Organization

Regia

Juraj Nvota

Scenografia

Mona Hafsahl

Costumi

Cantante

Baritono

Marek Gurbal

Don Giovanni

Marián Lukáč

Basso

István Rácz

Il Commendatore

Soprano

Michaela Várady

Donna Anna

Mariana Hochelová

Tenore

Maksym Kutsenko

Don Ottavio

Pablo Cameselle

Tatiana Paľovčíková-Paládiová

Donna Elvira

Janette Zsigová

Michal Onufer

Leporello

Mihály Podkopájev

Csaba Kotlár

Masetto

Martin Kovács

Adriana Banásová

Zerlina

Aneta Hollá

Direzione d'orchestra

Vinicius Kattah

Coreografia

Jaroslav Moravčík

Drammaturgia

Peter Hochel

Direzione del coro

Lukáš Kozubík

Video

Lukáš Kodoň

Assistant Director

Eva Nováková

Assistant Conductor

Jan Novobilský

Strumento

Dušan Pásztor

Farár

Štátne divadlo Košice

Others

Choir ŠD Košice

Orchestra

Opera Orchestra of the Košice State Theater

Bratislava

Slovacchia

Slovak National Theatre Historical Building

Don Giovanni Mozart

Public

Approvato

Recording of the press conference for the premiere of WA Mozart's opera Don Giovanni, at which representatives of the media were informed by the director of the opera Karol Kevický, director Juraj Nvota, choreographer Jaroslav Moravčík, dramaturg Peter Hochel, conductor Vinicius Kattah and former choir master of the opera Šimon Marinčák.

Opera of operas. This is how experts tend to title this work of Mozart's mature genius from the last years of the master's life. What is its uniqueness? After all, the plot itself - a relatively simple story of a fornicator who is pursued by the victims of his passions - does not create an a priori prerequisite for the creation of an opera, which should be written in golden letters in the history of this kind! Although Mozart does not deviate in any way from the classical compositional style, although he does not in any way violate the strict stylistic "rule", he nevertheless gives the work a clear stamp of originality, using all the positions of the musical language as a means of drawing characters and relationships. The author seems to consistently project the musical material onto another medium - on the surface of the sujet - and every singing ornament, every harmony of voices in ensembles, every change of tempo (and so on and so on...) is justified, filled, allowed to "soak in" dramatic meaning. And so, although we are also used to interpreting the history of opera in their chronological sequence, Don Giovanni (as, after all, all phenomenal works of art) seems to reach beyond time and space - and by the fascinating intertwining of music with extra-musical meanings, it boldly competes with the best musical dramas of all periods and provenances !

English

Opera opier. Tak zvyknú odborníci titulovať toto dielo Mozartovho zrelého génia z posledných rokov majstrovho života. V čom tkvie jeho výnimočnosť? Veď samotný dej – pomerne jednoduchý príbeh smilníka, ktorého prenasledujú obete jeho vášne – nevytvára a priori predpoklad pre vznik opery, ktorá by sa mala do dejín tohto druhu zapísať zlatými písmenami! Hoci Mozart v ničom nevybočuje z klasicistického kompozičného štýlu, hoci nijako nenarúša prísnu štýlovú „regulu", predsa len dáva dielu jasný punc originality, využívajúc pritom všetky polohy hudobného jazyka ako prostriedok pre kresbu charakterov a vzťahov. Autor akoby dôsledne premietal hudobný materiál na iné médium – na plochu sujetu – a každú spevácku ozdobu, každý súzvuk hlasov v ansámbloch, každú zmenu tempa (a tak ďalej a tak ďalej...) odôvodňuje, napĺňa, necháva „nasiaknuť" dramatickým významom. A tak, hoci sme aj navyknutí vykladať dejiny opery v ich chronologickej následnosti, Don Giovanni (tak ako napokon všetky fenomenálne umelecké diela) akoby sa dostával mimo čas a priestor – a fascinujúcou spätosťou hudby s mimohudobnými významami smelo konkuruje najlepším hudobným drámam všetkých období a proveniencií!

slovenčina

Don Giovanni by Mozart, Da (2022/2023), Diretto da Juraj Nvota,, Direttore d'orchestra Vinicius Kattah, Slovak National Theatre Historical Building, Bratislava, Slovacchia

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