-42170 +.8143.2 ,5/6. :A=;>?<
CIHGKHJFE DL ಋᖚ he Hong Kong Arts Festival is a prominent ࠗຝ̯ܰ Tarts event in the cultural calendar of Hong Δʥԓʪਂ Kong and the Asia Pacific region. Proudly ؿʼʝଞ stepping into its 33rd year, the Festival ಳም continues its vigorous pursuit of innovativeסԑe ɃɍɊɍ՚ development; the presentation of new works αc˚ፒዀ and the provision of quality arts. ٻ࿚ᆅʘুұณcɺᒾ˞၀ ࠷ؿຝ͌ȹณᜮଠϦ͌e In terms of the number and diversity of programmes, the 2005 Festival is one of the ʌαᖚຝʑࢀҡᔔఒΛۜcஃ largest festivals to date, offering a wide variety ᅡɾɣዃαӢӮcݯࣵʑ̔Ρ of inspiring art, music and cultural ԞਝΊࡼၤ̯Δ၀ߜᐰϳᖚ programmes by prestigious international ࠭Ͳؿ൚ɓˮcผ˥ࠗಋ artists and leading local talents. I am sure that ਝʼʝผࠛቤɈe the Festival will further enhance Hong Kong’s status as an international cultural metropolis. ΈϽᖚࡼၤܰωଞٴᔑϊᚭ d I extend our warmest welcome to allผcԎूࣵʑ̔ᜮଠʶ̈́ သጙϤᓊe participating artists and wish all local and overseas members of the audience a most enjoyable time. ւٽܧϷਂܧࠗಋऋПϷ
TUNG Chee Hwa Chief Executive Hong Kong Special Administrative Region ˚ᘆᖽ Message from the Chairman
.ၤɍɊɍ։ࠗಋᖚ warmly welcome you to the 33rd Arts Festivalٴ ᚭ ຝcܰࠗಋʼʝވʥԓʪΔ IAs a premier event in the Hong Kong cultural ؿࠇ߬ʼʝଞԑcමၙਝԓʪ calendar as well as the Asia Pacific region, theਂ ᖚ၀ߜc˞ʥ̯Δ෮ݗึؿᖚ Festival presents the finest international andਂ ɮАّe regional artists in an intense series of concerts and performances, as well as showcases the creativity ̯Ɂটʶᑢ༦ᅥʥʼʝԑ৻ອ of artistic talent in Hong Kong. c˞ʥࠗಋᑩ֚ܧ༅Х҈ࠨؿࠗಋ ԭɣ˚߬༅Хዀ࿚c Appreciation and thanks are due to our mainټপਥڌผ෯ഁ ˢࠨΛαԞྦྷࠗಋᖚຝؿྐྵషʻ subventing organisations – the Hong Kong ܛc҈ࠨ૯ߎᑢ҃e Government, through the Leisure and Cultural Services Department, and the Hong Kong Jockey ϊ̔cࠗಋᖚຝྦྷֺτᖳХዀ࿚d Club Charities Trust. Their long and continued ᖚ྆˞ʥɁ༅Хc͛ߎ˞টʶ patronage are what make these cultural ᑢ෮e presentations possible. In addition, we gratefully acknowledge the ,ȹΣ˞֡cࠗಋᖚຝ༦˸ძነ́ generous support of many corporate sponsors .ʭαɾʤི߮cߎɈ arts institutions and individualsڇయ˞ʥ རነ́ʥαႦᜮଠઅᘩΈᗘᖚe ɐ߸ི߮ΛαԞᏵଠΛዀ࿚ʥɁ༅ The Festival has always made our programmes Хcɻነʥɣነነ́ɖʦᎶᆅईe accessible to students and young audiences through half-price student tickets and our Young 2005αࠗಋᖚຝຝ͌ᔔఒd˳ᖓ Friends Scheme. These schemes are funded by the ɺᜮଠؿ௩ΡʥɟՈc generous donations from numerous corporateٴຒτc .փe and individual donorsڻϢ̢ c౨શၤ੬Ε The 2005 Festival offers a rich and stimulatingܛωᑢჇɎؿʻʹ 2005αࠗಋᖚຝɻӮࠍe programme, with a variety of captivating performances and choices, presenting a diverse range of tastes with artistic excellence. We hope to offer something enjoyable and of interest to everyone. Above all, I would like to thank you, our patrons, for your support and participation in the 2005 Festival.
ңพᄤ Charles Lee
:ࠗಋᖚຝؿ༅ХԞϬ The Hong Kong Arts Festival is made possible with the funding support of Ϸܧᐢဟᘆᖽ Message from the Executive Director
005αࠗಋᖚຝؿຝ͌˞ he starting point for the programming of this 2005 ݯ˚ᕀeु T Festival was the idea of contrasting opposites – ‘sacredڙ˖2ुັၤ ԭඖʏॖcܰΈိ and profane’. Both of these elements are rich sources ofڙ˖dັ ᖚѼβؿӮᕀҥၤݖ creative impulses for the performing arts in most cultures cʌ։ຝ͌గऋПॶਪʦܮ and this thematic link is evident in much of our ᗐ programming. We hope these connections and contrastsޚܫ෮֨e҈ࠨѴશԭඖ Ɍྦྷ͓ؿʏॖcॶݯɣࡼొԜҡ will make your Festival experience more engaging and .৽Ɂdҡᗒѿؿᜮሌe memorable ࿘۾ȿࣵ̔ᖚɮАّc҈ࠨ Alongside all of our international artists, we are proud to ॶᑼᇼ̯Δᖚ၀ߜcΣࠗಋ֗ present many outstanding Hong Kong artists. For example, ဳ֞ᅥ྆dࠗಋჱ྆d̯Δ ˮαႦ፡ೄۗࡼਜ਼ᆼdࠓ the Hong Kong Philharmonic Orchestra and the Hong Ⴛဳʄࠇۗᘆᖚeԯˢၤˮ Kong Repertory Theatre, as well as the fine young Hong ຣჱΊД Kong musicians, pianist Rachel Cheung and the Fresh Airܢ˳ؿ̯Δᖚ၀ߜ ுʥң᎘d7AऒᎻჱୂdɻߜ Brass Quintet. Other important Hong Kong artists taking ɩմdࠗಋ part include Cantonese opera stars Mui Suet-see and Leeټܖჱ྆d89268d ϐcᑹτɈݵႇ Lung; Class 7A Drama Group; Chung Ying Theatre; Groupܬᇁၦࡼฦ лؿྡྷɈݢୂ ңᔪ 89268; the Material Girls; choreographer Daniel Yeungؒ ,ݘdષഥࠦdңɻͲʥ֍e and the remarkable combined talents of Lee Chun-chow Faye Leong, Gabriel Lee and Chong Mui-ngam in The ᖚຝᘗᙩዶรկ̯Δၤࣵ̔ French Kiss. ܢ˳ˮϳؿАɁc̯։ณА In addition, our commitment to commissioning new work קdէᚗdʌէၦރು ਝ࠭ᅥdཫ҈ from Hong Kong and around the world continues, withټܖd̡ dؒлd pieces such as Amber, The Nightingale, All That Shanghai̟ےᅚؿȹ ˚τ௩ʥɩ˔ɥనʊতe Jazz, Material Girls, i-City, The French Kiss, Come Out & Play and Little Prince Hamlet. 2005αࠗಋᖚຝݯᜮଠᘆɐȹ ྆ٲϛɀɊ̒ˮcၤ The 2005 Festival will offer a total of 124 performances ༠̒Ɋɀ˳ܢɍɊɀࣵ̔ with 42 performing groups (32 overseas and 10 local), two ʥɊ̯Δ྆cᑹτԭࢄ ,ᙴc˞ʥɺࢀ፟༦ؿᖚຝ˱ࢿ exhibitions and our Festival Plus programme of talks ຝ͌iᑟdᇹผʥᖚɁᇹe seminars and meet-the-artist sessions.
