Organization

Conductor

Patrick Fournillier

Stage director

Mariusz Treliński

Set designer

Boris Kudlička

Costume designer

Paweł Grabarczyk

Magdalena Tesławska

Choreographer

Emil Wesołowski

Lighting designer

Stanisław Zięba

Singer

Mezzo-soprano

Hanna Hipp

Suzuki

Tenor

Rafał Bartmiński

B.F. Pinkerton

Mateusz Zajdel

Goro

Piotr Maciejowski

Prince Yamadori

Bass

Sławomir Kowalewski

The imperial commissioner

Baritone

Mariusz Godlewski

Sharpless

Aleksandra Orlowska

Kate Pinkerton

Soprano

Barno Ismatullaeva

Cio-Cio-San

Teatr Wielki - Opera Narodowa

Orchestra

Orchestra of the Polish National Opera

Others

Chorus of the Polish National Opera

itāļu

Madama Butterfly -  (Madame Butterfly)

Warsaw

Poland

Moniuszko Auditorium

Public

Madame Butterfly

poļu

Approved

Madama Butterfly Puccini

MADAME BUTTERFLYGiacomo Puccini, reżyseria: Mariusz TrelińskiTragedia japońska w trzech aktachLibretto: Giuseppe Giacosa i Luigi IllicaPrapremiera: Regio Tea...

Mariusz Treliński - Madame Butterfly - Teatr Wielki - Opera Narodowa

‘It’s easy to stage a revolution when you know nothing,’ says Mariusz Treliński, now the respected winner of an ‘operatic Oscar’, recalling his proper opera debut and acknowledging the impact he had on the transformation of contemporary opera language. He transitioned from film equipped with cinematic narration and raised his hand on opera, which he considered ‘pretentious, bourgeois, irritating, and pandering to poor tastes’. Although Treliński claims that he was ignorant about opera as a young director, that was not really the case: his first film, Farewell to Autumn, based on Witkiewicz’s novel and matching the original’s quality, dazzled with the operatic scale of staging, set design, and the dandy way it flirted with the artificiality of its constraints on which music theatre thrives. Any accusations of Treliński’s musical ignorance are also hugely exaggerated, considering that he illustrated homoerotic antics of the film’s protagonists with Nemorino’s aria from Donizetti’s L’elisir d’amore. That’s enough to suspect that Ciociosan meant for him more than the supermarket brand of Bulgarian vermouth. Setting out to stage the Puccini classic together with set designer Boris Kudlička, Treliński strived for minimalism and stripping Madame Butterflyof its Japanese-style kitsch. Thus, paradoxically, lying at the origins of the greatest Polish opera career of this century was the desire to bring the means of operatic expression to a bare minimum. It is a great, canonic production. The first choice for opera beginners and a favourite with advanced opera lovers.

English

Izrādes kredīti (Izpildītāji un radošā komanda )

Lomās

Radoša komanda

Ansamblis