Name: Manon Lescaut
Start: 2020-02-26T00:00:00.000Z
End: 2020-03-23T00:00:00.000Z
Location: National Theatre

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Jasmina Trumbetaš Petrović

Manon Lescaut

Sanja Kerkez

Ana Rupčić

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Nikola Kitanovski

O Cavalheiro des Grieux

Janko Sinadinović

Dejan Maksimović

Barítono

Nebojša Babić

Lescaut

Vuk Zekić

Vladimir Andrić

Baixo

Dragoljub Bajić

Geronte de Ravoir

Mihailo Šljivić

Aleksandar Stamatović

Siniša Radin

Edmondo

Darko Đorđević

Milan Panić

Um acendedor de lampiões

Mihailo Otašević

Mezzo-soprano

Nataša Rašić

Um cantor

Ivana Živadinović

Milan Obradović

Um hoteleiro

Vuk Radonjić

Um professor de Dança

Sargento da Artilharia Real

O Comandante do Navio

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Silent

Luka Pređa

Un parrucchiere

Diretor de Palco

Pier Francesco Maestrini

Maestro

Stefano Romani

Đorđe Pavlović

Estilista

Luka Dal Alpi

Cenógrafo

Alfredo Troisi

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Đorđe Stanković

Tradutor

Gavrilo Rabrenović

National Theatre Belgrade

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National Theater in Belgrade

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Manon Lescaut Puccini

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Prolific French novelist whose fame rests entirely on one work—Manon Lescaut (1731; in full Histoire du Chevalier des Grieux et de Manon Lescaut; “Story of the Chevalier of Grieux and of Manon Lescaut”).Originally published as the final installment of a seven-volume novel, Mémoires et aventures d’un homme de qualité qui s’est retiré du monde (1728–31; “Memories and Adventures of a Man of Quality Who Has Retired from the World”) Most critics agree that the mercurial life of Abbé Prévost contributed to the creation of Manon Lescaut. After vacillating between the priesthood and the military and being satisfied with neither, he launched in the 1720’s one of the most prolific careers of the century as novelist, editor, translator, journalist, and chronicler of travel accounts. After completing four volumes of Le Philosophe anglais: Ou, Les Mémoires de Cleveland (1732-1739; The Life and Entertaining Adventures of Mr. Cleveland, Natural Son of Oliver Cromwell, 1734, 1753), Prévost began to travel between England and Holland. Apparently he was in debt in each country, possibly as the result of an uncertain relationship with a reputed Madame Lenki. In 1734, he was absolved of all clerical transgressions and received a sinecure at Evreux, which he used as a point of departure for Paris and Holland. In 1740, he traveled, again under mysterious circumstances, to Belgium and Germany. In 1746, he settled at Chaillot and continued his remarkable productivity. Church authorities rewarded his efforts by adding to his endowment. In addition to Manon Lescaut, two other works by Prévost—The Story of a Modern Greek (1740) and The Journal of an Honest Man (1745)—belong in the genre of the sentimental French novel. Two themes in these novels, which are also present in the English literature that Prévost translated by such writers as Samuel Richardson, Frances Sheridan, and John Dryden, are passionate, tragic love and redemption through suffering. Manon Lescaut was published in 1731 as the seventh volume of Mémoires et aventures d’un homme de qualité, qui s’est retiré du monde (1728-1731; Memoirs of a Man of Quality After His Retirement from the World, 1738), a rambling collection of quixotic tales and personal adventures narrated by the Marquis de Renoncour. The commonly used abridged title tends to give Manon an importance she was probably not meant to have. Renoncour introduces the Chevalier des Grieux, the protagonist of the story, but he himself does not participate in the events and he merely acts as an impartial observer of the various picaresque adventures—storms at sea, abductions, chance encounters and recognitions, and tranquil moments shattered by action and suspense. All of this is revealed from the marquis’ point of view, and it is therefore difficult to ascertain Manon’s response to her situation. Prévost combines realism—his use of the social types, names of places, and the importance of money—with pre-Romantic sentimentality. This combination allows the novel to operate on several levels. Even though Manon is at times promiscuous and des Grieux is an impetuous social deviant, they live without shame in naïve defiance of aristocratic conventions. The spirit of the novel is defined by sensuality, emphasis on living in the present, and restless frivolity. Manon and des Grieux play the following psychological roles: jilted lover, faithful husband, provider, brother and sister, mistress-mother, and abandoned child. Perhaps this explains the magnetism of Manon Lescaut to each new generation of readers. Manon was the adopted heroine of the nineteenth century; she was rhapsodized as an image of enigmatic femininity. The idealistic reader might argue that Manon’s originally pure love for des Grieux was corrupted by the harmful influence of civilization. Love is dependent on economics in the capitalist marketplace. Manon is not heartless or predatory, but she is mostly interested in maintaining a certain way of life. Perhaps the need for emotional security represents her deepest impulse. She certainly takes enormous risks to attain it. The prison scenes, the deportation of prostitutes, and the gambling dens remind the reader that a heavy penalty awaited those who failed to bargain successfully with fate. For this reason, Manon Lescaut has continued to receive praise from influential writers, and it has inspired artists worldwide.

