[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"tmdb:person\u002F2036380:{\"language\":\"en-US\",\"append_to_response\":\"combined_credits,images\"}":3},{"adult":4,"also_known_as":5,"biography":6,"birthday":7,"deathday":7,"gender":8,"homepage":7,"id":9,"imdb_id":7,"known_for_department":10,"name":11,"place_of_birth":7,"popularity":12,"profile_path":13,"combined_credits":14,"images":45},false,[],"",null,0,2036380,"Acting","Valeri Alexejev",0.2772,"\u002FxQfSoe5ZEFYUZLwY5iLYgdv2eQ0.jpg",{"cast":15,"crew":44},[16,31],{"adult":4,"backdrop_path":17,"genre_ids":18,"id":20,"title":21,"original_language":22,"original_title":21,"overview":23,"popularity":24,"poster_path":25,"release_date":26,"softcore":4,"video":4,"vote_average":8,"vote_count":8,"character":27,"credit_id":28,"order":29,"media_type":30},"\u002FnfmfXV53Ewqv3Xc0SAkMQgrvzj.jpg",[19],10402,522434,"Otello","en","One of the chief pleasures of this live production of Otello from the Berlin Staatsoper Unter den Linden is Daniel Barenboim's conducting. From the opening gale-force blast of storm music, through the crunching and stabbing accompaniment of Iago's \"Credo\" to the shimmering strings of Desdemona's \"Willow Song\", he doesn't miss a trick. Everything works at the highest pitch of intensity and the orchestra sticks to his beat like glue. It's a necessary compensation for the shortcomings of the staging: the stolid chorus remains unperturbed by the storm and is directed to perform with unison movements; the acting (apart from Valeri Alexejev) is non-committal, and Alexandre Tarta's video direction somewhat flat-footed. She doesn't manage to make much small-screen sense of an impenetrably murky opening scene, for example, and doesn't seem fond of reaction shots.",0.7442,"\u002FfHyWyNd3l8t08mTTGiLzQpv343c.jpg","2001-01-01","Iago (baritone)","5aed62fac3a368344f00952c",2,"movie",{"adult":4,"backdrop_path":32,"genre_ids":33,"id":34,"title":35,"original_language":36,"original_title":35,"overview":37,"popularity":38,"poster_path":39,"release_date":40,"softcore":4,"video":4,"vote_average":8,"vote_count":8,"character":41,"credit_id":42,"order":43,"media_type":30},"\u002Fm461icSl2H5M6juYjp2uCy3bfX2.jpg",[19],656961,"Mussorgsky: Khovanshchina","ru","Kent Nagano superbly masters the challenges presented by this score, shapes the dynamics with subtle intensity, and casts the score in a mellow glow. As Marfa, the spurned lover of Ivan Khovansky‘s son Andrei, Doris Soffel unfolds such a rich palette of sonorities, from the pathos of the lower ranges to shaded discant heights, that “one is tempted to speak of a Russian mezzo”. The final chorus, which Mussorgsky did not compose, is played in the orchestrally transparent version of Igor Stravinsky – the third great Russian composer who contributed to making “Khovanshchina“ a timeless, gripping stage work. With his stripped-down sets and historicising costumes, director Dmitri Tcherniakov, one of the new voices of contemporary Russian theatre, builds a bridge to the political present. A lesson in history and music!",0.575,"\u002F9bh97TIetPvU1eJLXHMhVrq2yKj.jpg","2012-08-28","Shaklovity","5dfcf08426dac100175e29d2",3,[],{"profiles":46},[47],{"aspect_ratio":48,"height":49,"iso_3166_1":7,"iso_639_1":7,"file_path":13,"vote_average":8,"vote_count":8,"width":50},0.667,750,500]