{"id":24257,"date":"2022-07-04T09:23:32","date_gmt":"2022-07-04T07:23:32","guid":{"rendered":"https:\/\/operakrolewska.pl\/?post_type=repetoire&p=24257"},"modified":"2022-09-03T00:23:58","modified_gmt":"2022-09-02T22:23:58","slug":"the-2nd-baroque-festival-of-the-polish-royal-opera-monteverdi-inauguration-si-dolce-el-tormento","status":"publish","type":"repetoire","link":"https:\/\/operakrolewska.pl\/en\/repetoire\/the-2nd-baroque-festival-of-the-polish-royal-opera-monteverdi-inauguration-si-dolce-el-tormento\/","title":{"rendered":"THE 2nd BAROQUE FESTIVAL OF THE POLISH ROYAL OPERA \u2013 MONTEVERDI. INAUGURATION | S\u00cc DOLCE \u00c8’L TORMENTO"},"content":{"rendered":"

Claudio Monteverdi has achieved incomparable mastery in depicting stories from literature and the emotional states of their heroes with the use of sound. His extraordinary eloquence and refined sensitivity are reflected in his rich vocal and instrumental body of work. Although few madrigals were actually meant to be staged, the evocative message of his musical stories inspired the artists of the Polish Royal Opera to create a new performance based on selected works by the Master. Three of them come from the 8th Book of Madrigals published in Venice in 1638- Madrigali guerrieri et amorosi… – <\/em>a summary and synthesis of the creative achievements of “divine Claudio” in this genre.<\/p>\n

Among Canti guerrieri<\/em> (war songs), the most prominent is undoubtedly the famous Il combattimento di Tancredi e Clorinda<\/em>, which was described by Ewa Obniska as “a work that has no match not only in [Monteverdi’s] creative output but also in the entire Baroque music literature”. The story of the duel recorded in the pages of Tasso’s poem resounds with the perfectly rendered tumult of the battle and the depth of emotions accompanying the fight and its tragic finale, when Tancredi recognizes his beloved Clorinda in the killed opponent. Although the piece captures the essence of the war style, it also touches upon the subject of love, which is the theme of the second part of Book VIII, with the captivating Lamento della Ninfa<\/em> or the opera-ballet Il ballo delle ingrate<\/em>. In this last piece, Monteverdi uses sound to recreate the story of the Ingrates indifferent to the power of love described by Rinuccini.<\/p>\n

The other compositions not coming from Book VIII that make up the musical tapestry of the performance carry no less expressive emotions, rendered with the use of original technical means and innovative solutions. After all, the consistency in searching for the most perfect musical equivalents of literary content was the realization of the composer’s artistic credo to “make the words the mistress of the harmony and not the servant”.<\/p>\n

<\/h4>\n

DIRECTION AND STAGING RYSZARD MACIEJ NYCZKA<\/strong>
\nSET DESIGN MARLENA SKONECZKO<\/strong>
\n<\/strong>CHOREOGRAPHY JOANNA LICHOROWICZ-GRE\u015a
\n<\/strong>LIGHTING DESIGN MACIEJ IGIELSKI
\n<\/strong>VIDEO PROJECTIONS MAREK ZAMOJSKI
\n<\/strong>ASSISTANT DIRECTORS S\u0141AWOMIR JURCZAK<\/a>, AGNIESZKA KOZ\u0141OWSKA<\/a>
\n<\/strong>STAGE MANAGER AGNIESZKA ORLIKOWSKA<\/strong><\/p>\n