ΛۜcࠓࣟΛʏ This is one of our largest Festivals to date, in terms of theٻ։ຝ͌Λ̯ ʝcܰࠗಋዃԞஃᅡɣd˥ number and the diversity of programmes. I am sure too, Ɂሌʶࢧ͌dԮઢೕֲؿᖚ that it will be one of our most enjoyable and inspiring. We .ၤe are delighted that you could join usيຝɾȹcᑢჇɎ
ঢ়ᄨᓤ Douglas Gautier -42170 +.8143.2 ,5/6. :A=;>?<
CIHGKHJFE DL
@9 -42170 +.8143.2 ,5/6. :A=;>?<
hbdcef_`jgia NS[\U]PV OYSWUWT U[ [YXW[XZSR Q^ 02 Otello 5
ɻߜʼΥྭڃჱc෮ɣСႍcྭ̒ Opera in four acts, sung in Italian with Chinese and English surtitles 3ɩࣂ10ʗᘸcٽˮ ˳ܢԭຝɻͤࢠ Running time: approximately 3 hours and 10 minutes, including two intervals
ࠗಋʼʝɻʶɣჱ Grand Theatre, Hong Kong Cultural Centre 17 - 19.2.2005
ࠑᅥ ۤဍ Music Giuseppe Verdi Ԉʷg͠μ Libretto Arrigo Boito after Othello byځ ʼ̯ ҝᇁଡ଼ɡˈԓࡈട William Shakespeare ϹКg˺݇σթ Conductor Jacek Kaspszykܞ ኒ ୣԈgऋԈடਥ Director Mariusz Treli nski´
ᗐઌʹdಲᇃཋʥඨՓዀؿᚊባکݯȿᜑɣࡼྦྷωˮजɎΡͿോcᇼʘতΕຝ͌ ສeผʑᇼʜኞϬᙘᄧd፣ࠑֶ፣ᄧc͛ɺ˿ඝࠕмํcΛᑢАk To make this performance a pleasant experience for the artists and other members of the audience, PLEASE switch off your ALARM WATCHES, MOBILE PHONES and PAGERS. Eating, drinking, smoking, unauthorised photography and audio or video recording are forbidden in the auditorium. Thank you for your cooperation. ႇАʥˮ Credit List 7
АɁࡗ
ϹКg˺݇σթܞ
ኒ ୣԈgऋԈடਥ ˺Зౡஉ߮ ؐԈgါဍ࣮gᄨСК ˺உ߮ နࣟ༠ᇘgऋר ၐဍgࣟཊʱღК֔ ࣟ༠gʷּܞ྆ ᐰᅥኒ ނձgᎏК ᇁၦ ࡥϝဍgࠏॗݤਥ ͮஉ߮ ഥ୧gᖓ
ɮАɁࡗ
ඏړ৹ᐢဟ Ϲg ਥڬҌᐢဟ g ၦ̎ဟ ऋᗫଡ଼g˺ጻᄨ̠˺ ͮ ̌դּ̛̌ʩgღʱ ඖ͌ଉ ۟͠ǧּ̠ღК
ࡗ
ෙᖓ ଉ݅ᄨgᄨКဍ2˂17ʥ19ˀ ਥΛʩgऒढ़ɈК2˂18ˀ ᒫᄨᄾ ͠ଡ଼ӴּgКݤӺ˺2˂17ʥ19ˀ Ϊg͠٢2˂18ˀ ͠ԓঢ় ԓgКቧዉࠏਥ ͠ϝ Ϊgያऒ˺ ਥၐКעϹෙ Ԉʺᄨg˺ ݤΛၐϹෙ ּؒဍgϹࠏК ᖓᄨԈࡐ КღϹμʩgܪϝऋ ၬෑጻ ᖓВऋgୣʩਥ ඨ˥ւ Ԉʺᄨgୣဍ˺
࿒ ؐᙬਝࡼჱᅥ྆ ᙬਝࡼჱ྆ؐ ࠗಋᖚຝ྆ ࠗಋᖚຝᅥඅ
ߜʼΥྭ ࣓ኣAvril BardoniؿᓺᘭϤιc © 1978 Decca Music Group Limited ɻʼΥྭ ඡթౣ
1887αࠖכჱ̯ 2001αࠖכႇА̯ cֺτჱ๑ Unless otherwise specified, all production photographsעऋПഽ © Stefan Okolowicz and Juliusz Multarzy´nski ႇАʥˮ Credit List 9
Creative Team Conductor Jacek Kaspszyk Director Mariusz Treli nski´ Set Designer Boris Folt yn´ Kudlicka ˇ Costume Designers Magdalena Teslawska Pawel Grabarczyk Chorus Master Bogdan Gola Soloist Coach Janina Pawluk Choreographer Emil Wesolowski Lighting Designer Felice Ross Production Team Deputy General Jerzy Bojar Director Technical Director Janusz Chojecki Stage Manager Teresa Krasnode˛ bska Lighting Stanislav Zie˛ ba Project Manager Ewa Blaszczyk Cast Otello Richard Decker (17 and 19 Feb) Krzysztof Bednarek (18 Feb) Desdemona Izabella Klosi nska´ (17 and 19 Feb) Ana Ibarra (18 Feb) Iago Adam Kruszewski Emilia Anna Luba nska´ Cassio Ryszard Minkiewicz Lodovico Rafal Siwek Rodrigo Krzysztof Szmyt Montano Robert Dymowski A herald Ryszard Morka With The Orchestra of Polish National Opera The Choir of Polish National Opera Hong Kong Arts Festival Chorus Hong Kong Arts Festival Ensemble English Surtitles Surtitles based on the English translation by Avril Bardoni, © 1978 Decca Music Group Limited Chinese Surtitles Wong Kee-chee This opera premiered in 1887 This production premiered in 2001
৻רيʔ̇ݯؐᙬਝࡼჱιࡗొԜॾيਝॾؒ Members of Polish National Opera are flown in by 10 ̯ԑ Synopsis
ȹྭ
ࢠۮ૯ࣵಐ৽cȹጚ̛ۤΕඣด়ᗔɻˮଊeၙඑΕࣳ༏ಋɟؿɁະc ቷ഼̜࣯ɻઓʺؿᘜcᆅʘާұ̡̚Ϊಲԑeܰͳਝᘜඅ۵ඣɥෙᖓ ၤଔઠАኝᓊԞȿe
Εɐ೩࠰ؿɁະɻcτෙᖓؿ৹ւ͠ԓঢ়cˢΐ˺ϹෙᏵʠᓻdϬɯՇОໃϤ ΕʶeԅጚΕෙᖓᆃᆻؿኧઁɎc̡Ϊؠe܍ᕤ
ؿ۵ၤڭɣࡼҶሶΕᚭᅥɻeࣳ༏Ɂɺඩᄪूෙᖓؿ৩ɣСcɖݯߜ ߱ؿ႑ӰϤԷಲˈঢ়ጙeዟ͠ԓঢ়Է֦ٲᗫक़ᅳؿᒫᄨᄾࡄɷȹೌʃ ઍጙeˢնྺྺ㠥ʹྡྷϷጷ߮cС͂ԅྦྷᒫᄨᄾෲ̳ရؿαႦ̛ۤ оe͠ԓঢ়ྦྷϊดϬجᜰcʵߎȹܥɁᖓᄨԈࡐcΉɰ͠ԓঢ়ᙠሶؿ˺Ϲෙ ঢ়ጙeᖓᄨԈࡐ˺ϹෙᇰޯԞc̨ɻc˺Ϲෙඬȿၬෑጻe
ؿෙ܅Ԟખeоባᐰɖፚȿᒫᄨᄾe˺Ϲෙᄺکෙᖓᙒᐰፚc ᖓࠌᓻcԎᏅʠ͠ԓঢ়ݯ৹ੀc͠ԓঢ়ɣ௩e
ؿٱؿੱ়෮ඤdٱෲؿଏၹdޚٱٱෙᖓᒫᄨᄾዟϬΕȹcࠇใ ʶᛌeᒫᄨᄾΑෙᖓ́՜ɻؿభ྾ࣂԳcྦྷෲɁ༞i҈Бᄯᝎؿ ϭԚˢޅԷБრԅ൚ɓؿᗫͮሣeෙᖓಲˈ֗ါc̜ɣ֗ါޜᐻɐc ԷࡻְcԷᅚؿ֗ါcְ࢜ɺผࠇᐽmmˢᒫᄨᄾȹʹ֔ ȹ eذڌᙶӸଲ Аݯෲੱؿ ̯ԑ Synopsis 11
ɀྭ
ԓঢ়෮Ϊᄱࠌᓻؿ˺ϹෙcԎᗮˢҒᒫᄨᄾcᇼΉෙᖓұੱe͠
Ϲෙၤᒫᄨᄾؿผࠍc͠ϝɖΕeωผࠍෙ˺ޜԓঢ়ᔀΕด୮cৰ͠ ᖓᅁӮȿe͠ԓঢ়фҳࢂᄧcውෙᖓؿјʶcࣂɌй႐ˢiɩʶෛјc c͂ϬɯؿݓݓࡻϬӸc˿˞ҐБؿॳ͌فɌ܍˿Ϣ๛eෛјܰ፮బؿȾ୰c 㠥ᒫᄨᄾɁӮޜᇏᅈιːeෙᖓ߬ұˢˮ͐ᖬኣeʶΣɆؿෙᖓ Ɂෲؿ˿Ɂԫcᚹ㠥བؿeɺ˿ॶؿk૯Շ৽ؿˢྦྷϬɯ႓iΣ႓ ΕϬ჻ȿeܰڏɺ֦cɐʨ
ᒫᄨᄾᆅʶΔ౧˺ϹෙұੱcԚࡈɰΛဘؿෙᖓҡ˱ᗒՇeᒫᄨᄾᗐ ˢ̩ઌeՅʹ֔ؿ͠ԓঢ়့̨͂ԞАݯڳʶˢؿcҐʹ଼֔Εˢɐc ʵˮܥॶҐෙᖓԅӔᅘඣดؿֲ̯ڏ༞ɺ͂Λɔcكᒫᄨᄾۣؿᖬኣeˢ Ԟe
йേෙᖓcˢᚹԷ˺ϹෙΕဣྒɻ௮௮܃Է˺ϹෙؿϾ୮cಳיˢ့̨Ґʹ֔ৰৰ ʹ႓㠥̳Ε།ᒫᄨᄾሁੱؿeˢೕ႑႓cˢӮԷᒫᄨᄾؿʹ֔Ε˺Ϲෙ ΕࣀઐؐХᘂeڬɻmmෙᖓ႑Ӱనʊc͠ԓঢ়
Ð ɻͤࢠɀɊʄʗᘸ Ð
ɍྭ
ȹጚ˃ቛϭc༗Ԟ̛ۤᐢȹଠऋԚeࣂc͠ԓঢ়Ήෙᖓᘆ߮cˢᗟՅ c႖ˢᑟcԎᜑෙᖓᔀΕȹᖾৰᚹeͨڌϹෙؿ˺
ʹᒫᄨᄾʹω౧˺ϹෙұੱeෙᖓɌേ႓cԎ߬ұᒫᄨᄾ͂ˢؿ ౧ˢ଼cЎʹ֔ɰɺΕᒫᄨᄾԅ㛾eծɥभᄿؿႍؿ૫ˋ̰ॶ֔ ࿂˥ᒫܞcෙᖓҐᒫᄨᄾႢȿˮ˾eෙᖓؿ܃ᙽجc༦ȹೌרڌˢ˥ cɰԳɐඣݓؿຬޛ༞jmmБԅᅳ͉ؿك࢜ᙖɌቊiБܫᄨᄾ Ϸmmɺܰලjᗒ༞Бᑹɺ့ሎɤɁj ̯ԑ Synopsis 13
ԓঢ়ၤ˺ϹෙӮࠍcෙᖓΕด୮ᜮྦeˢࠨ̳Εᇹሃ˺ϹෙၤѶΪ˺ؿᛞෲᗐ͠ Ӯ˺Ϲෙޜ႒˞ݯܰΕ႓ᒫᄨᄾeˢܰכcЎෙᖓඩॶᚹԷȹӰ˸ႍcڝ ծɥɺ֦eྦྷෙᖓԞ႓cᖬኣӷ˞ιڌ૯כΉ͠ԓঢ়ࢄ͐ԅʹ֔ࣂcˢୄ ݯˢᒫᄨᄾؿଉኣeˢᜑ͠ԓঢ়˾ๅௐݓᖞeݓᖞj͠ԓঢ়ɺ෮c Ρܰ৺ϋcగΕݾϔؿԅਜ਼ѷɐmm
༠cݤΛၐϹෙਐ࠰ෙᖓcԎеɐᐢؿאऋԚΕݤΛၐϹෙؿଅეɎ̛ۤ eෙᖓଠୈহᒫᄨᄾeᐢΕʔԲɻйേෙᖓcˢؿͨ৻ɰѧιcԎڌ ܅cᄺ܃ʨೡΑ̛ۤ܃˥Ϲෙઅ౧cෙᖓɎ˺ͅڬcԯᓻ৻̛ۤٵҐˢ̂ τࣩಲɈൡђΔɐe܃ؿෙᖓҐᒫᄨᄾઐࠧcႢଠɁᔴcಳ
Ð ɻͤࢠɀɊʄʗᘸ Ð
̒ྭ
ᄯʶɌ˨ɺନདeܫϝΕྤ۩ʑcๅௐగྤcЎ͠ڌᒫᄨᄾၤጱ భඬؿฦ݉cԅܰ೧αࣂˤؿςeീ߸ʥȹஔᆯϤक़ኴdෲɁׇ ٢٢ּeۦؿɤૃ
͠ϝᔴࣂcᒫᄨᄾɰɃྒ൰eෙᖓ൬ԞጱлծɥcፚԞeБާᖅȿලj Ρcާᖅбc҄ᒨe҈ɺБؿრɖϋઌe࢜ؿᒫᄨᄾೕଊɏʩɰРȿϋ Ϲෙɰϋeʪፖȿkʪፖȿkෙᖓ႓ᇋc͂ᔶʹ၇ґؿɥe˺كͷcԎ
ϝൠ൬ԞంйᖓᄨԈࡐ્ϋ˺Ϲෙcʦሯ˺ϹෙϋؿࣱࢠeᚹԷᒫᄨ͠ ௴ᄾΕѷɐೕˮᐽϋؿՎхᐰeෙᖓֻႏϬɯؿຬϷcԎᚉ৽ዀc͠ϝ̂ Ϭ͉עѧͲכeෙᖓୄޚˢؿ፟႒c్ᚉ͠ԓঢ়ጷؿभעұХcԎΉෙᖓᖬ лȿБcෲծhଊΕc҈ϋکɯؿ˿֮ϷݯcΕશɻჴϬသe҈Бɾ ȹлmm܃mmʹmmлȹлmmکmm҈ሢΕmmඣดɻmmɾکɾ ̯ԑ Synopsis 15
Act 1
Out of the darkness and the mist, out of the deep foaming sea, a Venetian ship appears. The crowds gather in the Cyprian port to watch with bated breath and pray for deliverance, as it battles the wild waters. The ship carries the dark-skinned Otello, commander of the republic’s armada, returning from the war against the infidels.
