The Royal Theatre in the Old Orangery in the Royal Łazienki Museum in Warsaw
“Monteverdi’s L’Orfeo is not one of those unambiguous works that may be explained only in one way and have one layer, one plane of meanings. On the contrary – it should be included among those masterpieces of the human spirit that communicate much more to us than their plot, literally understood as a sequence of dramatic events,” writes Ewa Obniska, an authority of the highest order.
Indeed, Monteverdi’s work is of cardinal importance for the history of European culture. By bringing to life the stage character of Music, he freed music from the obligation to bear the Word and turned it into a winged element of the metaphysical freedom of the Word. For Monteverdi, Music was the true and universal origin of the opera, and, paradoxically, gave primacy to the word. It is for Music that the composer created the Altar – a symbolic space for it to resonate so that it could define the movement – that is, the topography of L’Orfeo: the composition, rhythm, musical gestures, and the dynamics of their mutual relations. By combining singing and movement into a homogeneous stage work, Monteverdi teaches the first practical lesson for a director dealing with the score in an opera.
The awareness of the intended musical effect and the capacity to obtain a corresponding theatrical effect on the stage is recorded in the text of the score flawlessly yet in a non-obvious way. Using the language of music, the composer wrote down what a viewer looking at the performance should experience. Reading the score in this way, we can translate it into theatrical gestures, leading to a stage effect whose strength and theatrical beauty is incomparable to any other interpretation.
Monteverdi’s entire score is made up of emotional and sonoric contrasts, with its structure referring to the staging rules of the theatre of ancient Greece. The composer emphasizes the absolute homogeneity of music, attributing to it an ascetic philosophical and mystical dimension. His music allows us to see what can’t be seen. The score clearly displays the Orphic metaphysics and the mutual permeation of the three main elements of Antiquity: homoiosis, pathopoeia and catharsis, creating a stylistic unity and an entirely new shape of expression for Truth, Goodness and Beauty in the space between “Greek philosophy” and “European theology”.
In the finale of this brilliant opera, the myth meets theology when the father (Apollo) and his son (Orpheus) ascend to Heaven. This ending is of extreme importance and consequence for the history of opera in Europe. In a truly Platonic conclusion, Orpheus’ love remains steady and tireless and his path does not end here – on Earth, but leads to the Father, to Heaven.
Monteverdi’s L’Orfeo is an operatic allegory of the world that, through faith, reveals the Hope leading to Eternal Love.
MUSIC DIRECTOR KRZYSZTOF GARSTKA
SUPERVISING DIRECTOR SŁAWOMIR JURCZAK
COSTUMES MARLENA SKONECZKO
GESTURE AND CHOREOGRAPHY ROMANA AGNEL
VIDEO PROJECTIONSMAREK ZAMOJSKI
LIGHTING PIOTR RUDZKI, BARTŁOMIEJ KACZALSKI
CHORUS MASTER LILIANNA KRYCH
A CO-PRODUCTION AT THE ROYAL THEATRE
ROMANA AGNEL, SŁAWOMIR JURCZAK, ANDRZEJ KLIMCZAK, MARLENA SKONECZKO, MAREK ZAMOJSKI
ORFEO KAROL KOZŁOWSKI
EURIDICE, LA MUSICA MARTA BOBERSKA
SPERANZA ANETA ŁUKASZEWICZ
MESSAGGERA ANNA RADZIEJEWSKA
PROSERPINA OLGA PASIECZNIK
PASTORE (ALTO) MARCIN GADALIŃSKI
PASTORE (TENORE) ZBIGNIEW MALAK
PASTORE (TENORE) MIKOŁAJ ZGÓDKA
PASTORE (BASSO) KRZYSZTOF ŁAZICKI
NINFA JULITA MIROSŁAWSKA
CARONTE SŁAWOMIR JURCZAK
PLUTONE PAWEŁ CZEKAŁA
APOLLO, ECO SYLWESTER SMULCZYŃSKI
Duration: 2 h 20 mins (with a 20-minute intermission)
The seats in the auditorium are not numbered.
PLEASE NOTE: the entrance to the Royal Theatre in the Łazienki Park is located in Agrykola street.
One hour before the performance as well as for an hour after it is finished, the audience can use the electric cart running between the Royal Theater and the Łazienki Gate at the corner of Myśliwiecka / Agrykola streets.
We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:
- If you are not feeling well, are ill, or had contact with an infected person – stay at home.
- Please, take a face mask with you. On entering the Theatre building, you are obliged to wear a mask covering your mouth and nose.
- At the entrance to the building, please have your temperature taken.
- Disinfect your hands after entering the Theatre building.
- Please remember to sign the Participant Declaration. If possible, please bring the printed and signed declaration with you, if not – fill it in in the Theatre, in the area shown by the staff.
- Take the seat assigned to you by the staff.
- Please come earlier – latecomers will not be allowed into the auditorium.
We care about the safety of our Guests!
- Disinfectants are available at the entrance to the building.
- At the entrance to the building, staff may take your temperature.
- The common spaces and sanitary rooms are disinfected regularly.
- Only 75% of the seats in the auditorium will be available. Persons vaccinated against SARS-CoV-2 who voluntarily show a QR code confirming their vaccination with a double dose of the vaccine on the day of the event do not count towards the limit.
Should you have any questions, we are at your disposal on site of the event or at the phone number +48 500 309 424.