Organization

Singer

Tenor

Juan Noval-Moro

Romeo

Pavlo Tolstoy

Soprano

Anna Farysej

Juliet

Victoria Vatutina

Bass

Andrew Robert Munn

Friar Laurent

Alexander Teliga

Baritone

Tomasz Łuczak

Mercutio

Christian Oldenburg

Maciej Komandera

Tybalt

Paweł Wolski

Mezzo-soprano

Lucyna Boguszewska

Stephano

Michał Sławecki

Michał Sobiech

Paris

Renata Dobosz

Gertrude

Piotr Zgorzelski

Benvolio

Dawid Dubec

Gregory

Bass-baritone

Janusz Lewandowski

Count Capulet

Jadwiga Krowiak

Reine Mab

Conductor

Franck Chastrusse Colombier

Stage director

Michal Znaniecki

Set designer

Luigi Scoglio

Costume designer

Choreographer

Elżbieta Szlufik-Pańtak

Opera na Zamku

Others

Chór Opery na Zamku

Orchestra

Orkiestra Opery na Zamku

Roméo et Juliette -  (Romeo and Juliet)

Szczecin

Poland

Teatr Letni

Roméo et Juliette Gounod

Public

Romeo and Juliet

Approved

I did not want to update this tragedy. I thought that it would not be the most important thing for me, but rather Shakespeare himself, i.e. theatricality and theater in theater (...).

Gounod's adaptation is ironically said to be "four love duets with accessories". The duets are very well written, so I decided to focus on what is going on between them. I built the context that sets these duets, i.e. constant conflict, constant deaths, fights between everyone and everyone and everyday feuds (...).

The divisions can be seen in the costumes of the feuding families: Capers are a group that has money and power, which makes it look more neat, drawn with one line when it comes to costumes, also in color. The Montekich group is a more run-down family whose glory is now past and it shows too. Capillaries wear beautiful Elizabethan ruffles, they are dressed in white, while Romeo's group is rude, has moldy collars, lost ruffles symbolizing its fall (...).

The balcony, garden and chapel are iconographic places closely related to the whole history (...). In our wooden theater interior, stylized as "The Globe" with galleries and windows, the element pointing to the garden will be a wooden tree.It must be remembered that neither Shakespeare nor Gounod tried to tell a documentary story, hence the emphasis on symbols (... ).

At the end of the opera, however, the heroes ask God for forgiveness. It is only an underlining of the purity of their intentions, but of the childish innocence that cannot win against the cruel world around us of these great and everyday wars.

English

Romeo and Juliet by Gounod, Minn (2020/2020), Immexxi minn Michal Znaniecki,, Surmast Direttur Franck Chastrusse Colombier, Teatr Letni, Szczecin, Poland

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