Organization

Direction d'orchestre

Ivan Repušić

Mise en scène

Fabio Sparvoli

Décors

Vesna Režić

Costumes

Dženisa Pecotić

Chanteur

Soprano

Valentina Fijačko

Sœur Angélique

Božena Svalina

Contralto

Žana Marendić Bučević

La Princesse

Ana Lice

Sœur Geneviève

Jelena Brnadić

Sœur Dolcina

Mezzo-soprano

Irena Parlov

La sœur Infirmière

Snjezana Katic

Première sœur quêteuse

Sonja Runje

Deuxième sœur quêteuse

Tea Slavica

Première sœur controverse

Lea Ančić

Deuxième sœur controverse

Baryton

Giorgio Surian

Gianni Schicchi

Kiril Manolov

Tamara Franetović Felbinger

Lauretta

Ténor

Tomislav Male

Rinuccio

Nella

Sveto Matošić Komnenović

Gherardo

Špiro Boban

Basse

Božo Župić

Betto

Vinko Maroević

Marco

Tonči Banov

Maître Spinelloccio

Terezija Kusanović

Zita

Jadran Barišković

Guccio

Marijo Krnić

Pinellino

Antonija Teskera

La Maîtresse des Novices

Barbara Sumić

Première sœur novice

HNK Split

Others

HNK Split Choir

Orchestra

HNK Split Orchestra

Suor Angelica -  (Sœur Angélique)

Split

Croatie

Suor Angelica Puccini (+1 More)

Public

Valide

These two operas, Sister Angelica and Gianni Schicchi, which together with Plašta form a triptych, were created thanks to the genius of the librettist Giovacchino Forzano, who, with his creativity and theatrical sensibility, gave Puccini the two stories he lacked; this one, namely, already had in his head the contents of Plašt, the third opera that was supposed to conclude the triptych.
Sister Angelica refers in some lines to the events of Butterfly, which was especially dear to Puccini, both as a female character and as a theme; Cio Cio San's pain, her wounded motherly love dominates the scene, and she, tormented by the moral torture to which others expose her, finds a way out in suicide. And Tosca endures, in a certain way, the torture, which in her case is physical, and ends in a similar way. However, unlike Butterfly, Sister Angelica is not a slave to her own choices, she does not decide her own destiny. She is a victim of bigotry, which descends on her and her aristocratic world; due to the conventions of the class to which she belongs, they denied her the right to motherhood, imprisoned her within the walls of the monastery in order to bury her guilt and thus condemned her to the present time. Sister Angelica is a hostage of stopped time, stopped by others,
Unlike Sister Angelica, Gianni Schicchi is a comedy in its purest form, full of unsaid stories, some stories that really happened, like the one about the Florentine Bischeri family, recorded in the ensemble ''Ecco la' un Donati...''
Central node Schicchi's arrival on the scene is a new social class, the rich bourgeoisie. This is the "gente nova" that Rinuccio sings about, who will soon replace the aristocracy. Furthermore, Puccini knew very well the psychology of the Tuscans, in this case the Florentines. His portrayal of Gianni Schicchi is exemplary and incredibly current: a rough man who is adaptable, opportunistic and intelligent, and basically good-hearted when it comes to the happiness of his daughter Lauretta.
Different characters from the Donati family are depicted in a way that is both modern and lucid: love, respect, human compassion are unfamiliar words to them, everything revolves around will and self-interest: and aren't greed and personal interest the main driving forces of our society? .

English

Ove dvije opere, Sestra Angelica i Gianni Schicchi, koje zajedno s Plaštom čine triptih, nastale su zahvaljujući geniju libretista Giovacchina Forzana koji je svojom kreativnošću i teatarskim senzibilitetom dao Pucciniju dvije priče koje su mu nedostajale; ovaj je, naime, već imao u glavi sadržaj Plašta, treće opere koja je trebala zaključiti triptih.
Sestra Angelica se nekim stihovima referira na događaje iz Butterfly, koja je Pucciniju bila posebno draga, i kao ženski lik i kao tema; bol Cio Cio San, njena ranjena majčinska ljubav tu dominira scenom, te ona, izmučena moralnom torturom kojoj je izlažu drugi, izlaz nalazi u samoubojstvu. I Tosca podnosi, na određen način, torturu koja je u njenom slučaju fizička, i završava na sličan način. No, za razliku od Butterfly, Sestra Angelica nije rob vlastitih izbora, ona ne odlučuje sama o svojoj sudbini. Žrtva je zadrtosti koja se obrušava na nju i njen aristokratski svijet; zbog konvencija klase kojoj pripada zanijekali su joj pravo na majčinstvo, zatočili je među zidove samostana kako bi sahranili njenu krivicu i osudili je tako na vrijeme koje stoji. Sestra Angelica talac je zaustavljenog vremena, zaustavljenog od strane drugih, vremena sadašnjeg koje je prazno i bez ljubavi, sjećanje na koja neprestano obnavlja njenu bol.
Za razliku od Sestre Angelice, Gianni Schicchi je komedija u svom najčišćem obliku, puna neizrečenosti, nekih priča koje su se stvarno dogodile, poput one o firentinskoj obitelji Bischeri, zabilježenoj u ansamblu ''Ecco la' un Donati...''
Središnji čvor Schicchija dolazak je na scenu nove društvene klase, bogate buržoazije. To je taj „gente nova“ o kome pjeva Rinuccio, koji će uskoro zamijeniti aristokraciju. Nadalje, Puccini je odlično poznavao psihologiju Toskanaca, u ovom slučaju Firentinaca. Egzemplaran je i nevjerojatno aktualan njegov portret Giannija Schicchija: grubi čovjek koji je prilagodljiv, oportunist i inteligencija a u osnovi dobrog srca kad je u pitanju sreća njegove kćerke Laurette.
Različiti likovi iz obitelji Donati oslikani su na način koji je i moderan i lucidan: ljubav, poštovanje, ljudsko suosjećanje njima su nepoznate riječi, sve se okreće oko oporuke i vlastitih interesa: a nisu li upravo pohlepa i osobni interes glavne pokretačke sile našeg društva?.

hrvatski

Crédits de représentation (Distribution et équipe de production )

Distribution

Équipage

Ensemble