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MARNIE NICO MUHLY Dyrektor Naczelny Tomasz Bęben Dyrektor Artystyczny Paweł Przytocki Chórmistrz, Szef Chóru Dawid Ber

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MARNIE NICO MUHLY Dyrektor Naczelny Tomasz Bęben Dyrektor Artystyczny Paweł Przytocki Chórmistrz, Szef Chóru Dawid Ber MARNIE NICO MUHLY dyrektor naczelny Tomasz Bęben dyrektor artystyczny Paweł Przytocki chórmistrz, szef chóru Dawid Ber dyrektor generalny Peter Gelb honorowy dyrektor muzyczny James Levine dyrektor muzyczny Yannick Nézet-Séguin główny dyrygent Fabio Luisi 2. Isabel Leonard jako Marnie. Fot. Ken Howard / Met Oper Prapremiera w Angielskiej Operze Narodowej – 18 listopada 2017 roku Premiera niniejszej inscenizacji w The Metropolitan Opera w Nowym Jorku – 19 października 2018 roku Retransmisja z The Metropolitan Opera w Nowym Jorku – 6 kwietnia 2019 roku Przedstawienie trwa około 2 godzin i 50 minut (z jedną przerwą) Przedstawienie w języku angielskim z napisami w języku polskim Nico Muhly Marnie 3. MARNIE OPERA W TRZECH AKTACH LIBRETTO: NICHOLAS WRIGHT NA PODSTAWIE POWIEŚCI WINSTONA GRAHAMA OSOBY Brunhilda sopran Marnie mezzosopran Pani Rutland sopran Matka Marnie mezzosopran Terry Rutland kontratenor Mark Rutland baryton REALIZATORZY reżyseria Michael Mayer scenografia i projekcje wideo Julian Crouch i 59 Productions kostiumy Arianne Philips światło Kevin Adams choreografia Lynne Page OBSADA Marnie Isabel Leonard Pani Rutland Janis Kelly Matka Marnie Denyce Graves Terry Rutland Iestyn Davies Mark Rutland Christopher Maltman soliści, chór, balet i orkiestra The Metropolitan Opera dyrygent Robert Spano AKCJA ROZGRYWA SIĘ W ANGLII W 1959 ROKU Inscenizacja „Marnie” była możliwa dzięki wsparciu Andrew J. Martina-Webera. Dodatkowe fundusze pochodzą od Francis Goelet Trusts, Dr. Coco Lazaroff, i American Express. Opera powstała na zamówienie The Metropolitan Opera. Przedstawienie powstało w koprodukcji The Metropolitan Opera i English National Opera. Specjalna współpraca z Universal Pictures. 4. ROBERT SPANO DYRYGENT Amerykański dyrygent, pianista, kompozytor spektakli należą Potępienie Fausta H. Berlioza i pedagog. Od 2001 r. jest dyrektorem mu- na festiwalu w Aspen oraz Nixon w Chinach zycznym Orkiestry Symfonicznej w Atlancie. J. Adamsa i Czarodziejski flet W.A. Mozar- W latach 1996–2004 tę samą funkcję pełnił ta w Operze w Houston. Występował także w Filharmonii Brooklyńskiej. Jest także dyrekto- w Covent Garden, Walijskiej Operze Narodowej, rem muzycznym Festiwalu Muzycznego i Szkoły Operze Lirycznej w Chicago, Operze w Seat- w Aspen (od 2011). Wykłada w konserwatorium tle. Współpracował z Orkiestrą Symfoniczną muzycznym w Oberlin. Udział w spektaklach Galicji (Hiszpania), orkiestrami symfonicznymi Marnie to pierwsza współpraca tego dyrygenta w Singapurze, Pittsburghu i Sydney, Francuską z The Metropolitan Opera. W tym sezonie po- Orkiestrą Narodową. Dokonał wielu światowych nadto – oprócz koncertów z orkiestrą w Atlancie prawykonań, m.in. Voy a Dormir Bryce’a Dess- – artysta występuje z orkiestrami symfoniczny- nera w Carnegie Hall, Koncertu na tubę Jenni- mi w Nashville, San Diego, Królewską Orkiestrą fer Higdon i Miserere Michaela Kurtha. Za na- Filharmoniczną w Liverpoolu i Orkiestrą Filhar- grania dokonane z orkiestrą w Atlancie zdobył