English

Kada je na počet­ku sezo­ne 1919/20 zva­nič­no osno­va­na Ope­ra kao samo­stal­ni sek­tor Narod­nog pozo­ri­šta u Beo­gra­du, diri­gent Sta­ni­slav Binič­ki posta­vljen za njenog prvog direk­to­ra, upr­kos nedo­stat­ku  izvo­đač­kih sna­ga, već­ 11. febru­a­ra 1920. odr­ža­na je pre­mi­je­ra ope­re, Madam Bater­flaj Đ. Puči­ni­ja. Posle anga­žo­va­nja ruskih umet­ni­ka-emi­gra­na­ta i prvih naših ško­lo­va­nih peva­ča, u godi­na­ma izme­đu dva svet­ska rata, naša pre­sto­nič­ka Ope­ra bila je uglav­nom u stal­nom reper­to­ar­skom, izvo­đač­kom i muzič­kom uspo­nu, nasto­je­ći da se izvo­đe­nji­ma Salo­me R. Štra­u­sa, Bori­sa Godu­no­va M. Musorg­skog, Četi­ri gru­bi­ja­na E. Volf–Fera­ri­ja, Sevilj­skog bere­be­ri­na Đ. Rosi­ni­ja i dru­gih svo­jih odlič­nih pred­sta­va što brže pri­bli­ži oper­skim tea­tri­ma Evro­pe, koji su do tada već pre­šli raz­vo­jni put dug više od dva veka. Dru­gi svet­ski rat je umno­go­me one­mo­gu­ćio uspe­šan rad Ope­re Narod­nog pozo­ri­šta u Beo­gra­du, pored osta­log i zbog toga što je u nemač­kom i save­znič­kom bom­bar­do­va­nju Beo­gra­da, zgra­da kod Spo­me­ni­ka bila deli­mič­no sru­še­na, a fun­dus deko­ra, kosti­ma i rekvi­zi­te u pot­pu­no­sti uni­šten. Ipak, zahva­lju­ju­ći diri­gen­tu Oskaru Dano­nu, prvom posle­rat­nom direk­to­ru Ope­re, i nevi­đe­nom entu­zi­ja­zmu svih izvo­đa­ča, u uslo­vi­ma kada je Narod­no pozo­ri­šte bilo još uvek bez sta­ka­la na pro­zo­ri­ma, bez gre­ja­nja i kada su se dekor i kosti­mi pra­vi­li čak i od pado­bran­skog plat­na, već 17. febru­a­ra 1945. odr­ža­na je pre­mi­je­ra Evge­ni­ja Onje­gi­na P. Čaj­kov­skog, a do zavr­šet­ka sezo­ne 1944/45. izvedene su i pre­mi­je­re Paja­ca R. Leon­ka­va­la, Boe­ma, Toske i Madam Bater­flaj Đ. Puči­ni­ja i Sme­ta­ni­ne Pro­da­ne neve­ste. Posle­rat­ni „zlat­ni peri­od“ Ope­re počeo je 1954 godi­ne njenim veo­ma uspe­šnim kon­cert­nim izvo­đe­njem ope­re Boris Godu­nov u Baze­lu (31. mart), Ciri­hu (2. april) i Žene­vi (3. april) i vrlo kva­li­tet­nim sni­ma­njem za gra­mo­fon­sku kom­pa­ni­ju DEC­CA, sedam kapi­tal­nih oper­skih dela ruskih kom­po­zi­to­ra 19 veka (Boris Godu­nov, Hovan­šči­na, Evge­ni­je Onje­gin, Piko­va dama, Knez Igor, Ivan Susa­njin i Sne­gu­roč­ka). Posle 15 godi­na tra­ja­nja i 138 evrop­skih pre­zen­ta­ci­ja na „beo­grad­ski način“ (Kla­ran­don) muzič­ko-scen­skih tuma­če­nja 14 ope­ra iz svet­ske i 3 iz jugo­slo­ven­ske bašti­ne „zlat­ni peri­od“ Ope­re je zavr­šen 27. i 28. sep­tem­bra 1969. godi­ne izvan­red­nim pred­sta­va­ma Maze­pe P. I. Čaj­kov­skog  na sce­ni pozo­ri­šta The­a­ter des Westens u zapad­nom Ber­li­nu. Svet­ska štam­pa je u to vre­me sa veli­kim inte­re­so­va­njem pra­ti­la svih 36 gosto­va­nja oper­skog ansam­bla u naj­po­zna­ti­jim evr­op­skim oper­skim cen­tri­ma (Mila­no, Beč, Rim, Pariz, Ber­lin, Vene­ci­ja, Madrid...) i na naj­zna­čaj­ni­jim  muzič­kim festi­va­li­ma (Firen­ca, Edin­burg, Vizba­den, Loza­na, Ati­na...) a naj­e­mi­nent­ni­ji muzič­ki kri­ti­ča­ri isti­ca­li su uigra­nost i lepo­tu njego­vog skup­nog nastu­pa­nja, izu­zet­ne soli­stič­ke kre­a­ci­je, zvuč­nu nad­moć­nost hora, atrak­tiv­nost igre balet­skog ansam­bla i pro­fe­si­o­nal­no svi­ra­nje orke­stra. Po njiho­vom mišlje­nju Ope­ra Narod­nog pozo­ri­šta je tih godi­na uspe­la da sta­ne uz one oper­ske tea­tre u Evro­pi koji su već ima­li izgra­đen sop­stve­ni izvo­đač­ki stil i izra­zi­tu muzič­ko-scen­sku fizi­o­no­mi­ju i dala je vre­dan reper­to­ar­ski, izvo­đač­ki i muzič­ki dopri­nos svet­skoj oper­skoj pro­duk­ci­ji, zbog čega se raz­do­blje 1954–1969 godi­ne s pra­vom ozna­ča­va kao izvo­đač­ki zenit srp­ske oper­ske umet­no­sti i kul­tu­re.

