{"id":22205,"date":"2022-01-25T09:00:53","date_gmt":"2022-01-25T08:00:53","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=22205"},"modified":"2022-03-06T13:54:05","modified_gmt":"2022-03-06T12:54:05","slug":"lincoronazione-di-poppea-claudio-monteverdi-ii-premiere","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/lincoronazione-di-poppea-claudio-monteverdi-ii-premiere\/","title":{"rendered":"L’INCORONAZIONE DI POPPEA \/ CLAUDIO MONTEVERDI \u2013 II PREMIERE"},"content":{"rendered":"

L’incoronazione di Poppea<\/em> (The Coronation of Poppea<\/em>) first impressed the public during the Carnival of 1643 in Venice. The perfectly constructed libretto by Giovanni Francesco Busonelli, accompanied by the brilliant music of Master Monteverdi, fits perfectly into the carnival atmosphere of subverting social order. This applies not only to the narrative of the opera (after all, the courtesan becomes the empress) but, above all, to its socio-cultural overtone. The creators opposed the convention of idealizing reality, which was dominant in opera at the time, choosing to present reality as it was.<\/p>\n

There are no role models worth imitating among the main characters of this masterpiece. The motivations and actions of Poppaea, Nero or Ottone do not arouse sympathy, yet the dramatic and musical elements reflecting the psychological depth of these characters both amaze and delight. The argument between Fortune, Virtue and Cupid that opens the opera foreshadows the devastating game in which passion – having little to do with love – will not shy away from any wicked act in order to achieve its goal. However, could the divine creator of L’Orfeo<\/em> leave the viewer immersed in dark thoughts about the vile nature of man? After all, the choice of historical figures as protagonists, certainly innovative at the time, was not accidental, and the awareness of their tragic fate – although the whole story is not told during the performance – means that Cupid’s victory over Fortune and Virtue is not as obvious as it might seem.<\/p>\n

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MUSICAL DIRECTION KRZYSZTOF GARSTKA<\/strong><\/a><\/p>\n

DIRECTED BY NATALIA BABI\u0143SKA<\/strong>
\nSET DESIGNER MARTYNA KANDER
\n<\/strong>COSTUMES ALEKSANDRA REDA<\/strong>
\nCHOREOGRAPHY KAROL URBA\u0143SKI<\/strong>
\nLIGHTING DESIGN MACIEJ IGIELSKI
\n<\/strong>LIGHTING\u00a0PIOTR RUDZKI<\/strong>
\nVIDEO PROJECTIONS JAGODA CHALCI\u0143SKA<\/strong>
\nCHORUS MASTER JAKUB SZAFRA\u0143SKI<\/strong><\/a>
\nASSISTANT DIRECTOR\u00a0S\u0141AWOMIR JURCZAK<\/strong><\/a>
\nII ASSISTANT DIRECTOR\u00a0AGNIESZKA KOZ\u0141OWSKA<\/strong><\/a>
\nASSISTANT COSTUME DESIGNER MAKSYMILIAN MAC<\/strong>
\nSTAGE MANAGERS AGNIESZKA ORLIKOWSKA, TATIANA HEMPEL-GIERLACH<\/strong><\/p>\n

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

POPPEA MA\u0141GORZATA TROJANOWSKA<\/strong>
\nNERONE KACPER SZEL\u0104\u017bEK
\n<\/strong>OTTONE JAN JAKUB MONOWID
\n<\/strong>OTTAVIA ANETA \u0141UKASZEWICZ<\/a><\/strong>
\nSENECA S\u0141AWOMIR JURCZAK<\/a><\/strong>
\nARNALTA\/NUTRICE DOROTA LACHOWICZ<\/strong><\/a>
\nAMOR\/DAMIGELLA MARTA SCHNURA<\/strong>
\nDRUSILLA PAULINA HORAJSKA<\/strong>
\nFORTUNA MARTA BOBERSKA<\/a><\/strong>
\nVIRTU\/PALLADE\/VENUS IWONA LUBOWICZ<\/strong><\/a>
\nLITTORE\/MERCURIO \u00a0ROBERT SZPR\u0118GIEL<\/a><\/strong>
\nLUCANO\/PRIMO SOLDATO SYLWESTER SMULCZY\u0143SKI<\/strong><\/a>
\nLIBERTO\/SECONDO SOLDATO JAKUB A. GRABOWSKI<\/strong>
\nVALETTO JAKUB FOLTAK<\/strong><\/p>\n

MIMES AGNIESZKA KOZ\u0141OWSKA<\/a>, <\/strong>MACIEJ JAN KRA\u015aNIEWSKI<\/strong><\/p>\n

THE CHORUS OF THE POLISH ROYAL OPERA<\/b><\/a><\/p>\n

THE PERIOD INSTRUMENTS ENSEMBLE OF THE POLISH ROYAL OPERA CAPELLA REGIA POLONA<\/strong><\/a><\/p>\n

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Duration:<\/span><\/span> 3 h 30<\/span><\/span>\u00a0<\/span><\/span>min<\/span><\/span>\u00a0<\/span><\/span>(with intermission<\/span><\/span>)<\/span><\/span>\u00a0<\/span><\/h5>\n
The seats in the auditorium are not numbered.<\/h5>\n
PLEASE NOTE: the entrance to the Royal Theatre in \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
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We kindly encourage you to read the rules of participation in cultural events organized by the Polish Royal Opera:<\/p>\n