moniczną w Hangzhou. Do jego najnowszych sześć nagród Grammy. ISABEL LEONARD MARNIE (MEZZOSOPRAN) Amerykańska śpiewaczka pochodzenia ar- Mirandy w The Tempest Th. Adèsa i Charlot- gentyńskiego. Ukończyła nowojorską Juilliard te w Werterze J. Masseneta. W tym sezonie School of Music. W 2005 r. zwyciężyła w Kon- oprócz roli w Marnie na deskach Met występuje kursie Wokalnym Fundacji Maryli Horne, rok także w Peleasie i Melisandzie C. Debussy’ego później otrzymała nagrodę Fundacji The Licia oraz w Dialogach karmelitanek F. Poulenca. Albanese – Puccini. Jest też laureatką Na- Występuje w Wiedeńskiej Operze Państwowej, grody Fundacji Muzycznej Richarda Tuckera. Operze Paryskiej, Bawarskiej Operze Państwo- Jej debiutem scenicznym była rola Stéphano wej, na festiwalach w Salzburgu i Glyndebour- w Romeo i Julii Ch. Gounoda w 2007 r. ne, w Operze Lirycznej w Chicago i in. Dyspo- W tej samej roli wystąpiła też po raz pierwszy nuje repertuarem od Vivaldiego i Mozarta w The Metropolitan Opera (2007). Na nowo- po Thomasa Adèsa. Jest laureatką dwóch jorskiej scenie śpiewała ponadto partie Rozyny nagród Grammy za najlepsze nagranie opery: w Cyruliku sewilskim G. Rossiniego, Cherubina za The Tempest Adèsa (2014) oraz Dziecko w Weselu Figara, Zerliny w Don Giovannim i czary M. Ravela (2016). Wykonuje także i Dorabelli w Così fan tutte W.A. Mozarta, recitale. DENYCE GRAVES MATKA MARNIE (MEZZOSOPRAN) Pochodzi z Waszyngtonu. Wpływowy ame- do Chailly, Myung-Whun Chung, Charles Dutoit, rykański dziennik „USA Today” okrzyknął ją Zubin Mehta, Lorin Maazel – oraz ze słynnymi „operową supergwiazdą XXI wieku”. Występuje śpiewakami (Plácidem Domingo, José Curą, na czołowych scenach w Ameryce Północnej, Andreą Bocellim). Jest ceniona także jako Europie i Azji. Do jej najważniejszych partii interpretatorka pieśni; obok utworów niemiec- należą tytułowe z Carmen G. Bizeta oraz Sam- kich, francuskich i angielskich śpiewa piosenki sona i Dalili C. Saint-Saënsa. Wykonywała je z Broadwayowskich musicali, jazz i gospel. m.in. w Metropolitan Opera, Wiedeńskiej Ope- Nagrała kilka płyt, m.in. z ariami operowymi rze Państwowej, londyńskim Covent Garden, Voce di Donna i z muzyką spirituals Angels Operze Narodowej w Paryżu, operach w Wa- Watching Over Me. W 1999 r. śpiewała w Oslo szyngtonie, San Francisco, Zurychu, Houston, podczas gali wręczenia pokojowej Nagrody Dallas i Buenos Aires, a także na festiwalu Nobla. Jest laureatką wielu nagród. Dwukrot- Maggio Musicale we Florencji. Graves współ- nie (w 2001 i 2003) wystąpiła Teatrze Wielkim pracuje z najlepszymi orkiestrami symfoniczny- Operze Narodowej w Warszawie. mi i wybitnymi dyrygentami – takimi jak Riccar- Nico Muhly Marnie 5. IESTYN DAVIES TERRY RUTLAND (KONTRATENOR) Brytyjski śpiewak, pochodzący z rodziny o mu- oraz nominacjami do Olivier Awards. Davies in- zycznych tradycjach – jego ojciec, wiolonczeli- terpretował takie partie, jak Ottone w Koronacji sta, był założycielem Fitzwilliam String Quartet. Poppei C. Monteverdiego w operze w Zurychu Davies w dzieciństwie śpiewał w grupie sopra- i podczas Festiwalu Operowego Glyndebourne, nu chłopięcego w chórze College’u św. Jana Arsace w Partenope G.F. Haendla w Operze w Cambridge. Kontratenorem zaczął śpiewać Nowojorskiej, Oberon w Śnie nocy letniej jako nastolatek w Walijskiej Szkole Katedralnej. B. Brittena w