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Marko Kalajanović

Constantine the Great

Nataša Jović Trivić

Helena

Suzana Šuvaković Savić

Fausta

Nenad Jakovljević

Publius

Janko Sinadinović

Galerius

Vuk Zekić

Darko Đorđević

Lactantius

Dragoljub Bajić

Eusebius

Aleksandar Dojković

Constantius Chlorus

Nenad Čiča

Notary

Ljubodrag Begović

Augurus

Ljubica Vraneš

Head midwife

Danilo Stošić

Diocletian

Conductor

Dejan Savić

Stage director

Dejan Miladinović

Set designer

Choreographer

Konstantin Kostjukov

Chorus master

Đorđe Stanković

National Theatre Belgrade

Licinius

Miraš Vuksanović

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Petar Antonović

Lighting designer

Miodrag Milivojević

Makeup artist

Dragoljub Jeremić

Sound designer

Perica Ćurković

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Belgrade National Theatre Orchestra

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National Theatre Belgrade Ballet

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National Theater in Belgrade

In hoc Signo

Belgrade

Serbia

National Theatre

In hoc Signo Frisina, M.

Public

Approved

U SU­SRET PRE­MI­JE­RI U OPE­RI
Apo­te­o­za hri­šćan­stvu
In the history of the Belgrade Opera, now almost a hundred years old, the premiere of the opera "In hoc signo..." by composer Don Marko Frizina is the first case where the world premiere of a work by a foreign composer was intended for the local scene. That is why the circumstances of the creation of the work are particularly interesting on the occasion of this premiere, which is a completely new experience for me, after more than forty years of artistic work with around 160 realized directions. As the director with the largest number of domestic opera productions, which I am particularly proud of, I also encouraged domestic opera creation as a librettist. So far, I have written librettos for the operas "Kipić" by academician Igor Kuljerić (Zagreb Biennale 1977), "Prometheus" by academician Rudolf Bruči (HNK Osijek 1981), "Mandragola" by academician Ivan Jevtić (Madlenianum 2009) and for the still unperformed opera "Veseli popovi banatski " of academician Dejan Despić. However, unlike these librettos, I wrote the libretto for the opera "In hoc signo..." without a literary template, only based on historiographical sources, which was a special dramaturgical challenge for me. I started my work by collecting material back in 2010. I was firmly convinced that only a new opera, as the most international in terms of communication, written in Italian, as the international language of opera, could preserve the memory of the celebration of the 1700th anniversary of the Edict of Milan and affirm Christian values ​​in its future life. and in every future presentation. I wanted the new opera, as a sort of apotheosis of Christianity, to increase the unfortunately few operatic repertoire thematically dedicated to significant events in the history of Christianity. That is why this libretto is not dedicated only to this anniversary, nor does it deal only with the life and reign of Constantine the Great. The character of Emperor Constantine forms the largest part of the story, limited by the birth of a pagan (in the first scene) and the birth of a Christian (in the last scene), but the essential theme of the libretto is the emperor's conversion under the decisive influence of his mother Jelena. Thus, the figure of St. Helena and the figures of all other Christians (the Chorus of Martyrs, Lactantius, Eusebius, as well as the stalker Vasus) in the libretto are the personification of the power with which Christianity triumphed over paganism and with which it lasts for two thousand years overcoming "Under this sign" (In hoc signo) all possible temptations. In accordance with the theme and the occasion for which the libretto was written, I first handed it over to His Holiness Patriarch Irinej, from whom I received a pastoral blessing, with the support of the work about which an assessment was written on the website of the Serbian Orthodox Church "... the widely known artistic gift of Mr.Miladinović presented this dramatic story in an original way". In the same summer of 2011, I also asked for a blessing from the Archbishop of Belgrade, Mons. Stanislav Hočevar, who offered wholehearted help so that the work would see the light of the stage, and above all in engaging the composer, in which His Excellency the Apostolic Nuncio Mr. Antonini. As a Serbian Orthodox, I wanted, namely, to have a composer of the Catholic faith join me in creating the piece, so that with such a duo we would be as