Organization

Director(a) orquestal

Ivan Repušić

Director(a) de escena

Krešimir Dolenčić

Escenógrafo(a)

Dinka Jeričević

Diseñador(a) de vestuario/Figurinista

Ana Savić Gecan

Diseñador(a) de iluminación

Deni Šesnić

Diseñador(a) de video

Coreógrafo(a)

Snjezana Abramović Milković

Director(a) coral

Ana Šabašov

Cantante

Tenor

Peter Berger

Fausto

Bajo

Ondrej Mráz

Mefistófeles

Ivica Čikeš

Barítono

Kiril Manolov

Valentín

Alen Ruško

Božo Župić

Wagner

Mate Akrap

Soprano

Valentina Fijačko

Margarita

Božena Svalina

Mezzosoprano

Terezija Kusanović

Siebel

Helena Lucić Šego

Žana Marendić Bučević

Marta

Maria Bogaverdes

Marica Kolega

Dario Tvrdić

Faust's Assistant

HNK Split

Faust -  (Fausto)

Split

Croacia

Faust Gounod

Public

Válido

Accordionist

Instrumentista

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor/actriz

Bailarín(a)

Chorus Director

Compositor(a)

Coro

Diseñador(a) de sonido

Dramaturgia

Entrenador(a) vocal

Extra

Illustrator

Libretista

Maestro repetidor

Maquillaje

Orchestra Operations

Orquesta

Otro

Peinado

Photographer

Poet

Producción Ejecutiva

Profesor(a)

Radiodifusión

Stage Manager

Traductor(a)

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Contratenor

Bajobarítono

Alto

Continuo

Papel de hablante

Papel mudo

Vocalista infantil

Charles Gounod (1818-1895) is one of the most prominent representatives of French romantic opera. His vocation as a choirmaster and composer of numerous works for choirs meant that in addition to melodiously shaped solo parts, we also find impressive choral scenes in his stage works. But it is even more significant that Gounod freed French opera of the time from Italian and German influences, and created a work of a new genre, between grand and comic opera. In Gounod's Faust, the dramatic plot is much more connected to music than was the case in the prevailing tradition at the time, so there is certainly no more primal forerunner to the musical revival of France in the late 19th century than Gounod.
Without intending to convey the philosophical essence of Goethe's work, which had already been often set to music, Gounod in his opera dominantly dwells on the episode that thematizes the love of Faust and Margarete, and gives the main characters a musical rather than a psychological profile. Therefore, the strength of Gounod's Faust is not so much contained in the dramatic density that rises to the tragic, as in the originality of the melodic inspiration, the sensuality of the cantilena, the finesse of thematic invention, the subtlety of the orchestration, and the mastery of the compositional technique full of elegant modulations and bright harmonies.

English

Charles Gounod (1818.-1895.) jedan je od najistaknutijih predstavnika francuske romantičke opere. Njegova vokacija zborovođe i skladatelja brojnih djela za zborove učinila je da osim melodiozno oblikovanih solističkih dionica u njegovim scenskim djelima nalazimo i impresivne zborske prizore. No, još je značajnije da je Gounod tadašnju francusku operu oslobodio talijanskih i njemačkih utjecaja, te stvorio djelo novog žanra, između velike i komične opere. U Gounodovu Faustu dramska radnja je mnogo više povezana s glazbom nego što je to bio slučaj u tada prevladavajućoj tradiciji, tako da za glazbeni preporod Francuske u kasnom 19. stoljeću zacijelo nema iskonskijeg preteče od Gounoda.
Bez nakane da iznosi filozofsku bit Goetheova djela, koje je do tada već često uglazbljivano, Gounod se u svojoj operi dominantno zadržava na epizodi koja tematizira ljubav Fausta i Margarete, a glavnim likovima daje više glazbeni negoli psihološki profil. Stoga snaga Gounodova Fausta nije toliko sadržana u dramskoj zgusnutosti koja se penje do tragičnog, koliko u izvornosti melodijskog nadahnuća, čulnosti kantilene, finoći tematske invencije, suptilnosti orkestracije te majstorstvu skladateljske tehnike prepune elegantnih moduliranja i svijetlih harmonija.

hrvatski

Fausto by Gounod, mar. 19 feb 2008, De (2008/2008), Dirigido por Krešimir Dolenčić,, Director Ivan Repušić, HNK, Split, Croacia

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