Admin

Organization

Conductor

Rastislav Stur

Martin Leginus

Stage director

Roman Polák

Set designer

Pavel Borák

Costume designer

Peter Čanecký

Chorus master

Pavel Procházka

Singer

Soprano

Eva Hornyáková

Sister Angelica

Mária Porubčinová

Contralto

Jitka Sapara-Fischerová

The Princess

Denisa Šlepkovská

Mezzo-soprano

Katarína Flórová

Sister Zelatrice

Michaela Šebestová

Adriana Banásová

Sister Genovieffa

Andrea Vizvári

Andrea Hulecová

The Mistress of the novices

Daria Ďurišová

Sister Osmina

Miriam Maťašová

The nursing sister

Eva Šeniglová

Bass

Daniel Hlásny

Pinellino

Paulína Hríbová

First novice

Margot Kobzová

Second novice

Baritone

Roman Krško

Marco

Marek Pobuda

Denisa Hamarová

La Ciesca

Alena Grach

Martin Malachovský

Maestro Spinelloccio

Tomáš Šelc

Mikuláš Doboš

Ser Amantio di Nicolao

Juraj Peter

Betto di Signa

Boris Prýgl

Ján Galla

Simone

Tenor

Ján Babjak

Gherardo

Martin Gyimesi

Lauretta

Katarína Juhásová-Štúrová

Tomáš Juhás

Rinuccio

Maksym Kutsenko

Zita

Gustáv Beláček

Gianni Schicchi

Ján Ďurčo

Daniel Čapkovič

Michele

Sergej Tolstov

Tinca

Andrea Danková

Giorgetta

Adriana Kohútková

Miroslav Dvorský

Luigi

Boldizsár László

Talpa

Monika Fabianová

La Frugola

Jozef Kundlák

A song seller

Ivan Ožvát

Voce di sopranino

Katarína Polakovičová

Martin Klempár

Voce di tenorino

Jiří Zouhar

Veronika Mihalková

Nella

Eva Rampáčková

Slovak National Theatre

Others

Bratislava Boys' Choir

italiensk

Il Trittico

Bratislava

Slovakia

Slovak National Theatre Historical Building

Public

The Cloak

Approved

One-act operas often find themselves in the "second sequence" of our interest. After all, the smaller time plan they have at their disposal may be the reason why a dramatic story of a more serious scope and message does not unfold in the work. Plus, shorter operas need to be combined to make the whole opera night together. However, this is not easy, as the nature of each work, its content or musical style is quite specific and the combination of two or more operas in one dinner can thus become rather counterproductive. Fortunately, there are exceptions: such as the "sibling relationship" of Mascagni's Peasant Honor and Leoncavall's Comedians (who have two acts, but not a full-length one), ie works that are commonly premiered and presented together. And another exception is Puccini's trio of one-act operas, which make Triptych. They are united by Puccini's unmistakable veristic compositional language, the author's infallible musical-dramatic intuition. It is thanks to her that all the designs with which he was inspired acquire a deeper meaning, based on the phenomenal musical reflection of the characters and the relationships between them. To all this is added a refreshing genre contrast between these works: if the first of them, Cloak, introduces us to the world of poor sailors on the Seine in Paris - and tells the tragic story of a brutal murder out of jealousy, the second (Sister Angelika) leads the viewer among the walls of the monastery a clause in which a young noblewoman, the mother of an illegitimate child, struggles with her destiny. Finally, the third of the works, Gianni Schicchi, is a comic story about a dying wealthy lord around whom the vortex of the inherited relatives revolves.

Musical productions are staged by the main conductor of the SND Opera, Rastislav Štúr, and staged by the excellent drama director Roman Polák.

English

Il Trittico by Puccini, Fra (2017/2017), I regi av Roman Polák,, Dirigent Rastislav Stur, Martin Leginus, Slovak National Theatre Historical Building, Bratislava, Slovakia

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