But among those waiting on shore is the vengeful Iago, adjutant to the Moorish general, feeling deeply snubbed at being refused a promotion, which was awarded to Cassio. The ship, handled masterfully by Otello, docks safely.
General rejoicing erupts. The Cypriots celebrate not only Otello’s great victory, but also the vows freshly exchanged between the heroic commander and the beautiful and pure Desdemona. Only Iago does not share their joy. Slowly, he starts carrying out his sinister plan by manipulating the young Venetian, Roderigo, who is hopelessly in love with Desdemona. Roderigo provokes a quarrel with Cassio, whom Iago has deviously intoxicated; the two clash and in the fight Cassio wounds Montano.
Awakened by the uproar, Otello intervenes. The noise also wakens Desdemona. Enraged, Otello demotes Cassio and appoints lago captain. Iago triumphs.
Otello and Desdemona are alone. They muse over the first moments of their love, the first raptures, the first tremours of their hearts. Desdemona thinks back on the tragic moments in Otello’s life. “And I have read in your sombre face the unearthly beauty of your soul’s radiance,” she sings to her beloved. Otello is so happy that it frightens him to feel so great a happiness, and to think that “such happiness may never be repeated again...”. As a symbol of his love, he offers Desdemona a handkerchief – a talisman. Act 2
Iago consoles Cassio after his demotion and deceitfully advises him to ask Desdemona to intercede with Otello.
From his hiding place, Iago observes Cassio’s meeting with Desdemona and Emilia, who accompanies her. Otello enters upon this scene and with the use of innuendos, Iago arouses Otello’s jealousy, at the same time warning him against it: “Beware of jealousy, my lord. It is a sinister hydra, hateful and blind, which poisons itself with its own venom, tearing your breast to the flesh.” Otello demands proof. Torn apart by his emotions, the Moor watches Desdemona, darling of the people, and listens to songs in her honour. “No, no,” he acknowledges, deeply moved, “if she is unfaithful, the heavens mock at themselves.” 16 ̯ԑ Synopsis
Desdemona pleads fervently for Cassio, which irritates the already suspicious Otello, who discards the handkerchief that the concerned Desdemona wants to tie around his aching head. Iago gets hold of the handkerchief and plans to use it as proof of Desdemona’s adultery. He knows it will take very little to release the Moor’s violent, dark nature.
Iago intends to plant the handkerchief in Cassio’s quarters, and tells Otello that he heard the young captain muttering in his sleep that he and Desdemona should hide their love. He swears he saw Desdemona’s handkerchief in Cassio’s hands... Otello swears revenge. Iago echoes his feelings.
– 25 minute interval – Act 3
A galley carrying envoys from the Venetian Doge approaches Cyprus. Meanwhile, Iago unfolds his plan to Otello; that he will lure Cassio into his confidence and get him to speak, while Otello watches from hiding.
Once more Desdemona pleads Cassio’s case. Otello complains again of a headache, and asks Desdemona to wrap his forehead in the handkerchief he once ̯ԑ Synopsis 17
gave her. But Desdemona doesn’t have the handkerchief. However, neither his wife’s sincere words nor her tears convince him. After an argument Otello drives her away. Desdemona is terrified and shocked by her husband’s accusations: “You want to know?... The blackest crime is inscribed in the snow-white lily of your brow.. Well? Are you not a vile whore?”
Iago and Cassio meet, observed by Otello. They are talking about Cassio’s love affair with Bianca, but Otello can only hear the odd word, and thinks they are speaking of Desdemona. He is finally convinced of his wife’s infidelity when he sees Cassio showing the handkerchief to Iago. For Otello, this is the terrible proof and he tells Iago to prepare some poison. “Poison?” Iago frowns. “No. Better to strangle her, in the same bed she has besmirched.”
The Venetian envoys arrive, led by Lodovico, who offers the Moor words of greeting and a letter from the Doge. To everybody’s amazement, Otello humiliates Desdemona in the presence of the envoys. The Doge’s missive tells Otello that his mission is over; to return to Venice, and that his office will be taken over by Cassio. After having made the arrangement to embark the day after, Otello seizes Desdemona in fury, Otello throwing her to the ground, ejects everyone else, and falls to the floor lifeless.
– 25 minute interval –
Act 4
Desdemona is in her bedchamber with her confidante Emilia. Worried and filled with foreboding, she is getting ready for bed. She sings the sad Song of Willow, that she remembered from childhood, about a poor and simple girl called Barbara forsaken by her lover.
When Emilia leaves, Desdemona falls asleep. Otello enters, and awakens his wife with a kiss. “Have you said those prayers of yours? Well, do it, and be brief. I would not kill your soul.” The terrified Desdemona finds out her husband has passed sentence upon her, and that Cassio is dead. “It is too late, too late,” says Otello, his hands squeezing her neck.
