Organization

Admin

Maestro

Ville Matvejeff

Diretor de Palco

Marin Blažević

Cantor

Contratenor

Diana Haller

Giulio Cesare

Soprano

Anamarija Knego

Cleopatra

Michaela Selinger

Contralto

Dubravka Šeparović Mušović

Cornelia

Sonja Runje

Tolomeo

Baixo

Dario Bercich

Achilla

Marko Fortunato

Nireno

Ivan Šimatović

Cenógrafo

Estilista

Sandra Dekanić

Designer de Iluminação

Dalibor Fugošić

Coreógrafo

Michele Pastorini

Croatian National Theatre “Ivan PL. Zajc” Rijeka

Giulio Cesare in Egitto -  (Julius Casar)

Rijeka

Croácia

HNK Zajc

Public

Julius Casar

Approved

Giulio Cesare in Egitto Händel

Libreto: Giacomo Francesco Bussani, Nicola Francesco Haym

U prvom činu scena je obogaćena zanimljivim detaljem, svaki je solist iza sebe imao ekran na kojemu se u krupnom planu vidjelo lice svakoga od njih i emotivni
doživljaj sniman kamerom u trenutku nastupa. Scena je obogaćena dijelovima rekvizite iz već odigranih opera, a posebno je zamjetan odmak od tragedije u sitnim komičnim međuodnosima među protagonistima, koji ponekad karikiraju veličinu i snagu patnje, ali i ljubavi i osvete.

No, ono što je definitivno ponovno osvojilo publiku, koja je pljeskala vrlo često na otvorenoj sceni, bila je prekrasna, bogata, barokna Händelova glazba i sjajni solisti koji su savršeno vladali glasovnim bravurama uz mnoštvo glumačko-scenskih zahtjeva redatelja. Virtuozno raspjevana Diana Haller, milozvučna Anamarija Knego, melodizna Michaela Selinger i tamna i emotivna Dubravka Šeparović Mušović, kao i čvrsta i čista Sonja Runje, uz izvrstan muški dio solista: Daria Berčića, Marka Fortunata i Ivana Šimatovića, publici su pružili neizmjeran glazbeni užitak koji je bio upotpunjen izvrsnim orkestrom.
(Gloria Fabijanić Jelović, HRT Radio Rijeka)

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Libretto: Giacomo Francesco Bussani, Nicola Francesco Haym

In the first act, the scene is enriched with interesting details; each soloist had a screen behind them showing their face, so the emotional experience recorded by the camera in the moment of performance could be seen in close-up. The scene is enriched with parts of props from previously performed operas, and the departure from the tragedy is especially noticeable in the small comic relationships between the protagonists, who sometimes caricature the magnitude of power and suffering, but also of love and revenge.

But what definitely won over the audience again, leading them to applaud before the open stage, was the beautiful, rich, baroque Händel music and the brilliant soloists who perfectly mastered the vocal feats with the multitude of stage-acting demands of the director. Virtuosically sung by Diana Haller, the melodious Anamarija Knego, the melodic Michaela Selinger, the dark and emotional Dubravka Šeparović Mušović and the strong and pure Sonja Runje, and an excellent set of male soloists, Dario Bercich, Marko Fortunato and Ivan Šimatović, the show provided the audience with immeasurable musical pleasure complemented by an excellent orchestra.
(Gloria Fabijanić Jelović, HRT Radio Rijeka)

Libreto: Giacomo Francesco Bussani, Nicola Francesco Haym

U prvom činu scena je obogaćena zanimljivim detaljem, svaki je solist iza sebe imao ekran na kojemu se u krupnom planu vidjelo lice svakoga od njih i emotivni
doživljaj sniman kamerom u trenutku nastupa. Scena je obogaćena dijelovima rekvizite iz već odigranih opera, a posebno je zamjetan odmak od tragedije u sitnim komičnim međuodnosima među protagonistima, koji ponekad karikiraju veličinu i snagu patnje, ali i ljubavi i osvete.

No, ono što je definitivno ponovno osvojilo publiku, koja je pljeskala vrlo često na otvorenoj sceni, bila je prekrasna, bogata, barokna Händelova glazba i sjajni solisti koji su savršeno vladali glasovnim bravurama uz mnoštvo glumačko-scenskih zahtjeva redatelja. Virtuozno raspjevana Diana Haller, milozvučna Anamarija Knego, melodizna Michaela Selinger i tamna i emotivna Dubravka Šeparović Mušović, kao i čvrsta i čista Sonja Runje, uz izvrstan muški dio solista: Daria Berčića, Marka Fortunata i Ivana Šimatovića, publici su pružili neizmjeran glazbeni užitak koji je bio upotpunjen izvrsnim orkestrom.
Gloria Fabijanić Jelović, HRT Radio Rijeka

hrvatski

Libretto: Giacomo Francesco Bussani, Nicola Francesco Haym

In the first act, the scene was enriched with an interesting detail, each soloist had a screen behind him on which the face of each of them could be seen in close-up and the emotional
experience captured by the camera at the moment of the performance. The scene is enriched with parts of props from already performed operas, and the departure from tragedy is especially noticeable in the small comic interrelationships between the protagonists, which sometimes caricature the greatness and strength of suffering, but also of love and revenge.

But what definitely recaptured the audience, who applauded very often on the open stage, was the beautiful, rich, baroque music of Handel and the great soloists who perfectly mastered the vocal bravado with the multitude of acting and stage demands of the director. The virtuoso singing of Diana Haller, the melodious Anamarija Knego, the melodious Michaela Selinger and the dark and emotional Dubravka Šeparović Mušović, as well as the firm and pure Sonja Runje, along with the excellent male part of the soloists: Dario Berčić, Marko Fortunat and Ivan Šimatović, provided the audience with immense musical pleasure that was completed by an excellent orchestra.
Gloria Fabijanić Jelović, HRT Radio Rijeka

English

Julius Casar by Händel, De (2020/2020), Dirigido por Marin Blažević,, Regente Ville Matvejeff, HNK Zajc, Rijeka, Croácia

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