Organization

Reżyseria światła

Paulina Góral

Śpiewak

Wojtek Gierlach

Faraon

Ramfis

Dyrygent

George Tchitchinadze

Reżyseria

Anna Wieczur-Bluszcz

Scenografia

Damian Styrna

Kostiumy

Anna Chadaj

Choreografia

Izabela Sokołowska-Boulton

Wojciech Warszawski

Przygotowanie chóru

Agnieszka Długołęcka

Korepetytor /- ka

Michał Krężlewski

Sopran

Jolanta Wagner

Aida

Soojin Moon-Sebastian

Tenor

Jacek Laszczkowski

Radames

Tomasz Kuk

Rafał Pawnuk

Aleksander Teliga

Piotr Nowacki

Baryton

Leszek Skrla

Amonasro

Mariusz Godlewski

Karolina Sołomin

Kapłanka

Krzysztof Brzozowski

Posłaniec

Wojciech Winnicki

Mezzosopran

Malgorzata Walewska

Amneris

Anna Bernacka

Karolina Sikora

Opera Bałtycka

Gdańsk

Polska

Baltic Opera

Aida Verdi

Public

Approved

Peter Ilyich Tchaikovsky
EUGENE ONEGIN
Lyrical scenes in three acts I
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METAMORPHOSIS OF
EMOTIONS Tchaikovsky dedicated a number of works to the opera stage, but only the operas Eugene Onegin - as the culmination of Russian romantic opera - and The Lady of Spades , both based on the literary proposals of Alexander Sergeyevich Pushkin, were world famous.
Opera Eugene Oneginit arose relatively quickly, despite the serious and exciting upheavals in the composer's personal life, and it took only a year from the first enthusiasm for the material to the completion of the work. Tchaikovsky wrote to his patron, Mrs. von Meck, that only those who could be moved by "ordinary, simple human emotions" would be satisfied with Onegin. The ambitiously conceived tragedy has taken the form of a series of scenes, the dramaturgical tension stemming from the characters of the stage characters and not from the positions in which they find themselves. Such an approach by Tchaikovsky in the middle of the second half of the 19th century formally meant a great novelty. Eugene Oneginwas baptized in 1879 at Moscow's Maly Theater by students of the Conservatory, but without much success. It was only the re-enactments at the Bolshoi Theater in 1883 and in St. Petersburg in 1885 and 1892 that they proved to be an exceptional work of art, breaking down established stereotypes about opera pomp and bloating. The great composer was addressed in a special way by Pushkin's poem, as her verses capture a multitude of diverse emotions and especially transformation - friendships into great love and love into deep hatred and even death. The reflection of the souls of both romantic giants, Pushkin and Tchaikovsky, as we can experience in this opera, still today and again awakens the imagination of every opera lover.

English

Peter Iljič Čajkovski
EVGENIJ ONJEGIN
Lirični prizori v treh dejanjihI
NAKUP VSTOPNIC
METAMORFOZA ČUSTEV
Opernemu odru je Čajkovski namenil vrsto del, a sta bili svetovnega uspeha deležni le operi Evgenij Onjegin – kot vrhunec ruske romantične opere – in Pikova dama, obe sta nastali po literarnih predlogah Aleksandra Sergejeviča Puškina.
Opera Evgenij Onjegin je navkljub resnim in razburljivim pretresom v skladateljevem osebnem življenju nastala razmeroma hitro, od prvega navdušenja nad snovjo do dokončanja dela je minilo zgolj leto dni. Svoji pokroviteljici, gospe von Meck, je Čajkovski pisal, da bodo z Onjeginom zadovoljni le tisti, ki jih zmorejo ganiti »navadna, preprosta človeška čustva«. Velikopotezno zasnovana tragedija je prevzela obliko vrste prizorov, dramaturška napetost izhaja iz značajev odrskih likov in ne iz položajev, v katerih se znajdejo. Tak pristop Čajkovskega je sredi 2. polovice 19. stoletja v formalnem smislu pomenil velik novum. Evgenij Onjegin je doživel krst leta 1879 v moskovskem Malem gledališču v izvedbi študentov konservatorija, a brez velikega uspeha. Šele vnovične postavitve v gledališču Boljšoj leta 1883 in v Sankt Peterburgu leta 1885 ter 1892 so dokazale, da gre za izjemno umetnino, ki ruši ustaljene stereotipe o operni pompoznosti in nabuhlosti. Velikega skladatelja je Puškinova pesnitev nagovorila na poseben način, saj je v njenih verzih ujeta množica raznolikih čustev in še posebej preobrazba – prijateljstva v veliko ljubezen in ljubezni v globoko sovraštvo ter celo smrt. Odsev duš obeh romantičnih velikanov, Puškina in Čajkovskega, kot ga lahko doživimo v tej operi, še danes in vedno znova prebuja domišljijo slehernega ljubitelja opere.

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