Behind the Velvet Curtains: Anna Melikyan’s ‘Diva’ Ascends at the Bolshoi

Culture News

The grand stages of the Bolshoi Theatre in Moscow recently hosted an unusual spectacle: not an opera or a ballet, but the intricate filming of Anna Melikyan’s eagerly anticipated new movie, “Diva.” Known for her distinctive, often poignant cinematic narratives, Melikyan herself has described this project as her “most beautiful and ironic film” to date. This bold statement hints at a production that intertwines visual splendor with a keen, perhaps mischievous, observation of the world it portrays.

The Enduring Allure of the “Diva”

The very title, “Diva,” invites contemplation. Originating from the Latin word for “goddess,” the term initially honored the most celebrated opera singers. Over time, its scope expanded to embrace leading ladies of the dramatic stage and Hollywood`s brightest stars. A recent exhibition, which began at London`s Victoria and Albert Museum, explored this elusive concept, showcasing how figures from Maria Callas and Marilyn Monroe to Freddie Mercury and Lady Gaga have embodied the “Diva” ethos – a life lived with extraordinary flair and impact. Melikyan`s film, it seems, aims to delve into the very essence of this phenomenon, perhaps with a characteristic blend of reverence and playful subversion.

A Tale of Talent, Treachery, and Ethereal Encounters

While details of the plot remain somewhat guarded, early glimpses paint a picture of a fantastical, ironic fairy tale. The narrative centers on Maya, an 11-year-old wunderkind from St. Petersburg, whose prodigious voice quickly propels her to stardom at the nation`s premier opera house. Yet, as is often the case in tales of grand ambition, her meteoric rise sparks the envy of established prima donnas. In a dramatic turn, these rivals conspire to remove the young prodigy from the stage using a magical elixir. Transformed into a spectral entity, Maya then encounters Josef, an 18th-century conductor who, in his own ethereal form, guides her through this new, otherworldly existence. The echoes of classic narratives like “The Phantom of the Opera” are unmistakable, yet Melikyan promises an interpretation that is uniquely her own – a “ghost of the opera” with a decidedly modern, ironic twist.

Anna Melikyan breaking a plate before filming
Anna Melikyan inaugurating the filming with a traditional plate-breaking ceremony.

The Unseen Stars: Life as an Extra at the Bolshoi

For many, participating in the “massovka” – the crowd of extras – offers a rare, unfiltered glimpse into the magic of filmmaking. The author of the original dispatch found themselves amidst this throng, providing an invaluable, somewhat wry, perspective. The experience began with a stringent dress code: “You look like you came from the market. This is not how one comes to the theatre,” one participant was sternly advised, their handbag promptly banished beneath a seat. Dark jackets were deemed “too gloomy,” demanding immediate removal. Yet, the extras themselves embraced the occasion, appearing in shimmering golden and silver gowns, elaborate headwear, and impeccable dark suits – a spectacle of formality rarely seen in contemporary opera houses, where even the Metropolitan Opera often welcomes denim-clad patrons. This festive, almost anachronistic, audience, including strategically placed cardboard cutouts to fill the vast hall, was meticulously arranged and rearranged for various scenes, a testament to the director`s vision of an opera world brimming with vibrant, almost exaggerated, splendor.

“My beautiful ones, my good ones. Occupy the first five rows. Now those I have selected will come… My dears, you are in the frame.”

These affectionate, yet firm, directives from Melikyan underscored the meticulous control required to create such a grand illusion. The atmosphere, as described by the participating extra, was a fascinating blend of rigid theatrical etiquette and the playful chaos inherent in a film set, often punctuated by spontaneous applause when the background music cut out.

A Stellar Ensemble and Visual Prowess

“Diva” boasts an impressive cast, including Julia Snigir, who plays Isolde, another opera singer who tragically loses her voice. Snigir shared her dedication to the role, stating, “It`s a very beautiful and very sad story about the mysterious backstage of a grand opera, intrigues, passions, great talent, and envy towards it. Anna is a demanding director, so the preparation was thorough. I spent a lot of time with opera singing coach Masha Makeeva and learned not only to imitate singers, breathe correctly, and so on, but also to love opera. And I believe this is an important key to my role.”

Evgeny Tsyganov, cast as conductor Philip, echoed the film`s ambitious scope: “Anna makes too few films, and now there’s a new one, very ambitious. There hasn’t been anything like this yet, and perhaps won’t be again… ‘Diva’ is a beautiful fairy tale for adults and children, despite the drama of the plot.” The cast also features celebrated actors such as Vera Mayorova, Sofia Lebedeva, Andrey Maximov, Fyodor Lavrov, Ekaterina Voronina, and Timofey Tribunsev, who embodies the spectral conductor Josef.

Behind the lens is young cinematographer Robert Sarukhanyan, a rising star who recently received the “White Square” award for his debut feature film “Centaur.” His involvement promises a visually stunning film, capturing the opulent settings of the Bolshoi, Tsaritsyno Museum-Reserve, Pashkov House in Moscow, and the historic palaces of Tsarskoe Selo and the House of Scientists in St. Petersburg.

Live and cardboard audience at Bolshoi
A blend of live audience and cardboard cutouts creates the illusion of a packed house.

Melikyan`s Grand Vision: Beyond the Spectacle

Melikyan emphasizes that “Diva” is more than just a beautiful spectacle. “It`s a technological challenge,” she notes, “as we face a number of tasks related to voice and sound that no one has worked on before. `Diva` is a unique project that must unite the beauty of the musical world, history, and crucial meanings about kindness, love, and forgiveness.” This statement suggests a film that, while embracing fantasy and theatricality, ultimately seeks to resonate with profound human emotions and universal truths.

As the curtains prepare to rise on “Diva,” the cinematic world awaits a film that promises to be as grand and enigmatic as the opera it portrays, a testament to Melikyan`s artistic daring and her ability to find beauty and irony in the most unexpected places.

Christopher Blackwood
Christopher Blackwood

Christopher Blackwood is a dedicated health correspondent based in Manchester with over 15 years of experience covering breakthrough medical research and healthcare policy. His work has appeared in leading publications across the UK, with a particular focus on emerging treatments and public health initiatives.

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