The plot features a sorry hero, Kovalyov, a mid-level collegiate assessor who finds himself noseless, most likely the doing of a drunken barber Yakovlevich—a small part played with gusto, enthusiasm, and humour by bass Vladimir Ognovenko. Setting out to find his missing nose, Kovalyov finds that his nose has grown to human size and attained the rank of state councilor, a higher rank than Kovalyov's. The opera goes on from there, as Kovalyov experiences many misadventures in his search to obtain, and eventually reattach, his nose. 

For most of the opera, the main attraction is Paulo Szot as Kovalyov. An unforgiving role that
requires extended concentration and energy with little reward in opportunities for virtuosic showmanship, Szot sometimes seemed to have trouble carrying throughout the hall, but his charismatic and comedic performance made him a strong Kovalyov.

Also of great note was Andrey Popov as the police inspector; his odd sense of comedy fit in perfectly with the story and music, and Popov's nasal whine made the part. The rest of the cast—all of whom played multiple parts—did a fabulous job as support. The chorus produced a gorgeous sound, creating an especially nervous, icy darkness during the Cathedral scene where Kovalyov first finds his nose while it is at prayer. 

The sheer complexity of the score makes it a feat to produce, but from top to bottom it is really a fantastic piece of drama. Kentridge's production added to Gergiev's masterful interpretation, but throw in a strong lead and supporting cast and you have a truly innovative and thought-provoking production. 

The final performance of The Nose is this Saturday, October 26.