In Barrie Kosky's production of The Magic Flute, everything is straight out of a fairy tale, and every idea demonstrates the director's immense sense of humor, who must have thoroughly enjoyed the music of Wolfgang Amadeus Mozart. When the red curtain opens, the audience sees only a white screen, where the frolics begin – the director imaginatively juggles, to the rhythm of Mozart's music, elements of silent film, slapstick comedy, and cartoon. The co-creators of this production – Suzanne Andrade and Paul Barritt of the "1927" ensemble – have combined film animation with live theater. The effect is dazzling. Here, Papageno, this bawdy simpleton, here portrayed as a sad clown in the style of Buster Keaton, gets drunk in the company of pink elephants honking cocktails from narrow glasses. The Queen of the Night is a giant spider, Monostatos appears as a pale vampire in a Count Dracula costume, and Pamina wears a black wig with fringe, which makes her resemble the actress and dancer Louise Brooks, a star of silent films.

The Magic Flute

Teatr Wielki - Polish National Opera

Before Giacomo Puccini began composing La Bohème , which became one of the most frequently performed operas in the world, he was planning an opera about the life of Buddha. At the same time, he was drawn to the eroticism of La She-Wolf , set in Sicily. He was dissuaded from this latter project by Wagner's stepdaughter, Liszt's granddaughter, who was horrified by the story's intense brutality. With the help of the seasoned librettists Luigi Illica and Giovanni Giacosa, Puccini embarked on a free adaptation of Scenes from the Life of the Bohemians , a celebrated book by Henry Murger that unvarnishedly depicts the miserable existence of the Parisian "artistic proletariat." The book captivated me immediately. I felt like part of a family: freshness, youth, passion, gaiety, tears shed in silence, a love that gives joy and demands suffering. There are people, feelings, and heart. But above all, there is poetry, divine Poetry ," Puccini enthused, finding in Murger many familiar experiences. After the success of Manon Lescaut (1892), he was able to buy a villa in Torre del Lago, but he still remembered the hungry and cold student years he had spent in Milan.

La bohème

In 2020, the National Opera in Warsaw celebrated the 55th anniversary of the reconstruction of its historic home on Teatralny Square. The ambitious project of raising the theatre from ruins was completed 20 years after the war, with the grand opening of the modernized Grand Theatre on November 19, 1965. Shortly thereafter, the Warsaw Opera ensemble, including its distinguished choir, moved in from its temporary home on Nowogrodzka Street.

Chorus Opera

Die Frau ohne Schatten is the fourth opera created in collaboration between composer Richard Strauss and writer Hugo von Hofmannsthal. The work is full of ambiguous symbolism, yet simultaneously focuses on fundamental human experiences: love, loneliness, unfulfillment, and longing.

A woman without a shadow

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The Artelize Podcast and Kasper Holten - Pedefining Opera for the modern world

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The Artelize Podcast - A legacy of innovation in Opera: Celebrating Marc A. Scorca

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The Artelize Podcast: A love letter that was never sent

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The Artelize Podcast and Adolfo Corrado: Mediterranean flavors, opera and social media

An opera about Auschwitz seemed unimaginable. And yet, it did. It was composed by Mieczysław Weinberg, a Polish-Jewish Varsovian who lost his family in the camp and of whom the opera's director, David Pountney, said that he "spent his life creating music in memory of his lost loved ones." Weinberg was inspired by the novel The Passenger (1962) by Zofia Posmysz. The author survived the camp. The decision to bear witness to the cruelty of the Holocaust was obvious to her. The Passenger describes a voyage on a luxury ocean liner, during which the Polish woman Marta recognizes the elegant woman, Lisa, an SS overseer from Auschwitz (the German woman's real name is Annelise Franz). Weinberg's music, in keeping with the action, is diverse, realistic, and symbolic at once; different when it accompanies conversations in the sun on the ship's deck, with the orchestra playing for the passengers to dance to, and different when the hell of Auschwitz unfolds below deck. The prisoners are of different nationalities, so their solo singing, as well as the seven-voice Song of Life and Death , is multilingual. The prisoners ' Requiem for the Black Wall echoes with the bell, Bach's Chaconne , and the camp orchestra. Weinberg's The Passenger, completed in 1968 in the Soviet Union, could not be performed there because its content was too reminiscent of Soviet labor camps. Only in 2006, after the composer's death, was it performed in Moscow in concert. Did staging an opera about Auschwitz seem impossible? And yet, it was. David Pountney produced it in 2010. First, there was the Bregenz Festival and Warsaw. Then London, Houston, New York, Chicago, Detroit, and Florida. And everywhere, every time: a stage bisected by light and sound. A cheerful, prosperous Europe. And the hell of the Holocaust. Its memory endures. The world cannot forget.

Passenger

Simon Boccanegra was written in the 1850s, a period when Giuseppe Verdi, inspired by his growing fame, was challenging operatic tradition. It is a dark work, dominated by low voices, with a baritone as the protagonist, and no supporting female roles. The world premiere in 1857 was not well-received; towards the end of his life, Arrigo Boito and the composer made far-reaching changes to the work, and only this 1881 version achieved success on opera stages.

Simon Boccanegra

Verdi's last work, in the popular tradition, is a lighthearted comedy about a fat drunkard who cynically seduces two women and is severely punished by them. However, when one carefully examines the Shakespearean original and carefully analyzes the extraordinary richness of the musical motifs, one discovers a darker undercurrent to this mysterious work, which the aged, accomplished composer consciously wrote as a farewell to his immense legacy, his own impressive life, and the world he philosophically viewed as the creator's painful joke on people and their actions. Reaching this undercurrent and revealing its supreme artistic beauty seems worth departing from the stereotype of a protagonist supposedly engaged solely in enjoying the remnants of the pleasures of table and bed, and in fairground clowning.

Falstaff

The director's motto for this striking production is a phrase taken from Nirvana frontman Curt Cobain's farewell letter: "It's better to burn out than to fade away." Giuseppe Verdi's La Traviata , in Mariusz Treliński's staging, is a spectacle about a star who burns out in its own light. In the director's interpretation, Verdi's masterpiece becomes a portrait of the artistic community.

La Traviata

The story of Romeo and Juliet is one of the most well-known myths in contemporary culture, appearing in dramatic theater, musicals, and film, among other works. As early as the 19th century, composers discovered the power inherent in the tragedy of the Verona lovers. One of them was Charles Gounod, one of the most popular French composers of his time, writing religious music, oratorios, and songs, and also working in the operatic arena. Romeo and Juliet , alongside Faust , is his most popular stage work. The composition gained notoriety at its Paris premiere, which took place during the 1867 World's Fair, quickly gaining fame not only in Europe but also in the United States.

Romeo and Juliet

María de Buenos Aires represents the New World, new music, tango nuevo , and a new type of opera – tango operita , whose musical foundation is the insane rhythm and mood of the tango, a dance born on the southeastern coast of Latin America. The folk tango argentino had its bard, Astor Piazzolla, a composer-poet who created a new style of presenting this passionate dance, drawing inspiration from Stravinsky, Bartók, and classical musical forms, but also jazz and electronic rock – elevating tango to the status of a musical art.

Opera events in Warsaw

The Magic Flute

Polish National Opera

La bohème

Polish National Opera

Chorus Opera

Polish National Opera

A woman without a shadow

Polish National Opera

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Passenger

Polish National Opera

Simon Boccanegra

Polish National Opera

Falstaff

Polish National Opera

La Traviata

Polish National Opera

Romeo and Juliet

Polish National Opera

Maria de Buenos Aires

Polish National Opera