 <\/p>\n

 <\/p>\n

PROGRAM AND PERFORMERS<\/strong><\/h4>\n

 <\/p>\n

CLAUDIO MONTEVERDI<\/strong><\/span><\/p>\n

 <\/p>\n

S\u00ec dolce \u00e8\u2019l tormento<\/em><\/strong> SV 332<\/strong><\/p>\n

JAKUB FOLTAK<\/strong> COUNTERTENOR<\/p>\n

Quel sguardo sdegnosetto<\/em><\/strong> SV 247<\/strong><\/p>\n

DAGMARA BARNA<\/strong> SOPRANO<\/p>\n

Il combattimento di Tancredi e Clorinda<\/em><\/strong> SV 153<\/strong><\/p>\n

TESTO KAROL KOZ\u0141OWSKI<\/strong>
\nCLORINDA MARTA BOBERSKA<\/strong>
\nTANCREDI MICHA\u0141 JANICKI<\/strong><\/p>\n

Lamento della Ninfa<\/em><\/strong> SV 163<\/strong><\/p>\n

DAGMARA BARNA<\/strong> SOPRANO<\/p>\n

Chiome d’oro, bel thesoro<\/em><\/strong> SV 143<\/strong><\/p>\n

JULITA MIROS\u0141AWSKA<\/strong><\/a> SOPRANO
\nJAKUB FOLTAK<\/strong> COUNTERTENOR<\/p>\n

Il ballo delle ingrate<\/em><\/strong> SV 167<\/strong><\/p>\n

VENERE DOROTA LACHOWICZ<\/strong><\/a>
\nAMOR IWONA LUBOWICZ<\/a>
\n<\/strong>PLUTONE DARIUSZ G\u00d3RSKI
\n<\/strong>UNA DELL\u2019 INGRATE MARTA BOBERSKA<\/a>
\n<\/strong>OMBRE DELL\u2019INFERNO JULITA MIROS\u0141AWSKA<\/a>, JAKUB FOLTAK, SYLWESTER SMULCZY\u0143SKI<\/a>, MICHA\u0141 JANICKI<\/strong>
\nQUATTRO INGRATE DOROTA LACHOWICZ<\/a>, IWONA LUBOWICZ<\/a>, MARTA BOBERSKA<\/a>, JULITA MIROS\u0141AWSKA<\/a><\/strong><\/p>\n

Damigella tutta bella<\/em><\/strong> SV 235<\/strong><\/p>\n

JULITA MIROS\u0141AWSKA<\/strong><\/a> SOPRANO
\nJAKUB FOLTAK<\/strong> COUNTERTENOR<\/p>\n

Zefiro torna e di soavi accenti<\/em><\/strong> SV 251<\/strong><\/p>\n

JULITA MIROS\u0141AWSKA<\/strong><\/a> SOPRANO
\nJAKUB FOLTAK<\/strong> COUNTERTENOR<\/p>\n

JACEK FOLTYN, PATRYK G\u0141ADY\u015a, S\u0141AWOMIR GRE\u015a, NATALIA KIELAN, MACIEJ JAN KRA\u015aNIEWSKI, JOANNA LICHOROWICZ-GRE\u015a, MARTA \u017bABKA<\/strong> DANCERS<\/p>\n

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

KRZYSZTOF GARSTKA<\/strong><\/a> MUSIC DIRECTOR, CONDUCTOR<\/p>\n

 <\/p>\n

\n
Duration:<\/span><\/span> approx. <\/span><\/span>1 h 20 min<\/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","protected":false},"excerpt":{"rendered":"

Claudio Monteverdi has achieved incomparable mastery in depicting stories from literature and the emotional states of their heroes with the use of sound. His extraordinary eloquence and refined sensitivity are reflected in his rich vocal and instrumental body of work. Although few madrigals were actually meant to be staged, the evocative message of his musical […]<\/p>\n","protected":false},"author":15,"featured_media":24373,"template":"","meta":{"_acf_changed":false,"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","footnotes":""},"categories":[],"cykle":[],"sezon":[63],"class_list":["post-24257","repetoire","type-repetoire","status-publish","has-post-thumbnail","hentry","sezon-2022-2023-en"],"acf":[],"yoast_head":"\nTHE 2nd BAROQUE FESTIVAL OF THE POLISH ROYAL OPERA \u2013 MONTEVERDI. 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