Emilia rushes in with the news Cassio has killed Roderigo, who made an attempt on his life. The moans of the dying Desdemona are heard from the bed. Otello confesses to his crime, and reveals his motives. Emillia calls for help, and then explains to Otello his error, proving that it was all Iago’s plotting. Otello comes to realise the full horror of his deed, and in despair stabs himself with his dagger. “I kissed you before I killed you, wife; now, before I die... before I rest... in darkness... a kiss... one more... last kiss….” ߇ౡBackground 19
ဍၤෙᖓۤ
ଡ଼ɡˈԓc1850αˢ౦႓ѴશҐଡ଼ɡˈԓֺτࠇ߬Аܖڈဍ1813-1901ۤ ȹc̊܃ܰڬҝᇁιჱeК͉ܰˢࠖҝᇁଡ଼।ؿჱcါෑʩۂ ̔ˢᑹ㠥ʹҝᇁңဍ˔c˿ੴӀτѧιe
ܢ˳1887αΕϝᙬࠖйઆࣂcۤဍɰንΛჱАΊၘ༣ᔟcכෙᖓ 1879αcˢכԅ̠dѹϫdএ٦ɤdࠍၦผࡌ g˺ݤ೩eϤξ ɰնАෙᖓe
ɁउԈෙgԈޫऋПᅋۤဍၤรτʨͫؿАخݯȿෙᖓcۤဍؿˮ ϳɺʭćۂԈʷg͠μАe͠μؿ˱ɃcԚАځςࡼˮϳؿჱිീɁ ͳНȹᘅc༠ߎఒ܁ˢ˥ɁᗒѿؿാᅪሁۧતሁؿႍӰcၤۤဍಲၤ࠷ˈؿફ τܷɈᎻჱֲؿࢽe
ᐰᅥඨcၤؒਝᄨਝඨྻӮؿٻဍؿࠑᅥႍӰι˲ΔҐ෮ɣСჱؿ၀ۤ ଊˮٲੜɈ˚ᕀʝ͚ᚊᅥଉ֨ԞeԝΣ͠ԓঢ়ؿబcܰ˞ඨؿാᅪሁѼβ ˚cЎˢҰωˮɖȹʹࠇଊؿ͚ᚊᅥ֨ڌԞؿɀྭྦྷ಄҂ؿɐ۴ؿ ːݒؿʗcϤ˱ੜȿჱੱؿێᕀeჱؿɣஃᅡࠑሁ˚ᕀஉ߮cᎦࠧȿᐰᅥ ȹֲe Verdi and his Otello
Giuseppe Verdi (1813-1901) was a great admirer of Shakespeare and said in 1850 that he hoped to compose operas of all the major works of Shakespeare. Macbeth was his first Shakespearean opera, Falstaff his last, and he also worked on a never- completed version of King Lear. By the time Otello was triumphantly premiered in Milan in 1887, Verdi had already resoundingly established his reputation with Nabucco, Rigoletto, Il Trovatore, Un ballo in maschera, and Don Carlos. Verdi began working on Otello in 1879. For Otello, Verdi’s publisher Giulio Ricordi, arranged a collaboration between the composer and the gifted Arrigo Boito, himself a composer and brilliant librettist. Boito’s input helped to fuse the impressive language of aria to Verdi’s supreme melody achieving powerful and dramatic expressions.
Verdi’s musical language successfully merged the ‘vocal set-pieces’ tradition of Italian opera with the powerful thematic orchestral ideas more often seen in the French and German traditions. Iago’s poisonous evil, for example, is communicated in traditional aria form (‘Credo in un Dio Crudel’ in Act II) but his appearances are also characterised by recurring orchestral ideas. The large-scale tonal and thematic design of the opera overrides the separations of the vocally-oriented segments and lends coherence to the drama. 22
nski
Juliusz Multarzy ´ Juliusz Multarzy
© ऋᆨ Feature 23
ඨdϳၤѼβÐऋԈடਥჱነ
Кݤዤཽ
АಲقᙬኒୣԈgऋԈடਥ།ݤͣКၦ̎உ߮ؐԈgᄨСК˺ȹؐ ංcˮዟኹȹᄞؿऋԈடਥჱነe
ԯɻȹʵე҈ࠨ˾ȿऋԈடਥჱჱؿᗐᒄΥܰඨeඨΕჱɻЌ ၠؿኒɺcऋԈடਥ഼܃ɺ༦cಳϤc།ɺʭႏݯඨּˢࠨעτؿϽສᛷ ංؿᒨeऋԈடਥԎɺખ̬ஹࡨcˢʜيສɃᎻჱۂϣΣЄҐࠑᅥА܆ඨݯ Ӡ̚cԎੀɾᔝʝݯਥ̯ؿАɮԮeޢઅᘩ̚cཫᕤ㠥รɣጙመྟ
ᒻˮඨؿۜබcɌτ˨ോᄩؿӰϷc˱ɐോᄩ˚ຮؿၦܫؿऋϳiӯϳۂˢА ν၇Էऋցؿ࣑ܼɻeˢؿΥӀτ፭ዀֶϬಳވ˖உ߮cҐˢȹʹؿ̎ ʦcˢ͂ᗲޚˢࢀஈউଅ߈ݯh͐ٲԒΥeऋԈடਥɺְࠍྦྷമ࿚cЎԎɺ עᚉcၤԯҐ̔כΛࣂˢፕእ௵͐Λ۾૪ቔੱၑc૯૯̨৽ˢؿᜮଠeڬᔑؿؒ dɺᗒȿcЎɺʪ͉eע ᑟˮɟcˢ௩ᚭ༜͂ଲ໔ֶോᄩ
ɺ௰ܰऋԈடਥᄨСК˺ᐲႇАɎီऋႇАؿኒऋϳcɖܰˢࠨ ኬ഼ᘨιॖؿऋϳeΡ͂ോᄩ˚ຮcకࠇඨcగˮȹϳѼβؿჱc ȹͮၤᄧؿჱeऋԈடਥᄨСК˺௩ᚭԚ͂ᔿϳ ̳ܰᔿϳֻ༗ȿ ˢࠨ؇Ƀؿੱၑc̳ܰᔿϳҺցȿˮؿຝۗhˢࠨҰҰ͂ወईᒠ᜔ؿϳмʵ ࣂดؿඣ͉ɀעᜮଠ؇෮eቱဳෙᖓؿਥ̯ϳሁܰඣ͉ྦྷˈcЎП႒ผcࣂ ޚᄩ㠥ੱၑԭؿรဲcԭّႭႭٲؿᔿϳҐᎻeඣ͉ضϳcʋಳ˨ͫଊАّ ϭȹΣϊ፮ؿΔүcΣ႓ᑹ߬ΕԭّɾංఖұȹٶcٶɌಲˈൎڳcԯྡྷྦྷ c҈ވ˖Ɍ།ɺᔿϳଊ㠥ؿڳϘϳΔcʹಲ෮ຮeԅܰȹ̋τඣ͉c cϤԑྡྷɐcԅभؿೕ́ȿc̛ۤᐢԚຝވ˖ȹိᔿϳ൬Ƀ̊ۿࠨ̋τ೩ ȹӸؿcɺగӮᖬ㠥ԅȹԳiʔຮО፷ؿଉֲcΣСɛᇏঁcʗȿɺՇઁ ʔຮֶଉֲɰԞʪፖeԅੜईؿෲၤ಄ႷؿעԞᖬ܃ؿੱၑcቱဳעɺܯԹɌၬ ᔿϳcད͐ȿʼነ̌ɐτᅕ৩ɣభჱؿೕ́e
Ѝޚܘ˿ऋႇАؿϳԚ͂།Ѽβɺ˿ʗeಲሃܰऋֶc഼ᔿϳѼβݯ ؿeΐ̦ܰאȹጹȹߎؿჱcɣכࡈࢿcୄcྦྷٶᅡؿᗘڬؒ ༠ֲੜc˨෮ຮϤɺུ˜eɣcٲϤc།ᔿϳȹᅚcऋႇАΕѼβɐc֡֡ ංΪખ၀ๅcҰҰடӯϳؿݠ৽ᆲɖᛷ͐ˮԞh̨ͮΕيϤ˘ʂಳτѵeၦ̎ અూೋˮԞcτࣂܰੜሁcЎɺผᅡᆹȿ̚ࠨeقؿረྰɐcτࣂҐረྰעᒠ
ቇᖚ2004כͲʼࡈ༗ ຝᘭߜʼi ࣍ʨ 24 ऋᆨ Feature
Convention, Colour and Form — Treli nski’s´ theatre
Agnieszka Klopocka
The aesthetic coherence of Mariusz Treli nski’s´ productions, on which he has consistently worked in cooperation with the Slovakian set designer Boris Foltyn Kudlicka, justifies the use of the phrase ‘Trelinski’s ´ theatre’.
One of the key words that enable us to understand ‘Treli nski’s´ theatre’ – his operatic theatre – is convention. The presence of convention in opera is obvious. Yet while many directors find convention hugely troublesome, Trelinski ´ treats it as a starting point for thinking about a musical work placed within the theatrical space. Trelinski ´ does not negate convention, he touches it, seems to be studying it with great interest, and makes it one of his fundamental creative instruments.
