The Gambler by Sergey Prokofiev: A Global Opera Cast Reveals Timeless Human Struggles

It has been a long time since previous publications and the writing skill seems a bit rusty, even if the opera exploration journey has not stopped even in COVID times with limited attendance rules and travel restrictions. Nevertheless, I have promised myself that this year’s Salzburg festival visit must be documented as most performances promise new epiphanies.

The first, highly anticipated evening had Sergey Prokofiev’s “The Gambler” with exciting team of performers and my special interest locked to Asmik Grigorian and Violeta Urmana. Also, even if seen before in “Bassarids”, Sean Panikkar promised certain new discoveries. Looking at the cast list and biographies there is one aspect that stands out – it seems like the cast has been intentionally built to reach global representation of the participants. Grigorian and Urmana represent Lithuania, Sean Panikkar is from Sri Lanka; there are several American, Ukrainian, Russian, Chinese, Korean born singers, as well as Argentinian, Australian, Armenian, British, Iranian, Turkish, and singers from Madagascar, Uruguay, Uzbekistan. The global cast tells us the story about the challenges our world is facing – 100 years ago when opera was written and today.

The libretto is written by Sergei Prokofiev himself based on the novella of Fyodor Dostoevsky, citing exact text from the story. The story is multilayered and actualises challenges imposed by contemporary world driven by greed, self-absorption and social injustice. People are ready to bet their all to change the fate and reach an imaginary status. True love and human values evaporate, people are becoming superficial. Some rebels are ready to gamble their all to change the world – but is the world noticing their sacrifices?

Peter Sellars is one of the most innovative directors, frequently confronting controversies of the modern world. The essay in the opera programme he wrote is called “Gambling with Life”. The essence of his intent is summarised by him as “overwhelmed by the complete lack of independence that underlies our illusion of independence”. Sellars emphasises the intent of current young generation to disrupt existing pattern by making their own, different choices even if there are no answers yet how to make the world a better place.

Even if the concept is quite clear, especially if you have read the essay before or listened to Sellars interview about the opera, the performance itself was not solid throughout, several episodes with use of extras on the huge stage of Felsenreitschule left an impression of clutter and distracted from the main theme.

Asmik Grigorian, as expected, delivered a solid performance both vocally and dramatically, even if this particular opera is not a diva showcase. The rebellious mood, striving for survival and achievement of the meaning of life of her heroine Polina was palpably present. She demonstrated good stage chemistry with Sean Panikkar, unfortunately as my seat was relatively far from the stage center and the lighting was dim and shadowy, her dramatic episodes were partially lost from view.

Sean Panikkar as Alexey Ivanovich was the surprise of the evening, as he delivered the role fully immersed in the character with a great emotional palette and smooth vocal delivery. Certainly, he is the name to put on the watchlist for future discoveries.

Violeta Urmana was the star of the night – both by her unquestionable stage presence and the strength and sophistication of her singing. Even though I have seen and heard her in numerous performances before, including on my home turf at the Latvian National Opera house, the fact that she changed the fach twice(!) has skipped my knowledge base until today. She started her career as dramatic mezzo-soprano like Azucena and Brangane, and then switching to soprano for Elisabetta, Leonora and Sieglinde. Then since 2015 she is back to mezzo for heavy dramatic roles again. In the role of Babulenka Urmana created dramatically dense (unbelievable acting!), vocally rich and convincing story of desperate yet kind, and also rebellious spirit.

Peixin Chen, the bass in the role of the General was another discovery of the night, looking forward to see him in more roles.

The audience reception of the performance was enthusiastic, with well-earned ovations and praise for main soloists and the conductor Timur Zangiev and the director Peter Sellars, who came to the stage. Peter Sellars said that this opera has to force us to think and feel- and that is true for me since several days from the performance I am still reevaluating the impressions of the first night in Salzburg.

The Gambler by Sergey Prokofiev

Opera in four acts op. 24 (1915–1917 / 1927–28, premiered in 1929)

Libretto by Sergey Prokofiev after the novel by Fyodor Dostoyevsky

Creative Team

Timur Zangiev Conductor

Peter Sellars Director

George Tsypin Sets

Camille Assaf Costumes

James F. Ingalls Lighting

Antonio Cuenca Ruiz Dramaturgy

Cast

Peixin Chen The General, a retired officer
Asmik Grigorian Polina, the General’s stepdaughter
Sean Panikkar Alexey Ivanovich, tutor of the General’s children
Violeta Urmana Antonida Vasilevna Tarasevicheva, the ‘Babulenka’
Juan Francisco Gatell The Marquis
Michael Arivony Mr Astley, a rich Englishman
Nicole Chirka Blanche, a demi-mondaine
Zhengyi Bai Prince Nilsky
Ilia Kazakov Baron Wurmerhelm
Joseph Parrish Potapych, Babulenka’s butler
Armand Rabot Director
Samuel Stopford First Croupier
Michael Dimovski Second Croupier
Jasurbek Khaydarov Fat Englishman
Vladyslav Buialskyi Tall Englishman
Elizaveta Kulagina Gaudy Lady
Lilit Davtyan Pale Lady
Seray Pinar So-so Lady
Cassandra Doyle Revered Lady
Zoie Reams Doubtful Old Lady
Santiago Sanchez Passionate Gambler
Tae Hwan Yun Sickly Gambler
Aaron-Casey Gould Hump-backed Gambler
Navasard Hakobyan Unsuccessful Gambler
Amin Ahangaran Old Gambler
Slaven Abazovic, Konrad Huber, Juraj Kuchar, Jaroslav Pehal, Wataru Sano, Oleg Zalytskiy Six Gambler