{"id":19203,"date":"2021-06-01T11:30:53","date_gmt":"2021-06-01T09:30:53","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=19203"},"modified":"2021-07-03T10:42:04","modified_gmt":"2021-07-03T08:42:04","slug":"festival-mozart-2021-inauguration-la-finta-giardiniera","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/festival-mozart-2021-inauguration-la-finta-giardiniera\/","title":{"rendered":"FESTIVAL MOZART 2021 \u2013 INAUGURATION. LA FINTA GIARDINIERA"},"content":{"rendered":"

God be praised! Yesterday, the 13th, my opera was staged and proved so successful that it is not even possible to describe all the uproar. […] Each aria was invariably followed by a hurricane of applause and cries: “viva Maestro!”<\/em><\/p>\n

– this is how eighteen-year-old Wolfgang Amadeus Mozart described the premiere of his three-act opera buffa La finta giardiniera<\/em> in a letter to his mother. The alleged gardener<\/em> premiered in Munich on the 13th<\/sup> of January 1775, where, according to the composer’s account, it was met with an extremely enthusiastic reception.<\/p>\n

The authorship of the libretto, based on the Neapolitan farce L’amor vuol sofferenza<\/em> by Leonardo Leo, has not been confirmed to this day. However, it is most often attributed to Giuseppe Petrosellini. And although the text is not at the highest literary level, the young Mozart managed to draw the best out of it – both its comic ambiguity and full parodic potential.<\/p>\n

Not only the enthusiasm of the audience at the premiere but also the reception of the work in the years that followed can testify to the extraordinary power of the early work of young Mozart. It was quickly adapted for the German stages in the form of a singspiel, and until today it has enjoyed numerous interpretations. Mozart’s famous dramatic genius has already revealed itself in the music of La finta giardiniera<\/em>: elements characteristic of the opera seria<\/em> genre perfectly break the comic narrative, prompting singers to demonstrate their acting skills and directors – to come up with creative and original staging solutions.<\/p>\n

 <\/p>\n

MUSIC DIRECTOR DAWID RUNTZ<\/strong><\/a>
\nDIRECTED BY JITKA STOKALSKA<\/strong>
\nSET DESIGNER MARLENA SKONECZKO<\/strong><\/a>
\nCHOREOGRAPHY ALISA MAKARENKO
\n<\/strong>LIGHTING DESIGN MACIEJ IGIELSKI<\/strong>
\nVIDEO PROJECTIONS MAREK ZAMOJSKI<\/strong>
\nLIGHTING PRODUCTION PIOTR RUDZKI<\/strong>
\nASSISTANT CONDUCTOR KAROL SZWECH<\/strong>
\nASSISTANT DIRECTOR S\u0141AWOMIR JURCZAK<\/strong><\/a>
\nII ASSISTANT DIRECTOR AGNIESZKA KOZ\u0141OWSKA<\/strong><\/a>
\nSTAGE MANAGER\u00a0DOROTA LACHOWICZ<\/strong><\/p>\n

 <\/p>\n

CAST<\/strong><\/h4>\n

DON ANCHISE, PODESTA RAFA\u0141 \u017bUREK<\/strong>
\nLA MARCHESA VIOLANTE (SANDRINA)\u00a0OLGA PASIECZNIK<\/a><\/strong>
\nIL CONTINO BELFIORE SYLWESTER SMULCZY\u0143SKI<\/a><\/strong>
\nARMINDA TATIANA HEMPEL-GIERLACH<\/a><\/strong>
\nIL CAVALIER RAMIRO ANNA RADZIEJEWSKA<\/a>\u00a0<\/strong>
\nSERPETTA MARTA BOBERSKA<\/a><\/strong>
\nROBERTO (NARDO)\u00a0WITOLD \u017bO\u0141\u0104DKIEWICZ<\/a><\/strong>
\nMIMES S\u0141AWOMIR JURCZAK<\/a>,<\/strong> JERZY KLONOWSKI,\u00a0MACIEJ JAN KRA\u015aNIEWSKI, ALISA MAKARENKO<\/strong><\/p>\n

THE ORCHESTRA OF THE POLISH ROYAL OPERA<\/strong><\/a><\/p>\n

HARPSICHORD DAGMARA DUDZI\u0143SKA<\/strong><\/a><\/p>\n

CONDUCTOR DAWID RUNTZ<\/strong><\/a><\/p>\n

 <\/p>\n

\n
Duration: approx. 2 h 50 min.<\/h5>\n
The seats in the auditorium are not numbered.<\/h5>\n
PLEASE NOTE: the entrance to the Royal Theatre in the \u0141azienki Park is located in Agrykola street.<\/strong><\/h5>\n
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 \u0141azienki Gate at the corner of My\u015bliwiecka \/ Agrykola streets.<\/h5>\n
\n

We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n