The characteristic features of his productions: conventionalised gestures, the symbolic nature of behaviours and gestures, the symbolism of the stage setting, lock the world created by him within a strictly defined framework. There is no place here for chance or naturalness. Trelinski ´ does not run away from fiction – this does not mean, however, that he allows a lack of credibility. On the contrary, it seems that the emotions enclosed by his rigid rules move the audience all the stronger. Treli nski´ will often suggest rather than show something explicitly. Rather than being literal, he likes to employ a sign or a symbol – clear, intelligible, yet never obvious.
This is a characteristic feature not only of the directing of the Treli nski-Kudlicka´ productions, but also of their whole visual component. A love for symbolism and respect for convention leads to the creation of a theatre of colour and form, a theatre of light and shade. Mariusz Treli nski´ and Boris Kudlicka love colour – it is with colour that they record emotions. It is colour that sets the rhythm of the performance; often a dense, vivid colour that attracts the spectator’s attention. It might seem, though, that in Otello, a production based on the contrast between white and black, the artists dispensed with colour. Nothing could be more misleading. These two contrasting colours – sometimes brightly lit, sometimes dimmed – tell of a drama born out of emotions located seemingly on the opposite extremes of human sensibility, but, in fact, dangerously close to each other. So close that it would be pointless to look for greyness in between them. There is only whiteness and blackness – shimmering with dozens of different hues. Only once does another colour break into this world, and it does indeed break in. The crimson ऋᆨ Feature 25
worn by the Doge’s envoys seems for a moment like a sharp blade of justice and cool sense, cutting through a world of unbridled and unrecognised emotions. However it soon becomes apparent that it is too late for justice or logic. The intense colour, the colour of love and cruelty, becomes a foreboding of one of the greatest tragedies in literature.
In Trelinski ´ and Kudlicka’s productions colour is always inextricably connected with form. Both artists treat colour and form as similar materials that can be shaped according to similar rules. This is, after all, necessary for the creation of a coherent and consistent theatre. And so form, just like colour is emphatic, expressive, imbued with meaning, never empty. Rather large. Ordered. The space of the stage is precisely arranged, often indicating the tracks alongside which the characters will move. Light plays on the sharply delineated contours. Sometimes it draws those contours itself. Sometimes it emphasizes them, but never blurs them.
The full version of this article first appeared in Festmag 2004 English Translation: Anna Kijak 26 ჱᓯʍ Theatre Profile
ᙬਝࡼჱؐ
1628 ඩɀɊαcగּg̿ᔁ˔ɥʵɃؐ܃෮ɣСЃᖓ࠷ɾכჱࠖωˮଊ ᙬcˢҡᑼᇼȹ෮ɣСჱ྆Էജҳˮe1632αc˔ɥਥ܃గ͓ЩɎ˥Ε ჱeۺః㛾ےˢؿ 1778-1833 1778α7˂11ˀcȹະؐᙬᖚࡼΕּღၐဍࡾʌˀؐᙬ͉ࡾˮࠖᙌؐᙬ ჱ ˺̰ߜਥؿஔᆯܰါeܰؐᙬਝࡼჱؿᔷѼe ԞီݯਝࡼჱeΕԅ܃ΕКּӺਥᄤؿჱcۺᔝ֡ณٲ1779αնc 㛾cᙷݯؐᙬਝࡼჱɾˎؿӂϹʘg̀ਥնࢄᚉɷജe 1825α৽ɮc1833α೨ɮcכᙬജҳਝࡼɣჱΣʌီݯɣჱÐਝࡼჱؐ ዾΪ̛ෙgޫּϹeྭˮݯᖓϹ̛ؿၐСԓؿଉቡۺஉّ߮ܰ෮ɣС e 1858-1965 eΕؐᙬͶੜ̾ʗࣂ౨1795-1918cɣჱҘȿۺݒ౨ංɣჱΛωҝ eդ̛gۂ؝ӯϳhჱ྆ˮȿؐᙬАςࡼᇁၦࡼؿАܧࠇ߬ؿʼʝ כဍ˺1858ৠః1865 గۄୣख़ʇޫؿԭᙌടΊჱ ӷ̯ 㛾ࠖe 1939 e1944αജپജҳኝѾ౨ංcɣჱሯᙼݴcడ˝ᛰιᄠᄇcඩɎ̀ࠓࣟؿ̳ ɟ́ᖾؿಶਃcగܰ͂Ԟ֨پҳຮ౨ංcढ़ှΕಯาؿᄠᄇ㛾̵̡eɣ ϷݯeڭϹ˚ຮՇࡻّؿʣᗒˢࠨؿߜؒ 1965 eܰ̚ࣂᅩݘࣩබѩ৩உௐΡؿჱɾȹeؐᙬਝי࠳నؿჱྦྷʔଠ ֺτടވ˖eۂАވ˖जԯɀϛαඨcᘗᙩˮؐᙬАςࡼړࡼჱ जჱ͌eړΊАςࡼؿԙჱcιݯჱ྆ؿ 2002 cࡈܰ߬ཚȹکپ࣓ኣࡈஉّ߮ޫּϹؿི߮cɣჱ̳ ᖓ࠘ђ̒ӹௗફᓊԞؿ፯ཫcЎိိԑؐځᙶुړᖚ ɀϛαeٶȿ֝הϹؿּི߮ޫ˥ͧ
ӂဍᄨg༠̠ᖓʩਥؿЦٽΕਝࡼჱ ɾپιभc፯ཫሉ͓Εɣჱ̳כɈɎcΚᗙୄ ɐeˤؿ̒Ԏּኝӹณ፯ཫcͅജҳ ነؿઠࠨஉ߮eؐᙬᐢК̿Ѵँ 2002α5˂3ˀؐᙬ͓ኔ֨ˀݯכʩਥ ፯ཫ˚ܛ్ྭშβe
© Wojciech Zagau ჱᓯʍ Theatre Profile 27
Polish National Opera
1628 Opera was brought to Poland only 20 years after it first appeared in Florence, by Prince Ladislaus IV Vasa, who invited the first Italian opera troupe to Warsaw. As soon as he ascended the Polish throne in 1632, he had a theatre built in his castle. 1778-1833 On 11 July 1778, the first Polish opera Maciej Kamiei nski’s´ Poverty Made Happy was performed by a company of Polish artists in the Radziwill Mansion (today the Polish ‘White House’). This was the beginning of the Polish National Opera. From 1779 onwards, performances took place in a new theatre building on Krasinski ´ Square, later called the National Theatre. It was there that Wojciech Bogusslawski, known as the father of the Polish National Theatre, developed his talent. Teatr Wielki, the Grand Theatre – National Opera, was constructed from 1825 to 1833 from designs by the Italian architect Antonio Corazzi. The first performance in the new building was Rossini’s The Barber of Seville. 1858-1865 During this period, the building was converted several times. In the period of the partitions (1795- 1918), it performed an important cultural and political role; the company producing works by Polish composers and choreographers. It was here that Stanislaw Moniuszko’s two best-known operas were produced for the first time: the complete version of Halka (1858) and The Haunted Manor (1865). 1939 During the battle of Warsaw the Grand Theatre was bombed and almost completely destroyed with only the classical facade surviving. During the Warsaw Uprising of 1944 the Nazis shot civilians in the burnt-out ruins. The plaque to the right of the main entrance commemorates the suffering and heroism of the victims of Fascism. 1965 The restored theatre was opened to the public. At that time it was one of the most imposing and best-equipped theatres in Europe. The Polish National Opera continues its 200 year tradition and produces works by Polish composers, and world opera classics by all the famous composers. 2002 According to Antonio Corazzi’s plans, the facade of the Grand Theatre was supposed to be decorated with a triumphal sculpture of Apollo, patron of the arts, driving a chariot drawn by four horses. But events conspired to keep the ample pedestal at the top of the main facade empty for close to two centuries.
On the initiative of General Director, Waldemar Da˛browski, a contemporary quadriga designed by professors from the Warsaw Academy of Fine Arts now finally adorns the Grand Theatre’s facade. The sculpture was unveiled by Polish President Aleksander Kwasniewski ´ on 3 May 2002 to mark Constitution Day. ᅥ྆ʥ྆ᓯʍ Orchestra and the Choir Profile 29
ᙬਝࡼჱᅥ྆ؐ ജҳჱဳ֞ᅥ྆ؿc˿ুืϭ ௶ܞჱ྆ͅԭϽടΊؐᙬАςࡼ ዉʩgࡥဍढ़˺ᖓဍg̡ਥე 1833αιݯכኒؿࣂ౨e̡ਥᑹ Ԟcᅥ͚྆ͅ෮܃eٽɣჱؿࠖϽ ࡼgΝऋԈ̛ؐᙬ̵પܞɣС ჱɾˎդ̛gୣख़ʇޫ߲ஐe ᅥ྆ଊͨᖚᐢဟܰ⥬ᐰਝؿؐᙬ ӴځࡼcΣʑݤgࣚొܞࡼϹКg˺݇σթeᅥ྆ᑹΕടΊ̔ਝܞ ϭԈ̯cୣޫϭˀ̯೩ΔԀe׳݇֡کɎˮeᅥ྆౦ܞμgዉ༠ؿ
The Orchestra of the Polish National Opera The beginnings of the Opera Orchestra in Warsaw go back to when the opera company was headed by two renowned Polish composers and conductors: Józef Elsner and Karol Kurpinski. ´ The latter also became the first director of the Grand Theatre in 1833. Subsequently the Orchestra was directed by the Italian conductor Jan Quattrini and latterly by Stanislaw Moniuszko, the father of the Polish National Opera. The present artistic director of the Orchestra is the internationally acclaimed Polish conductor Jacek Kaspszyk. The Orchestra has also performed under the direction of such eminent foreign conductors as Nello Santi and Alberto Zedda, and toured internationally visiting cities from Berlin to Lisbon, and Moscow to Japan.
