# Dmitry Chernyakov Unites Rachmaninoff Operas at Zurich Opera House A bold production reimagines three distinct Rachmaninoff works as a singular narrative of aging. - **Source:** [Meduza English](https://meduza.io/en) - **Published:** 2026-11-10 - **Topic:** [culture](https://brifing.si/c/culture) - **Original article:** - **On Brifing:** https://brifing.si/s/f1464ab3-c0ce-4e94-beb6-5ae1a942fa63 ## A Unified Operatic Vision Director Dmitry Chernyakov and conductor Gianandrea Noseda have premiered a unique production at the Zurich Opera House. They combined three distinct one-act Rachmaninoff operas—Aleko, The Miserly Knight, and Francesca da Rimini—into a single cohesive narrative. While the composer never intended these works as a trilogy, this experimental staging links them through one central character. ## The Miserly Knight Motif Chernyakov centers the entire production on the figure of the Miserly Knight, drawing from Pushkin’s original text. By casting the same performers across all three operas, he transforms unrelated stories into a character study. The production explores how the protagonist, an aging man, projects his own life traumas onto these classic musical narratives. ## Radical Visual Transformation The production is set entirely within an upscale retirement home, challenging traditional operatic aesthetics. Makeup artist Elena Zaitseva used hyper-realistic techniques to age young singers like Elena Stikhina and Bekhzod Davronov beyond recognition. This deliberate mismatch between youthful voices and elderly appearances creates a jarring, unsettling effect that forces audiences to confront aging. ## Musical and Theatrical Execution Critics have praised Gianandrea Noseda’s musical direction as dynamic and impassioned, providing a strong foundation for the experimental staging. Vladislav Sulimsky delivers a standout performance as the Baron, carrying the production with remarkable stamina. His portrayal anchors the narrative, shifting seamlessly between comedic farce and the profound tragedy of a man losing his grip. ## Symbolism of the Treasure In this version, the Baron’s prized treasure chests contain only archival papers and old photographs rather than gold. These items represent a past that holds no value to anyone but the protagonist. By wrapping himself in Christmas lights and paper armor, the character embodies a tragic, Don Quixote-like figure clinging to fading memories. ## Innovative Stage Design Chernyakov designed the set himself, featuring two rotating rings that surround the main stage. These moving corridors and flickering lights create a dizzying, labyrinthine effect reminiscent of a mechanical ballet. This structure serves as a physical manifestation of the protagonist’s descent into an afterlife, effectively trapping him within his own psychological isolation. ## Farce Masking Deep Tragedy The production frequently utilizes black humor, such as a conga line of residents using walkers, to puncture romantic tropes. However, this farce serves to conceal a deeper, more personal exploration of death and loneliness. The director’s approach suggests that the characters are not merely playing roles, but are trapped in their own illusions. ## Reflections on Modern Power While the production avoids direct political commentary, it inevitably evokes images of contemporary leaders trapped in their own power fantasies. By focusing on themes of isolation and the fear of aging, Chernyakov creates a timeless, unsettling experience. The work ultimately serves as an ironic autofiction, examining the human tendency to inhabit classic characters. ## Sources covering this story - https://meduza.io/en/feature/2026/11/10/director-dmitry-chernyakov-turns-three-rachmaninoff-operas-into-one-story-of-pushkin-s-miserly-knight-at-the-zurich-opera — --- _Summary written by Brifing from the original reporting. Copyright in the original article belongs to its publisher; read the full piece at the link above._