Organization

Conductor

Conductor (+3)

Benjamin Bayl

Stage director

Choreographer (+2)

Deda Cristina Colonna

Set designer

Stage director (+3)

Francesco Vitali

Costume designer

Lighting designer

Harpsichordist

Ewa Mrowca

Instrument

Chorusmaster

Chorusmaster (+2)

Krzysztof Kusiel-Moroz

Assistant Stage Director

Costume designer (+2)

Hannah Gelesz

Assistant Choreographer

Soprano (+2)

Adriane Canavarro

Assistant Conductor

Dorota Cybulska-Amsler

Tenor (+3)

Kieran White

Castor

Baritone (+2)

Kamil Zdebel

Pollux

Soprano

Tosca Rousseau

Télaïre

Contralto (+3)

Anna Werecka

Phébé

Bass (+3)

Wojciech Sztyk

Le Grand Prètre de Jupiter

Bass (+4)

Dawid Biwo

Jupiter

Joanna Sojka

Cléone

Tenor (+4)

Aleksander Rewiński

Mercury

Warsaw Chamber Opera

Orchestra

Period Instrument Orchestra Musicae Antiquae Collegium Varsoviense

Chorus

Vocal Ensemble of the Warsaw Chamber Opera

Teatr WOK

Opera is a synergy of instrumental virtuosity, singing, drama, dance, plastic arts, and in the case of Jean-Philippe Rameau's masterpiece "Castor et Pollux", one can also talk about the synergy of antiquity, esotericism, Kabbalah and ... astronomy. From the perspective of the centuries, we can confidently say that we are dealing with art which, due to its multifacetedness and universal treatment of mythology as the key to the timeless presentation of human nature, forces us to reflect without losing any of its topicality. News from the 18th century and the present day.

After the huge success for the Warsaw chamber musicians, the premiere of the opera "Armide", the director of the Warsaw Chamber Opera, Alicja Węgorzewska-Whiskerd, invited the same tandem of Italian producers to collaborate on another major production. It was again Deda Cristina Colonna and Francesco Vitali who were behind the staging of Jean-Philippe Rameau's opera Castor et Pollux in Warsaw.

Through the figures of Dioscors, in Roman mythology functioning as Castors, Deda Cristina Colonna wants to show human features in their natural contrast, often juxtaposing human and divine features. So there will be a place to show boundless friendship, but also the emptiness after the death of a loved one, joy and its opposing pole - mourning.

Jean-Philippe Rameau presented the opera "Castor et Pollux" to the world at the Académie Royale de Musique in Paris on October 24, 1737. Within two months, the work was staged 21 times, and thanks to the version revised by the composer himself and staged on January 11, 1754, Castor et Pollux was performed 254 times between 1737-1785, becoming a masterpiece of French opera.

The Warsaw vision is a kind of signum temporis, i.e. a tribute to art with full respect for tradition, including the most important one - performance, built on the foundation of historically informed interpretation with the use of an orchestra of early instruments and singers freely using techniques typical of the Baroque. On the other hand, what is interpretatively profound has been complemented with contemporary stage technologies for the 21st century, with particular emphasis on multimedia, which means that even such prosaic barriers as spaces and perspectives have been broken. It is a new voice in the interpretation of the baroque canon, on the one hand a nod to the centuries-old tradition, while boldly looking at what is here and now, and what awaits the opera around the corner. One thing is for sure,

Castor et Pollux (Castor and Pollux), Rameau

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