ᙬਝࡼჱ྆ؐ eɣჱ1965αٲϭ˱Ꮋჱޅɣჱȹնగτ྆˱ჱؿˮcτࣂ ܢ˳ΛɁઅဳଉcͅ܃c྆ͱ܃ઢ͂cݯ྆ؿೕࢄԞณ৽Ɉeϊۺࠇ ዉʩgКdࣟ༠gʷּgϹᖓਥe1998α4˂c྆Ɍʹ͚ͅʷּ߲௶ ஐe
The Choir of the Polish National Opera Almost from the beginning there was a Choir of the Grand Theatre, which participated in opera productions and sometimes even in drama performances. The opening of the Grand Theatre after its reconstruction in 1965 gave a new stimulus to the development of the opera choir. Since that time, the Polish National Opera choir masters have included Józef Bok, Bogdan Gola and Jan Szyrocki. As of April 1998, the choir is once again headed by Bogdan Gola. АɁࡗʍଽ Creative Team Biographies 31
ϹКg˺݇σթ ʥᖚᐢဟٽ
dᅥଉܞᙬcΕജҳࠑᅥነነୌؐכ݇σթ́˺ Аςc1975αଓพԎΕਝࡼჱณɐؿࡌ g௶ɓ̛ɻ cܞࠖω̎e1976αcˢιݯᄨਝഠঊჱ۪ࠖ 1977αᏵᚬۤؿ˺ּɣᑩտ߶eכԎ c1980αιܞ1978αcˢˮͨؐᙬਝࡼཋ͚̎ᚊᅥ྆ࠖ e1982αcˢሰֈ࠷cࠖ۹ၤ࠷ෲᅥᅥ྆Аcٽݯ྆ અ㠥ၤ࠷ֺτؿᅥ྆Аe1983ϭ1987αcˢˮͨ࠷ࠖ eˢᑹΕᅩݘdԓݘ˵ݘܞཋ̎ཊ࢟ဳ֞ᅥ྆ࠖ ܞ༦Λࠇ߬ᅥ྆e dୣख़ʇޫؿৠఃdୣޒࣜ˿ʩਥؿඣ࣠ܢ˳ؿˮܞΕჱʿࠍcˢ౦ ऋؿᚓରdᖓϹ̛ؿၐСԓؿଉቡࣜ˿ʩਥؿ߈࣠іɥ೩eʺ eܞ1996αιݯਝࡼෲᅥᅥ྆ؿ۪ࠖכΑജҳcԎٵ1994αc˺݇σթ ௶ࠖႇАܰୣʺऋؿࡌ g܃1998αˢˮͨؐᙬਝࡼჱᖚʥࠑᅥᐢဟcɐͨ ʥᖚᐢဟeٽcଊݯٽɓ̛e2002α9˂cˢˮͨؐᙬਝࡼჱ
Jacek Kaspszyk General and Artistic Director
Born in Poland, Jacek Kaspszyk studied conducting, theory and composition at the Warsaw Academy of Music; graduated in 1975 and made his debut with Don Giovanni at the Polish National Opera. In 1976 he became Principal Guest Conductor of the German Opera of the Rhine in Dusseldorf and in 1977 won Third Prize at the prestigious Karajan Competition. In 1978 he was appointed Principal Conductor of the Polish National Radio Symphony Orchestra, becoming its Director in 1980. In 1982 he moved to London, debuting with the Philharmonic and subsequently performing with all the London orchestras. Between 1983 and 1987 he was Principal Conductor of Capital Radio’s Wren Orchestra of London and has conducted orchestras in Europe, Asia and North America. In the field of opera, Kaspszyk has conducted productions of Tchaikovsky’s Queen of Spades; Moniuszko’s Haunted Manor; Mozart’s Magic Flute; Rossini’s The Barber of Seville and Tchaikovsky’s ballet, The Nutcracker. In 1994 Kaspszyk returned to Warsaw and became the Principal Guest Conductor of the National Philharmonic in 1996, and in 1998 he took up the post of Artistic and Music Director of the Polish National Opera, opening his tenure with a new production of Mozart’s Don Giovanni. In September 2002, Jacek Kaspszyk was appointed the General and Artistic Director. АɁࡗʍଽ Creative Team Biographies 35
ୣԈgऋԈடਥ ኒ
ऋԈடਥܰཋᄧdᎻჱჱኒeˢਔɻነࣂగնႇ cکԞɃᚾؐᙬਝࡼཋᄧཋ഼ʥᎻჱነ࣎eଓพ܃Аཋᄧc ˢɰਨኒȹཋ഼ཋᄧ̜ᗡɾѮeˢؿཋᄧйПޭʨ cᑹྔΪgၬКᆉʼʝܮ1990αΕ̛ۤཋᄧຝࠖכ ᖚ1990αԙ୮ɤАᆉeɾ܃cˢˮͨ˺ᖓဍgϴღޫ ʩਥཋᄧʔ̇ᖚᐢဟe
ˢਨኒؿࠖᎻჱcܰΕྡྷჱˮؿऋཊԓၬऋ ྒcͅΪgКᖓ͠g߁ʩਥొԜၦ̎உ߮eऋ ˈԈடਥਨኒؿࠖᙌჱcܰ1995αΕɣჱˮࡥဍ ෑgϹޫּؿৰʶɁe
2001αcऋԈடਥΐΕؐᙬਝࡼჱਨኒᖓ˔ϤᏵ˺ᖓဍgϹጻʩ ਥᆉeαcˢΕജଞནਨኒdͅਝࡼˮؿᇥᇦʩɁɣᏵΡിc˘૯ ടΊӘঢ়ࠑࡼdജଞནჱᖚᐢဟҧსঢ়ሌᖫe
eޒᙬਝࡼჱࠖؿඣ࣠ؐכ˂2004α12ܢ˳ۂؿАٶˢ
Mariusz Treli nski´ Director
Film, theatre and opera director, Mariusz Treli nski´ started making films while still at secondary school, and went on to study at the State School of Film, Television and Theatre. Before graduation, he had already made a television film called Zad Wielkiego Wieloryba (The Stern of a Giant Whale). His film Po z˙egnanie Jesieni (Farewell to Autumn), premiered in 1990 at the Venice Film Festival and also won the Andrzej Munk Award and a Minister of Culture and Art Award for Best Debut. After this film, Trelinski ´ was appointed Artistic Director of the Karol Irzykowski Studio.
Mariusz Treli nski´ made his debut as a theatre director with Lautréamont-Dreams at the Studio Theatre, with stage design by Andrzej Kreütz Majewski. His opera- theatre debut came with Elzbieta ˙ Sikora’s The Heartsnatcher, at the Grand Theatre in 1995.
In 2001 Treli nski´ was the winner of the Karol Szymanowski Award for directing King Roger at the Polish National Opera. The same year his Madame Butterfly, presented in Washington in a performance by American artists, won him great acclaim from the public, critics and even Placido Domingo, the Washington Opera's artistic director.
His recent production of Queen of Spades for the Polish National Opera premiered in December 2004. АɁࡗʍଽ Creative Team Biographies 37
˺Ԉgါဍ࣮gᄨСКؐ Зౡஉ߮ આКּּ̠̿ࠑᅥᖚነၦ̎உ߮ӡcכᄨСК˺ଓพ ୩ᙬࣟᖓྟ࣓ነ૯c1995αնΕؐᙬਝࡼჱכ܃ ɮАc1996αንԯྡྷɈኪͨЗౡஉ߮e ˢஉ߮ؿᇥᇦʩɁΕജଞནɐࣂcɣՇΡിeؐᙬֺτട ΊჱᎻჱኒc౦ၤˢАe
౦ݯཋᄧཋ഼২உ߮ؿˢcɖܰᘣഥԓgᖓᙬณːࠋ́ɁɾංͅϴΛԓΛgᕡ ແਨኒ˚߬ؿЗౡஉ߮e Boris Folt yn´ Kudlicka ˇ Set Designer Boris Folt yn´ Kudlicka ˇ is a graduate of the Stage Design Department at the Academy of Musical Arts in Bratislava and the Academy of Fine Arts in Groningen, The Netherlands. He started working at the Polish National Opera in 1995. Kudli ckaˇ has worked with all the famous Polish directors of opera and theatre productions; his work on the Washington Opera production of Madame Butterfly receiving special acclaim from the public and critics. Kudli ckaˇ has also designed for films and television, and was the set designer for the film Between Strangers directed by Edoardo Ponti, with Sophia Loren in the leading role.
