Name: Adriana Lecouvreur
Start: 2010-11-27T00:00:00.000Z
End: 2011-02-02T00:00:00.000Z
Location: National Theatre

Admin

Organization

Conductor

Đorđe Pavlović

Set designer

Aleksandar Zlatović

Costume designer

Vesna Radović

Assistant Conductor

Stefan Zekić

Choreographer

Vladimir Logunov

Stage director

Radoslav Zlatan Dorić

Aleksandar Nikolić

Tenor

Dušan Plazinić

Maurizio

Aleksandar Dojković

Bass

Dragoljub Bajić

The Prince of Bouillon

Vuk Matić

Igor Matvejev

The Abbe of Chazeuil

Danilo Stošić

Baritone

Miodrag D Jovanović

Michonnet

Marko Kalajanović

Soprano

Jasmina Trumbetaš Petrović

Adriana Lecouvreur

Suzana Šuvaković Savić

Mezzo-soprano

Nataša Jović Trivić

The Princess of Bouillon

Jelena Vlahović

Svetlana Nestorov

Miss Jouvenot

Marija Mitić

Željka Zdjelar

Miss Dangeville

Ljubica Vraneš

Ljubodrag Begović

Poisson

National Theatre Belgrade

Others

National Theater in Belgrade

Orchestra

Belgrade National Theatre Orchestra

Belgrade

Serbia

National Theatre

Adriana Lecouvreur Cilea

Public

Approved

The restoration of the opera is a series of misconceptions and misunderstandings, both in opinion and in practice. No renewal! When an opera is staged again after a few years, everything is new. First of all, the time in which this is being done is new. They are new singers - other, different people, with their own characteristics, virtues, flaws, problems ... 
From the "old" - maybe there could be music in the first place. But if the conductor changes and she is new ... different. The great misconception of many theaters is that "everything already exists" and that only new actors need to master their roles, so that everything is put in its place. Any renewal, really, should be a real, new premiere of the opera. Otherwise - why is something "renewed" - why not do something new? Artistic reasons should be the only reason for the new life of an already performed and performed opera. Our poverty - the fact that we have decor and costumes in our holdings - must never be the key reasons for "renewal", although in our practice there is. Every "renewal" of the opera is for someone who has ever done it - harder work than preparing a new work! Paradoxically, but true! That is why every "renewal" must be approached with the same ambitions, number of rehearsals, work, as if we were at the very beginning! The administrations and directorates have to think about that in particular. That, of course, is my opinion. I am aware that the opinion with which I am arguing here will prevail in theatrical practice: for the one who goes on stage to sing for the first time - everything is new.

English

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Lomās

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