Così fan tutte – after the premiere
Così fan tutte – after the premiere
It was on March 12 that the premiere of Così fan tutte by Mozart, directed by Jerzy Stuhr, took place in our theatre. The staging made it possible to move back to the 1920’s to the Venetian Lido beach, where the story about a certain love intrigue took pl
"This is only the fourth staging of Così fan tutte in the post-war history of the Krakow Opera. Charming though Mozart's work may be, it is simply difficult, and it must be produced excellently for the audience and viewers to truly enjoy it (...)
Yesterday I was going to the Opera hoping that was what would happen, because it had been Jerzy Stuhr that dealt with the direction of the Mozart's masterpiece. This is his third production on Krakow’s opera stage. He gave us beautiful, humorous Don Pasquale and equally interesting The Barber of Seville. As it turned out, he had created a simply great staging, combining wit and stage entertainment with elegance (which is rare nowadays!), refined in every detail, bringing joy not only to the audience and listeners, but also to the performers. It could be felt that they were having a good time and we were having fun as well (...).
Moving the plot back to the 1920’s, and brief references to the contemporary times only emphasised the universality of the message of the libretto by Lorenzo da Ponte. It should be noted that Jerzy Stuhr had excellent collaborators at work on Così fan tutte. The stage design by Natalia Kitamikado, costumes by Maria Balcerek, stage movement by Gabriela Kubacka and light design by Dariusz Pawelec made it possible to look at the stage with pleasure, and the submarine on which the characters sail away, and the elephant on which they arrive as Albanians were applauded" writes Anna Woźniakowska on Polska Muza blog.
Read more...
Jacek Marczyński in the pages of Rzeczpospolita daily:
“Jerzy Stuhr, directing Cosi fan tutte, showed how to make an intelligent spectacle, all the components of which are compatible with one another (...)
The theatrical fashion of the 21st century requires directors to go much further, transform the former plots and give their own problems or obsessions to the protagonists. Jerzy Stuhr ostentatiously does not do this. However, he proves that one can both respect the author and his work, and create something compelling and by no means old-fashioned.
The essential value of the Krakow’s performance is the balance of all the elements of the opera theatre. Jerzy Stuhr added the richness of the background to the six protagonists. They are sunbathers enjoying the sunshine on the Lido. Some people appear for a moment, and everyone contributes to the comedic atmosphere. At the same time, the director keeps his distance and reminds that it is only theatre, and the events are entertainment aiming at the audience's satisfaction.
The whole article is available HERE
During the premiere performance we heard in the main roles the soloists of the Krakow Opera: Katarzyna Oleś-Blacha (Fiordiligi), Monika Korybalska (Dorabella), Paula Maciołek (Despina), Adam Szerszeń (Guglielmo), Jarosław Bielecki (Ferrando) and Robert Gierlach (Don Alfonso), an invited guest artist.
The following artists performed on March 13:
Agnieszka Cząstka-Niezgódka (Dorabella), Agnieszka Adamczak (Fiordiligi), Zuzanna Caban (Despina), Michał Kutnik (Guglielmo), Adam Sobierajski (Ferrando), Sebastian Marszałowicz (Don Alfonso)
The musical direction of the performance was assumed by Tomasz Tokarczyk. Janusz Wierzgacz was responsible for the preparation of the choir. The stage design was prepared by Natalia Kitamikado, costumes – by Maria Balcerek and stage movement - by Gabriela Kubacka. Dariusz Pawelec was responsible for light design.
Yesterday I was going to the Opera hoping that was what would happen, because it had been Jerzy Stuhr that dealt with the direction of the Mozart's masterpiece. This is his third production on Krakow’s opera stage. He gave us beautiful, humorous Don Pasquale and equally interesting The Barber of Seville. As it turned out, he had created a simply great staging, combining wit and stage entertainment with elegance (which is rare nowadays!), refined in every detail, bringing joy not only to the audience and listeners, but also to the performers. It could be felt that they were having a good time and we were having fun as well (...).
Moving the plot back to the 1920’s, and brief references to the contemporary times only emphasised the universality of the message of the libretto by Lorenzo da Ponte. It should be noted that Jerzy Stuhr had excellent collaborators at work on Così fan tutte. The stage design by Natalia Kitamikado, costumes by Maria Balcerek, stage movement by Gabriela Kubacka and light design by Dariusz Pawelec made it possible to look at the stage with pleasure, and the submarine on which the characters sail away, and the elephant on which they arrive as Albanians were applauded" writes Anna Woźniakowska on Polska Muza blog.
Read more...
Jacek Marczyński in the pages of Rzeczpospolita daily:
“Jerzy Stuhr, directing Cosi fan tutte, showed how to make an intelligent spectacle, all the components of which are compatible with one another (...)
The theatrical fashion of the 21st century requires directors to go much further, transform the former plots and give their own problems or obsessions to the protagonists. Jerzy Stuhr ostentatiously does not do this. However, he proves that one can both respect the author and his work, and create something compelling and by no means old-fashioned.
The essential value of the Krakow’s performance is the balance of all the elements of the opera theatre. Jerzy Stuhr added the richness of the background to the six protagonists. They are sunbathers enjoying the sunshine on the Lido. Some people appear for a moment, and everyone contributes to the comedic atmosphere. At the same time, the director keeps his distance and reminds that it is only theatre, and the events are entertainment aiming at the audience's satisfaction.
The whole article is available HERE
During the premiere performance we heard in the main roles the soloists of the Krakow Opera: Katarzyna Oleś-Blacha (Fiordiligi), Monika Korybalska (Dorabella), Paula Maciołek (Despina), Adam Szerszeń (Guglielmo), Jarosław Bielecki (Ferrando) and Robert Gierlach (Don Alfonso), an invited guest artist.
The following artists performed on March 13:
Agnieszka Cząstka-Niezgódka (Dorabella), Agnieszka Adamczak (Fiordiligi), Zuzanna Caban (Despina), Michał Kutnik (Guglielmo), Adam Sobierajski (Ferrando), Sebastian Marszałowicz (Don Alfonso)
The musical direction of the performance was assumed by Tomasz Tokarczyk. Janusz Wierzgacz was responsible for the preparation of the choir. The stage design was prepared by Natalia Kitamikado, costumes – by Maria Balcerek and stage movement - by Gabriela Kubacka. Dariusz Pawelec was responsible for light design.