Operze w Houston, Angielskiej Studia muzyczne w londyńskiej Royal Academy Operze Narodowej i The Metropolitan Ope- of Music (aktualnie jest jej członkiem) podjął po ra czy Apollo w Śmierci w Wenecji Brittena otrzymaniu dyplomu z archeologii i antropologii w Angielskiej Operze Narodowej i mediolań- w St John’s College. W 2015 r. zdobył uznanie skiej La Scali. W Met wystąpił po raz pierwszy krytyki za rolę Farinellego w przedstawieniu w 2011 r. w Rodelindzie Haendla. Jest laure- Farinelli and the King w Globe Theatre. Ten atem licznych nagród, między innymi 2013 Cri- sukces zaowocował zaproszeniem na West End tics’ Circle Awards for Exceptional Young Talent. CHRISTOPHER MALTMAN MARK RUTLAND (BARYTON) Anglik. Studiował w Królewskiej Akademii pertuarze partie z oper Mozarta, G. Verdiego Muzycznej w Londynie. W 1997 r. otrzymał (Goy de Montfort w Nieszporach sycylijskich, główną nagrodę za wykonanie pieśni w kon- Posa w Don Carlosie, tytułowy Simon Bocca- kursie Cardiff Singer of the World. Do dziś jest negra, Ford w Falstaffie), R. Wagnera (Frie- renomowanym wykonawcą pieśni, zwłaszcza drich w Zakazie miłości, Kurwenal w Tristanie F. Schuberta i G. Mahlera. W tym roku w stycz- i Izoldzie), P. Czajkowskiego (Eugeniusz Oniegin) niu przedstawił recital pieśni angielskich w Kra- i in. Kreuje także role w dziełach XX-wiecznych kowie w ramach festiwalu Opera Rara. Jego (Wozzeck A. Berga, Die Gezeichneten F. Schre- debiut w Met miał miejsce w 2004 r. (wystąpił kera) i współczesnych (The Tempest Th. Adèsa). jako Harlequin w Ariadnie na Naxos R. Straus- Występuje w wiodących teatrach operowych sa). W filmie Kaspera Holtena Juan na pod- świata, m.in. w Wiedeńskiej Oprze Państwowej, stawie Don Giovanniego W.A. Mozarta kreował Bawarskiej Operze Państwowej, na festiwalu rolę tytułową (do tej produkcji przygotował w Salzburgu. Regularnie gości w Królewskim także angielskie tłumaczenie libretta). Ma w re- Teatrze Operowym w Londynie. MICHAEL MAYER REŻYSER Amerykański reżyser teatralny, filmowy Theatre). Jako reżyser operowy zadebiutował i telewizyjny oraz dramatopisarz. Laureat w 2012 r., przygotowując dla The Metropolitan nagród Tony i Drama Desk Award. Studiował Opera Rigoletto G. Verdiego, w którym akcję aktorstwo na uniwersytecie w Nowym Jorku przeniósł z XVI-wiecznej Mantui do Las Vegas (NYU), wkrótce jednak zwrócił się ku reżyserii. lat 60. XX wieku. W bieżącym sezonie oprócz Po 15 latach doświadczeń w reżyserowaniu mu- Marnie przygotował dla Met także Traviatę sicali na Broadwayu, zadebiutował jako reżyser G. Verdiego (transmisja w grudniu 2018). filmowy w 2004 r. obrazem A Home at the End Mayer kilkakrotnie otrzymał nominacje of the World z udziałem Colina Farrella i Robina i nagrody Tony (m.in. 2007 – nagroda za naj- Wrighta Penna. Wyreżyserował też m.in. film lepszą reżyserię musicalu Spring Awakening) familijny Flicka (2006), Alpha House z udziałem i Drama Desk Award jako reżyser (Thoroughly Johna Goodmana, The Seagull z Annette Modern Millie, Spring Awakening) lub też te Benning. Przygotował nowojorską premierę nagrody były przyznawane przygotowanym Antygony w Nowym Jorku polskiego drama- przez niego spektaklom. turga Janusza Głowackiego (1996, Vineyard 6. TERAPIA MADE IN USA Marnie to amerykańskie zdrobnienie w teatrach operowych
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