She has fallen in love for the first time … The woman pours out her tender feelings in a poem, which she keeps under the pedestal of a long-destroyed monument, where their secret dates always take place.
She has been betrayed for the first time. Her soul cannot find peace: it seeks to forgive him and keep love, then to forget about everything and remain alone. Staying with him together, she realises that their relationship has died. She says goodbye to her love forever.
Romances to music by Mikael Tariverdiiev:
With the sonnet by Shakespeare «I Must»
The play «Reflections» from the piano cycle «Moods»
With the sonnet by Shakespeare «I Love»
With lyrics by A. Voznesenskyi «Do not disappear»
With the sonnet by Shakespeare «Love is Blind»
With the sonnet by Shakespeare «To prevent the unity of two Hearts»
With lyrics by M. Tsvietaieva «Here is the window again»
With lyrics by M. Tsvietaieva «My beloved, what have I done to you»
Play «Icicles» from the piano cycle «Moods»
With lyrics by M. Tsvietaieva «An attempt at jealousy»
A new feeling comes into her life. She has grown older, but her heart loves as it did many years ago. She came on a date a littleearlier. While waiting, her soul experiences everything – from passionate ardor to despondency and almost despair. She is ready to wait forever.
Libretto based on the poem by R. Rozhdestvenskyi «Expectation (woman’s monologue)»
Mikael Tariverdiev's music (1931–1996), regardless of genre, can be recognized from the first bars: whether it is written for films, operas or ballets. His work is widely known for his 132 films, including "Irony of Fate, or with a Light Steam," "Seventeen Moments of Spring," "The Deer King," and a unique style of songwriting. It was the work on the music for the films that inspired Tariverdiev to create a new musical movement, which he called the "third direction", the essence of which is to convey poetry in an audible and natural voice, as if singing, using melo-recitation techniques. Thus appeared monologues on the poems of G. Pozhenyan, recitatives on the poems of E. Hemingway, vocal short stories on the poems of L. Ashkenazi, monologues on the poems of A. Voznesensky.
His "serious" music is much less known. However, M. Tariverdiev insisted on his involvement in the academic professional sphere. This is evidenced by his constant appeal to traditional genres of classical music - he is the author of five operas, four ballets, music for organ (three concerts for organ, 10 chorales "Imitation of old masters", a symphony for organ "Chernobyl"), piano trio, cycle of pieces for piano "Moods", romances.
The composer has carried his love for poetry throughout his life, so it is no coincidence that he turned to the chamber vocal genre. Vocal cycles based on poems by medieval Japanese poets V. Shakespeare, V. Mayakovsky, S. Kirsanov, B. Akhmadulina, L. Martynov, G. Pozhenyan, M. Svetlov, E. Yevtushenko, and E. Hemingway occupy a special place in his creative work. , A. Voznesensky, L. Ashkenazi, M. Tsvetaeva, R. Rozhdestvensky and others.
The monoopera "Expectations" based on Robert Rozhdestvensky's poem "Expectations (Women's Monologue") (1982) was written especially for the Boris Pokrovsky Chamber Theater "based on the unique talent of Maria Lemesheva", a soloist of the theater (daughter of Sergei Lemeshev and Irina Maslennikova).
There is one character in the opera - "She" - a modern woman, wrapped in all the problems, responsibilities and social functions assigned to her by society, and, in truth, she herself (in the former heat of emancipation), comes on a date with beloved and waiting for him under the clock. What is going on in her soul for thirty-two minutes of this painful anticipation - from passionate passion to despair and almost despair - all this is painted for us by Tariverdiev's music with attractive simplicity and truthfulness, "wrote musicologist Oleksandr Matusevych. The outcome of the opera is interpreted differently, as it remains "open" in the score.
The opera retains the main characteristics of the text of poetry of the sixties, but M. Tariverdiev avoids the mundane nature of the poem and direct references to urban Soviet life, strives for poetic generalization.
"Expectation" is not like an opera in the usual, academic sense of the word. "Perhaps the harmonious language of this opera could be more tart, rich. But still I prefer emotional language ", - the composer wrote about his work. In the music of the opera, the listener will hear both the Soviet pop song of the 1970s and the hits to the films of that time - familiar, purely "Tariverdi's" phrases. Episodes that occur in the flow of consciousness of the heroine, united by the leitmotif of excited anticipation - trembling with a second motive, which sounds then in the accompaniment, then in the vocal part. Genres of ancient music are recognizable in some scenes-stanzas: toccatas (episode "Ambulance" with disturbing rehearsals in accompaniment), baroque aria ("Tell me something"), instrumental finale - allusions to the music of JS Bach, elements of musical language of D. Shostakovich.
Since its premiere, the opera has taken a worthy place in the repertoire of many theaters and is presented both in symphonic sound and in semi-concert performance under the piano.