Organization

Diretor de Palco

Diretor de Palco (+2)

Barbara Wysocka

Cenógrafo

Cenógrafo (+1)

Barbara Hanicka

Estilista

Julia Kornacka

Coreógrafo

Tomasz Jan Wygoda

Designer de Iluminação

Designer de Iluminação (+1)

Marc Heinz

Mestre de Coro

Mestre de Coro (+2)

Mirosław Janowski

Vídeo

Lea Mattausch

Vídeo (+1)

Artur Sienicki

Baixo (+4)

Pawel Czekala

Alcindoro

Teatr Wielki - Opera Narodowa

Orchestra

Orchestra of the Polish National Opera

Chorus

Chorus of the Polish National Opera

Chor "Artos” im. Władysława Skoraczewskiego

Tenor (+1)

Daniel Oleksy

Soloist

Danuta Chmurska

Baixo (+3)

Dariusz Machej

Benoit

Baixo (+2)

Mirosław Gotfryd

Sargento da aduana

Tenor (+2)

Maciej Musiał

Parpignol

Maestro

Patrick Fournillier

Soprano (+2)

Adriana Ferfecka

Mimi

Long Long

Rodolfo

Soprano (+1)

Aleksandra Orlowska

Musetta

Barítono (+3)

Szymon Mechliński

Marcello

Barítono (+2)

Sławomir Kowalewski

Schaunard

Jerzy Butryn

Colline

Piotr Staniszewski

Tenor

Arthur Espiritu

Joanna Kędzior

Barítono (+4)

Tomasz Rak

Sylwia Olszyńska

Filip Rutkowski

Łukasz Wroński

Marek Kulik

Bartłomiej Misiuda

Baixo (+5)

Grzegorz Szostak

Łukasz Klimczak

Before Giacomo Puccini sat down to write La bohème, which turned out to be one of the world’s most popular operas, his had planned to create an opera about the life of Buddha. He was, however, also fascinated with the erotically charged Giovanni Verga’s The She-Wolf (La lupa), novella set in Sicily. He was discouraged from pursuing the latter project by Wagner’s stepdaughter (and Liszt’s granddaughter), who was appalled by the story’s brutality. With a little help from seasoned librettists, Luigi Illika and Giovanni Giacosa, Puccini set out to write a loose adaptation of Henri Murger’s famed book, Scenes of Bohemian Life (Scènes de la vie de bohème), a raw description of the miserable life lead by the Parisian ‘artistic proletariat’. ‘The book won me over on the spot. It felt like a family: freshness, youth, passion, cheerfulness, tears shed in silence, a love that brings joy and makes you suffer. There are people, feelings, there is a heart. And, above all, there is poetry, divine Poetry,’ Puccini gushed. There was a lot in Murger’s novel that he could relate to. After the success of Manon Lescaut (1892) he could afford to buy a villa in Torre del Lago, but the memory of the hunger and cold of his student life in Milan never left his memory. 

It is no wonder that the same topic caught the interest of another composer who had risen out of poverty and wanted to showcase ‘real life’ in opera. Ruggero Leoncavallo, the author of the brilliant Palgliaci, began to work on his La bohème around the same time as Puccini. The two composers clashed in the press, but it was Puccini who had the final say: ‘Let him compose, and I will compose. The public will judge,’ he wrote. And that is what happened, to the disadvantage of Leoncavallo, whose Bohème faded into oblivion overshadowed by the charm of his rival’s immortal music. 

Four young artists – Schaunard, Rodolfo, Colline and Marcello – go out to town on a wintery night. Rodolfo meets Mimi and it is love at first sight. They are enamored before they manage to introduce themselves to each other. Marcello is crushed to see his former lover Musetta have a wealthy Alcindor wrapped around her finger. It is a time of joy and reckless fun. A few months later Marcello is back in a stormy relationship with Musetta, while moneyless Rodolfo dumps seriously ill Mimi, frustrated and horrified as he is by his helplessness in the face of her suffering. It is a time of frustration, jealousy, and confusion. Mimi and Rodolfo will meet again, yet it will be too late to offer help and love then. 

This production of La bohème is directed by Barbara Wysocka, who previously treated the Warsaw audience to her take on Philip Glass’s The Fall of the House of Usher, Pascal Dusapin’s Medeamaterial, Eugeniusz Knapik’s Moby Dick, Ludomir Różycki’s Eros and Psyche, and Giacomo Puccini’s Tosca.

italiano