နࣟ༠ᇘgऋ˺ உ߮ר உ߮ʥࣂஉ߮c1969αଓרऋ˺ܰཋᄧཋ഼ உ߮eרЩնኪͨཋᄧ܃ᖓऑਝࡼነ࣎cଓพכพ Εജҳਝࡼɣჱc֔ၐဍgࣟཊʱღКݯৠఃdᇥᇦ உ߮eרʩɁෙᖓ߲ஐ ᐾϷؿਝࣂࢄe౦ᏵؐᙬിסࢄᙴcɌ౦˱Εቧסஉ߮ؿࣂ౦ΕԈ உ߮cԚᏵؐᙬᖚࡼԾผᖓऑרሃ՚˰ᆉeϊ̔cΕཋᄧӓԓؿ ʗผཕೕؿᆉඖe Magdalena Teslawska Costume Designer Magdalena Teslawska graduated from the State School of Fine Arts in Lód z´ in 1969 and has designed costumes for film and television. For the Grand Theatre, she and Pawel Grabarczyk prepared the costumes for The Haunted Manor, Madame Butterfly and Otello. As a fashion designer, her collection has been shown in Lyon and at an international show in Rouen. She has received awards from Przekrój weekly and a medal from the Lód z´ Polish Artists’ Association for her work on the film Medea. АɁࡗʍଽ Creative Team Biographies 39
ၐဍgࣟཊʱღК֔ உ߮ר ̟ےᙬɻؐכஉ̡߮ࠍᖚࡼࣟཊʱღКc1983αר ᖓऑਝࡼነ࣎Ꮆ̡͂ࠍஉ߮ӡଓพc౦ኪͨཋᄧᎻჱؿ உ߮eר Εജҳਝࡼɣჱcˢၤऋ˺ȹݯৠఃdᇥᇦʩɁ eАݯ̡ࠍᖚࡼcˢ౦Εؐᙬ̔ਝᐾרʥෙᖓஉ߮ ፒΛωࢄᙴe Pawel Grabarczyk Costume Designer Costume designer and graphic artist Pawel Grabarczyk graduated from the Applied Graphics Department of the State School of Fine Arts in Lód z´ in 1983, and has worked as a costume designer for film and theatre. For the Polish National Opera, he and Magdalena Teslawska prepared the costumes for The Haunted Manor, Madame Butterfly and Otello. He has had many exhibitions as a graphic artist, both in Poland and abroad.
ࣟ༠gʷּ ྆ܞ ജҳࠑᅥነઠeˢܰѧͲ̀ܞdᅥ྆ܞʷּܰ྆ ۗʼᖚనጙࣂ౨ʱپᅥ྆1976-1986ؿ྆ιࡗcᅥ྆ਿ ᖓКࣂ౨ؿࠑᅥe1973αcˢΕജҳፒັാᇲሁࠑᅥ྆e cʷּᑹೕઈɺʭፘѿؿۂടΊؿुჱАܞȿ cۂΛА۾፣ႇȿʱᖓКࣂ౨࣯˚ຮࣂ౨ؐᙬАςࡼؿܞςʹ҉̯eˢ ɷೕଊؿɎϹ৺Ϲԓࣟ͠ढ़gፆਅΔਂؿुჱАςࡼeٶʥ˞ ኒܞc౦ၤଠΛടΊܞ1998αcʷּնኪͨؐᙬਝࡼჱؿ྆ Аe Bogdan Gola Choir Master Bogdan Gola is choir master, conductor and professor at the Warsaw Academy of Music. He was a founding member of the All Antico Early Music Ensemble (1976-1986), which specialised in the performance of Renaissance and Baroque music, having previously founded the Sacri Concentus Polyphonic Choir in Warsaw in 1973. Apart from well-known oratorios and choral pieces, Gola also works on long- forgotten cantionales and codices. He has performed and recorded many pieces by Polish composers of the Baroque and Romantic periods as well as oratorios by the recently discovered composer from Lower Silesia, Ignaz Reiman. Gola became Choir Master of the Polish National Opera in 1998 and has worked with many eminent conductors and directors. АɁࡗʍଽ Creative Team Biographies 41
ࡥϝဍgࠏॗݤਥ ᇁၦ ਝࡼ٢ᑂၦነ࣎c1976αιݯؐᙬၦڲऑؐכࠏॗݤਥଓพ ᑰჱࠖዟၦࡗc౦ၤּᄨgᄨዉۤКਥȹΕᅩݘΈΔ ˮe 1979αˢΕജҳჱኪͨȿȹˮտ۹ؿ٢ᑂၦᇁၦcɾ ࣃ܃ɣჱɮАh1982ϭ1985αˮͨജҳਝࡼɣჱ٢ᑂၦᇁၦcԯڲᔝ֡ؐऑ܃ Ӹࠖᇁၦc1995α7˂ιݯؐᙬਝࡼჱ٢ᑂၦᐢဟe
Emil Wesolowski Choreographer Emil Wesolowski graduated from the National Ballet School in Poznan. ´ In 1976 he became the principal soloist of the Polish Dance Theatre and has performed in many countries in Europe with Conrad Drzewiecki. In 1979 he directed the ballet of the Warsaw Opera for a season and afterwards worked at the Wielki Theatre in Poznan. ´ From 1982 to 1985, he was the director of ballet at the Grand Theatre in Warsaw and subsequently became chief choreographer. In July 1995 Wesolowski became the Ballet Director of the Polish National Opera.
ഥ୧gᖓ ͮஉ߮ ਝcΕਝነୌcଊֈ˞ϳͶcכၦ̎ͮஉ߮ᖓć ऋּၐʩᎻჱᖚɻʶͮʥࠑᚊᐢဟeͨ 2001αജҳޭտᖚܢ˳౦ݯɺʭؐᙬˮႇАஉ߮ͮc Զ٦ɾϯc˞ʥୣԈgऋԈடਥۂຝɐؿȻg֔ȻА ʥୣʺऋټgෙँ ټݯജҳਝࡼɣჱਨኒؿࣜ˿ʩਥʮ ؿࡌ g௶ɓ̛e
Felice Ross Lighting Designer Stage lighting designer, Felice Ross was born and studied in the US, and currently lives in Israel. Ross is director for lighting and sound at the Centre of Theatrical Arts in Tel Aviv. She has designed the lighting for many Polish production including Martijn Padding’s Tattooed Tongues, presented at the Warsaw Autumn Festival in 2001; Tchaikovsky’s Onegin and Mozart’s Don Giovanni directed by Mariusz Trelinski ´ for the National Opera in Warsaw. 42 ࡗʍଽ Cast Biographies
ଉ݅ᄨgᄨКဍ ෙᖓ2˂17ʥ19ˀ Әঢ়ࠑ గᚾख़כਝႝɢɓ̛ԓήcԯᓻพჱ́նכᄨКဍ́ ནࠑᅥነ࣎ࣂc˱̠࣍Кჱɐؿୣʺऋჱᚓۄਅ ରcҘෑϝጻe1984αˢΕख़ᐾፒؿࠖ։ᖓଡ଼gᕡဍਝ ᐰᅥˈᑩc˞ʥΕ෮ɣСϝᙬᐾፒؿɍ։Әঢ়ࠑޫॗg࢟ Ԉޫg˺ቧॗࠑᅥˈᑩɻ̨ɃҺᑩcࠖωʵਝ؇෮e ᒫԈෙؿ̥ݤཊܢ˳c؟ᄤڈΛਝჱˮcˮؿӯϳ۾ˢ౦Ε ဍ̿c˞ʥ֔ϹؒဍdऋԈդdෙᖓځդhˋ˦ɤؿ˔ɥh⼧⼧ؿ ᇽჱؿ˚ӯe Richard Decker Otello (17 and 19 Feb) Tenor Richard Decker, a native of Pennsylvania, US, made his professional operatic debut in the role of Tamino in Mozart’s The Magic Flute with the Bronx Opera, while attending the Manhattan School of Music in New York. He first came to international attention in 1984 as a finalist in the first Rosa Ponselle International Vocal Competition held in New York, as well as in the 3rd Concorso Enrico Caruso for Tenors in Milan, Italy. Decker has performed at many international opera houses and has taken on a wide range of roles including Florestan in Fidelio; the Prince in Rusalka; Alwa in Lulu and the title roles of Parsifal, Tristan, and Otello.
ਥΛʩgऒढ़ɈК ෙᖓ2˂18ˀ Әঢ়ࠑ ᖓऑࠑᅥነc1984αΕᖓऑɣჱնԯዟכऒढ़ɈКଓพ ́eϬ1995/96ჱտcˢగኪͨജҳਝࡼɣჱؿዟ Εˈɷdࣜ˿ʩਥۤဍ೩ɀɊܢ˳ࡼeˢˮؿჱ͌c Λჱɻኪ˚߬Әঢ়ࠑͫeˢԷਝ̔ˮcӷ༌༧ ᎏᖓȻ͠ʷ˔ɥܢ˳ΈΔeˢˮؿჱӯϳވ˖ʥᅩݘ ؿּ̥ਥϝဍd̀ጻࣺɡᄨؿΊ˚ӯౝ̛ۖؐѴϝԓɁؿቧ༞ʩ೩e Krzysztof Bednarek Otello (18 Feb) Tenor A graduate of the Academy of Music in Lód z,´ Krzysztof Bednarek began his career as a soloist in 1984 at the Wielki Theatre in Lód z.´ He has been a soloist with the Polish National Opera since the 1995/96 season.
