Name: Tristan und Isolde
Start: 2020-02-22T00:00:00.000Z
End: 2020-02-29T00:00:00.000Z
Location: HNK Zajc

Organization

Singer

Tenor

Lars Cleveman

Tristan

Bass

Luka Ortar

King Mark

Soprano

Maida Hundeling

Isolde

Mezzo-soprano

Ivana Srbljan

Brangaene

Baritone

Robert Kolar

Kurwenal

Marko Fortunato

Melot

Dario Bercich

A steersman

Aljaž Farasin

Voice of a young sailor

A shepherd

Conductor

Ville Matvejeff

Kalle Kuusava

Stage director

Anne Bogart

Set designer

James Schuette

Video designer

Greg Emetaz

Lighting designer

Brian Scott

Choreographer

Christopher Murrah

Whisperer

Nataliya Marycheva

Chorus master

Anton Kyrylov

Croatian National Theatre “Ivan PL. Zajc” Rijeka

Others

Riječki operni zbor

Orchestra

Croatian National Theatre Ivan Zajc Opera Orchestra

alemany

Tristan und Isolde -  (Tristan and Isolde)

Rijeka

Croatia

HNK Zajc

Tristan und Isolde Wagner,Richard

Public

Tristan and Isolde

croat

Approved

Riječka Opera prvi put u svojoj povijesti producira neku operu Richarda Wagnera i to: „najsmionije i najoriginalnije djelo u mom životu”, kako je zapisao sam...

Richard Wagner's opera "Tristan and Isolde" is supposed to be the most extreme opera ever written. The chord that opens the prelude is considered the beginning of modern music, introducing chromatics, dissonance and, according to composer Arnold Schoenberg, even atonality. In general, opera rejects conventional notions of time and space. Often, due to unresolved suspensions, it is difficult to recognize endings (and beginnings). I wonder if it is possible to create a journey for an audience that stimulates a leap in which we can abandon attachments to this world and transcend under a new veil - light and darkness, love and death? Can the audience symbolically taste the love potion with Tristan and Isolde? Can we create a synesthetic world in which we stop being sure where our senses begin and end? ? Dissonance, discord between the individual and the world, the central drama is “Tristan and Isolde”. The opera enters the human phenomenon of unfulfilled longing, sexual desire and suffering due to unresolved tensions of two pre-Freudian characters. Can the individual and the world unite and harmonize into a state of expansion, of the all-encompassingness of all that can be known, felt, and done? Our production will easily travel from the literal, material world to subjective, metaphysical sensibility and back, exploring Wagner's words: "Life and death, the whole meaning of the external world, depends only on the inner movements of the soul." to feel and do? Our production will easily travel from the literal, material world to subjective, metaphysical sensibility and back, exploring Wagner's words: "Life and death, the whole meaning of the external world, depends only on the inner movements of the soul." to feel and do? Our production will easily travel from the literal, material world to subjective, metaphysical sensibility and back, exploring Wagner's words: "Life and death, the whole meaning of the external world, depends only on the inner movements of the soul."

English

Prvog riječkog Wagnera publika je ispratila stajaćim ovacijama, a kritika ocijenila “veličanstvenim uprizorenjem Wagnerova univerzuma”, “dugom i snažnom dramatskom simfonijom” i “operom o kojoj će se još dugo govoriti”.

Što je slavna američka redateljica Anne Bogart kazala o Wagnerovom Gesamtkunstwerku „Tristanu i Izoldi” i interpretima glavnih uloga: „Wagnerova glazba je napitak. Zbog duljine, zbog trajanja, glazba ne staje do posljednje note, do rješenja. Veličanstveno. Takvo djelo vas preuzme. Možete se samo prepustiti. Kao da ste popili napitak. U ovoj produkciji želimo ponuditi vizualni ekvivalent onoga što nudi glazba. Dvoje solista u glavnim ulogama su višestruko vanserijski. Larsu Clevemanu ovo je sada osma produkcija u kojoj pjeva ulogu Tristana. Puno sam naučila od njega. Svjestan je višestrukih slojeva publici važnih za razumijevanje tog lika. Moj je posao dopustiti publici vidjeti ono što Tristan jest. Jednako tako, Maidi Hundeling ovo je drugi put da pjeva ulogu Izolde. Ona je toliko duboko nastudirala ovu ulogu da svaki trenutak čini nešto novo. U svakom trenutku svakog od činova, ona se mijenja. Prolazi kroz nebrojene promjene, kao da gledate himeru. Ne pristaje biti jednodimenzionalna, „oh, ja sam zaljubljena“ Izolda. Posjeduje nevjerojatnu vještinu glume i povezivanja svega s glasom. Postigla je razinu na kojoj može biti što hoće. No, ne znači da može biti bilo što, jer tijekom rada, umije prepoznati što je istinsko i ispravno, hrabra je reći mi kada nešto ne osjeća kao svoje. Jednako je i s Larsom. Riječ je o doista toliko zahtjevnim ulogama da bih ih mogla usporediti s olimpijskim sportašima.”

 

“Anne Bogart, uz pomoć bogata iskustva naslovnih protagonista, sugestivno je izrazila Wagnerovu opsesiju nemogućnosti ostvarenja ideala ljubavi i užitka, kao veliku vagnerijansku fresku na duhovnom svodu riječkog kazališta i manifestacije EPK.” Davor Schopf, Vijenac

hrvatski

Tristan and Isolde by Wagner, Richard, Dc. 26 Febr. 2020, De (2020/2020), Dirigit per Anne Bogart,, Director musical Ville Matvejeff, Kalle Kuusava, HNK Zajc, Rijeka, Croatia

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