close as possible to the early Christian spirit, which I insist on in the libretto by using both Greek and Latin, which, for example, in the scene of the Council of Nicaea, simultaneously alternate in choral "I believe" (Credo! – Pisteuo!). Since such a libretto definitely needs a strong emotional communication with the audience, my wish was that the opera be composed by a creator whose musical language is tonal, and whose feeling for the Christian theme is undoubtedly authentic. In this sense, Mons. appeared as the ideal author. Marko Frizina, composer from Rome, musical director of the Pontifical Lateran Choir, to whom the Apostolic Nunciature from Serbia sent the libretto for evaluation. Msgr. Frisini liked the libretto so much that he expressed his wish that he would compose the opera "if the librettist agrees". The rich opus of sacred music by Mons. Frizine (he composed and performed 20 oratorios before Popes John Paul II and Benedict XVI), as well as his experience in composing music for TV series and films with religious themes (with Ben Kingsley and Richard Harris in the lead roles, for example), and his experience with the rock-musical "Divine Comedy" based on Dante, they promised that in the "great fresco of 15 paintings", as the composer called his future opera, in addition to epic monumentality, each painting would also contain coherent drama. This good feeling was confirmed by the harmony in which we quickly and easily agreed on all the details of the work during our meeting in Belgrade, at the end of spring last year, arranged by the courtesy of the Apostolic Nunciature and the Belgrade Archdiocese. When the Committee for the celebration of the 1700th anniversary of the Edict of Milan was founded, the opera "In hoc signo..." was, at the suggestion and with the support of the Serbian Orthodox Church and the Belgrade Archdiocese, included in the program of the celebration as the final artistic event. At that time, the composition of the opera was already well underway and it was completed at the end of this spring, when the Belgrade Archdiocese took over the composer's and my copyrights through contracts, and hired maestro Dejan Savić as conductor and me as the director of the play, handing it over to the Opera of the National Theater pro bonoand the work of project managers. Thus, the end of the last and the beginning of this opera season were devoted to preparations for the premiere scheduled for October 8, with repeats on October 9 and 10. Now I arrange carefully selected video segments to interact with the stage events. The decor is being completed according to my sketches, which is being taken care of by coscenographer Miraš Vuksanović, the realization of the costumes according to Milanka Berberović's designs is underway, while Konstantin Kostjukov is setting the choreography for the bacchanal scene in the Galerius Palace and the pagan wedding scene in Mediolanum. Two operas from abroad were actively involved in the costume equipment of the project, the Macedonian Opera from Skopje and the Opera from Osijek. And I am most occupied with stage rehearsals with the choir and a large soloist ensemble that interprets about 25 roles, of which, due to the number, I will single out only the two main ones in the interpretation of the young baritone Marko Kalajanović (Emperor Constantine) and the mezzo-soprano Nataša Jović Trivić (St. Jelena). , as well as the slightly smaller role of Fausta, the second wife of Emperor Constantine, interpreted by Suzana Šuvaković Savić, with the note that the other soloists, among whom there are also champions in small roles (thanks to them!) as well as young participants of the Opera Studio, perform striking roles. I am especially glad that during the rehearsals I feel exceptional enthusiasm and excitement for the essence of the work in all of them, so that during the work there are also sighs and spontaneous tears, and all in a kind of heightened emotionality and an atmosphere of tranquility and bliss. It seems to me that the wish of Archbishop Hočevar expressed in the dedication he wrote to me on the libretto, which reads: "I praise God for this inspiration! I wish the light of inspiration to all people through this work!" Along with the screenings among the performers, I hope that a greater part of that light will spill over to the audience of the Belgrade Opera. Welcome under the blessed Sign!

De­jan Mi­la­di­no­vić

bosanski

In hoc Signo by Frisina, M., -tól (2013/2014), Rendezte Dejan Miladinović,, Karmester Dejan Savić, National Theatre, Belgrade, Serbia

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