004/1/13
Si l’art appartenait au monde de l’entreprise, le Russe Dimitri Bertman serait cité en exemple dans les manuels pour créateurs de start-up.

Il insuffle une énergie nouvelle et même de l’humour dans les grands opéras classiques. Plus question de s’endormir avant la fin de La Traviata ou de Nabucco, car ses mises en scènes... surprennent, séduisent, font rire.

Russian-British Cultural Association 2003 RBCA News
Anarchic and iconoclastic to his boots, Bertman revels in outrage whether in traditional repertoire works or in new and undiscovered opera.

Bertman has never compromised on professional quality; the charm and originality of his theatre belies the demands he makes on his staff, his singers and his orchestra.

Angelo Foletto, “La Rebbublica”, 2003/7/14
La quaterna di Bertman, con spettacoli di impostazione non omogenea e nati in stagioni diverse, compendiava l’idea di lavoro collectivo, la vocazione eclettica, e la sorprendente vivacità produttiva del fondatore-regista stabile.

Un uomo di teatro di primissima forza e capacità realizzativa, Bertman è formidabile nel raccontare la tragica e struggente Lady Macbeth.

Giovanni Carli Ballola, “Il Mattino”, 2003/7/14
L’audacia con quale il soggetto dell’opere è stato rivisitato era pari all’efficacia dei risultati raggiunti : intatto ed esaltato ; anche mediante scene fortemente hard, ne scaturiva il suo truce, pessimistico nichilismo morale, in una realizzazione che della grande tradizione teatrale russa ha ereditato la perfezione tecnica e l’esuberante gestualità

Lq poetica teatrale di Bertman : rinnovare tutto per meglio concervare, si radicalizzava nella successiva « Dama di picche” di Cajkovskj… anche se di eguale intensità sperimentale.

S.V., “Corriere di Ravenna”, 2003/7/13
La libertà con cui Bertman e i « suoi” si appropiano dei capolavori della letteratura operistica russa, può apparire eccessiva ai cultori più tradizionalisti, ma non è mai irriguardosa e, anzi, testimonia della caparbia volontà di compenetrare il significato, mai invoco, delle opere proposte, cogliendone la ambiguità.

Oreste Bossini “Il Manifesto”, 2003/7/12
Bertman ha una qualità non indifferente, conosce la musica davvero bene. L’idea dello spettacolo nasce da un’attenta riflessione sul ritmo drammaturgico della partitura.

“China Daily”, 2002/10/28
Director Dmitry Bertman mines the darkest recesses of the human mind.

George W.Loomis «Herald Tribune»  2000/2/2
Like other Bertman productions, this one was inventive and executed with pinpoint precision. (“Lady Macbeth of Mzensk”)

Eric Dahan «Libération» 1999/7/22
A la différence de nombreux metteurs en scène d’aujourd’hui, Dlitry Bertman connaît la musique.

Fidèle aux origines de Carmen, à savoir l’opéra-comique, ancêtre de Brodway, Bertman a su tirer le chef-d’oeuvre de Bizet des griffes du Grand-Opéra, véritable dévoiement auquel même un Bernstein n’a pas pu résister.