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

Admin

Organization

Direzione d'orchestra

Đorđe Pavlović

Scenografia

Aleksandar Zlatović

Costumi

Vesna Radović

Assistant Conductor

Stefan Zekić

Coreografia

Vladimir Logunov

Regia

Radoslav Zlatan Dorić

Aleksandar Nikolić

Cantante

Tenore

Dušan Plazinić

Maurizio

Aleksandar Dojković

Basso

Dragoljub Bajić

Il principe di Bouillon

Vuk Matić

Igor Matvejev

L'abate di Chazeuil

Danilo Stošić

Baritono

Miodrag D Jovanović

Michonnet

Marko Kalajanović

Soprano

Jasmina Trumbetaš Petrović

Adriana Lecouvreur

Suzana Šuvaković Savić

Mezzosoprano

Nataša Jović Trivić

La principessa di Bouillon

Jelena Vlahović

Svetlana Nestorov

Madamigella Jouvenot

Marija Mitić

Željka Zdjelar

Madamigella Dangeville

Ljubica Vraneš

Ljubodrag Begović

Poisson

National Theatre Belgrade

Others

National Theater in Belgrade

Orchestra

Belgrade National Theatre Orchestra

Belgrado

Serbia

National Theatre

Adriana Lecouvreur Cilea

Public

Approvato

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

Crediti di rappresentazione (Cast e team di produzione )

Cast

Team creativo

Ensemble