Srbi­ja ima malo usta­no­va kul­tu­re poput Ope­re Narod­nog pozo­ri­šta u Beo­gra­du koja u kon­ti­nu­i­te­tu tra­je čitav jedan vek i koja je svih tih godi­na uspe­šno uspo­sta­vlja­la mosto­ve koji su nas spa­ja­li sa kul­tu­ra­ma svih naro­da sve­ta.
Prva­ci Ope­re, Hor i Orke­star  Narod­nog  pozo­ri­šta u Beo­gra­du pod­se­ća­ju na ovaj izu­zet­no zna­ča­jan jubi­lej u srp­skoj kul­tu­ri i u isto­ri­ji našeg naci­o­nal­nog tea­tra i poru­ču­ju da će u novom mile­ni­ju­mu nasto­ja­ti da nastave sta­za­ma sla­ve svo­jih veli­kih pret­hod­ni­ka koji su utr­li put našoj Ope­ri: Bahri­je Nuri-Hadžić, Milo­ra­da Jova­no­vi­ća, Žar­ka Cve­ji­ća, Sta­no­ja Jan­ko­vi­ća, Mela­ni­je Buga­ri­no­vić, Miro­sla­va Čan­ga­lo­vi­ća, Biser­ke Cve­jić, Rad­mi­le Bako­če­vić, Brede Kalef, Mil­ke Sto­ja­no­vić, Đur­đev­ke Čaka­re­vić, Duša­na Popo­vi­ća, Alek­san­dra Marin­ko­vi­ća, Niko­le Miti­ća, Zvo­ni­mi­ra Krne­ti­ća, Rad­mi­le Smi­lja­nić, Živa­na Sara­man­di­ća, Kre­ši­mi­ra Bara­no­vi­ća, Oska­ra Dano­na, Duša­na Mila­di­no­vi­ća, Bog­da­na Babi­ća, Borislava Pašćana i dru­gih veli­ka­na naše oper­ske sce­ne.

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