His repertoire includes more than 20 leading tenor parts in operas by Bizet, Tchaikovsky and Verdi among others. He has often performed in Europe and across the world. His opera repertoire includes: Vladimir in Borodin’s Prince Igor; Rodolfo in Puccini’s La Bohéme and the title role in Gounod’s Faust. ࡗʍଽ Cast Biographies 43
˺ଡ଼ӴּgКݤӺ͠ ᒫᄨᄾ2˂17ʥ19ˀ ɤঢ়ࠑ ജҳכᙬਝࡼჱࠖዟКݤӺ˺c˞ଔιᐜଓพؐ ਝࡼࠑᅥነ࣎cԎ࿘Ᏽ˺ღϝဍgʘޫμʩਥᆉeᑹగᚾ ᘗᙩ܃ࠑᅥነ࣎ɍαज़ࣂcగΕؐᙬਝࡼჱ̎cଓพ ࢽɈჱe ጻʩਥᖓ˔ؿᖓᔁdୣʺऋᚓରؿ֔ϝܢ˳౦ˮଠΛჱc ပᕉɡؿॗഥeعऋܪdୣख़ʇޫৠఃؿ ࡼޒճऋɽځαΕਝɐՅιగcΣΕٶΕؐᙬਝ̔ᐾϷዟผc ࠑᅥᜨᐾፒؿӴፗɡऋݤ͠Ɂࠑᅥผ㛾ؿടΊˮe 1996α12˂c࿘ᐶҰ՚ിሃԙᖚࡼખΊ࿔α۹ჱɤܱe1999αc ࿘Ᏽʼʝᖚؿᐰᅥιగᆉe2000α12˂cንؐᙬਝࡼჱؿᇥᇦʩɁɻ ᇥᇦʩɁȹӯc࿘ᏵΪᄨዉgࣵဍਥˮտ۹ԙӯϳᆉe
Izabella Klosi nska´ Desdemona (17 and 19 Feb) Soprano Principal soloist of the Polish National Opera, Izabella Klosi nska´ graduated with honours from Warsaw’s State Music School and received the Kazimierz Czekotowski Prize. While a third-year student she debuted at the Polish National Opera and remained with the company after graduation. She has performed in numerous operas, including the parts of Roxana in Szymanowski’s King Roger; Pamina in Mozart’s The Magic Flute; Hanna in Moniuszko’s The Haunted Manor, and Sophie in Richard Strauss’s Der Rosenkavalier. Klosinska ´ often gives recitals in Poland and abroad. She has scored many international successes in recent years, notably participating in the famous performance of the concert version of Berlioz’s The Trojans in Amsterdam’s Concertgebouw. In December 1996 she was chosen as Diva of the Year in Przegla˛d Tygodniowy weekly’s Top Artists ranking list. In 1999 she received the Minister of Culture and Art’s Award for achievements in vocal music and in December 2000, she received the Andrzej Hiolski Award for the best role of the season: Cho-Cho-San in the Polish National Opera’s production of Madame Butterfly. ࡗʍଽ Cast Biographies 45
Ϊg͠٢ ᒫᄨᄾ2˂18ˀ ɤঢ়ࠑ
Ϲऒˑജ࠷Ϲԓˮ́cϣɃΔؿ௶ਥgᖓᄨͶכΪg͠٢ ঢ়ࠑᅥነc፭ΪgᚉϹԓg݅۟e౦˱ཊढ़ෑǧঢ় μʥϴ࠷gෙʱּІ۟ؿɣऒcԎ፭ႠВऋgෑღ ̗gᘣᖳ೩Ϣ൬࠳e ˳ࡼჱʱඊؿԅСϹʣɣჱᘆcཚ༦ؿӯϳޒ٢ΕᄨԈ͠ iࡌ g௶ɓ̛ؿgϴၐּdӓψၤࡥँԓؿӓψdෙഥᅩၤʮᗫϹܢ c࠷͚ᚊᅥ྆Ђۗcଠɟ͚ܞࡐடgᎼၐᏲɡܰڬؿˮٶؿʮᗫϹe ᙷؿჱؒෑʩࠑᅥผɐཚෲᗫgါऋᘆe Ana Ibarra Desdemona (18 Feb) Soprano Ana Ibarra was born in Valencia, where she studied at the Joaquin Rodrigo Conservatory, under the direction of Ana Luisa Chova. She has participated in master classes by Renata Scotto and Elena Obratzova, and studied with Herbert Tachezi and Donald Sulzen, among others. She sings regularly at the Gran Teatre del Liceu in Barcelona and Teatro Real Madrid where her past appearances have included the roles Donna Elvira in Don Giovanni; Dido in Dido and Aeneas and Euridice in Orfeo and Euridice. Her most recent engagement was as Alice Ford in the highly acclaimed concert performances of Falstaff with the London Symphony Orchestra, conducted by Sir Colin Davis.
ԓgКቧዉࠏਥ ͠ԓঢ় Әɻࠑ ജҳࠑᅥነଓพcᏵଠΛਝᆉכКቧዉࠏਥ1985α ܃1988αΕؐᙬКཊዃ˺ؿgਥӗּˈᑩeˢଓพܢ˳ඖc Ƀജҳ۩ʑჱc1990/91ჱտኪͨၐɖढ़۩ʑჱؿዟ˱ cԎԷԓݘԀe ˢ౦ၤʱቭʱɡ֛ჱᐾϷؿȹωᄪผcɌ౦Εּࣟঢ়ၤߜਝᄤᅌཋ СԓؿਝࡼჱᐾፒผeϬ1993ڀ৺ˈڈڲcԎΕٲᘣࣟᙬ͚ᚊᅥ྆ȹ̎ αcˢ˱ɃؐᙬਝࡼჱcԎၤɣͫˮe Adam Kruszewski Iago Baritone Adam Kruszewski graduated from the Academy of Music in Warsaw in 1985. He has won numerous prizes internationally including the Jan Kiepura Competition in Krynica, Poland, in 1988. After his graduation, he joined the Warsaw Chamber Opera. For the 1990/91 season he was a soloist with the Vienna Chamber Opera, going on tour in Asia. Kruszewski took part in a gala concert at the Opera Bastille in Paris; has performed with the BBC Scottish Orchestra in Glasgow and given concerts at the State Theatre in Pretoria, South Africa. Since 1993, Kruszewski has been working with the Polish National Opera and participated in most of the productions. ࡗʍଽ Cast Biographies 47
Ϊgያऒ˺ ͠ϝ ωɤঢ়ࠑ قജҳጣԄࠑᅥነeȹכያऒ˺1994α˞ଔιᐜଓพ ኪͨؐᙬਝࡼჱዟcࣂၤജҳ۩ʑჱdˈμճ ۩ٲਝࡼϹԈϹԓჱؐᙬജҳෲᅥᅥ྆ؿˮcᑹ ᅥdुჱჱe
ΕؐᙬณթᐾϷؿࡥ༠gᔁԈਝᐰᅥˈᑩ1993ɐ࿘Ᏽܢ˳ያऒ˺౦Ᏽᆉඖ eᑹΕʱቭ1994̠ቧဍ1996ؿˈᑩɐᏵᆉeٲ߶ɍඖऋПڥ
Anna Luba nska´ Emila Mezzo-soprano Anna Luba nska´ graduated with honours from the Fryderyk Chopin Academy of Music in Warsaw in 1994. She has been a soloist with the Polish National Opera; and worked with the Warsaw Chamber Opera, the State Silesian Opera in Bytom and performed at philharmonics around Poland. Lubanska’s ´ repertoire also includes performing chamber music as well as oratorio and cantatas. Lubanska ´ won First Prize and three special mentions at the Ada Sari International Vocal Competition in Nowy Sa˛ cz (1993). She has also won prizes at competitions in Paris (1994) and Brussels (1996).
ਥၐКעԈʺᄨg ˺Ϲෙ Әঢ়ࠑ
ෙऋgϹၐ͊כࣟЎКࠑᅥነc౦ՇઠכਥၐКଓพע ΕณթᐾϷؿɍܢ˳ਥၐКᏵଠΛᆉඖcעКઠe ։ࡥ༠gᔁԈᐰᅥˈᑩɐ˞ԯᖐˤᐰᅥςϤᏵऋПᆉe
ਅ̗শdࡧဍgҧμဍdכˢ˱ؐᙬၤਝ̔Έࠑᅥຝc౦ ؿࠑᅥผɐܞϹၬgዃ྇Ᏺɡd˺ღᑺဍgޫᄨ˺ᖓဍgऋፆԓ೩ടΊ e
Ryszard Minkiewicz Cassio Tenor Ryszard Minkiewicz is a graduate of the Academy of Music in Gdansk, ´ where he studied under Prof Piotr Kusiewicz. Minkiewicz has received numerous awards including a special award at the 3rd Ada Sari Vocal Competition in Nowy Sa˛ cz for his rendition of contemporary vocal lyrics. Minkiewicz is a frequent guest at various music festivals, both in Poland and abroad. He has sung with such conductors as Yehudi Menuhin, Charles Dutoit, Sir Simon Rattle, Kazimierz Kord and Karol Stryja. ࡗʍଽ Cast Biographies 49
ဍgϹࠏКּؒ ݤΛၐϹෙ ӘГࠑ
ജҳࠑᅥነc፭ღg̛࣮КcᑹၤԓዃɬכϹࠏКଓพ ᄨԈgϝဍʘ̿dፆʺᄨg˺ღޫਥʥКԈແΪgࡥဍ ढ़ؿɣऒcଊࣂ།፭˺ያg˺ያΛʩነୌeˢ౦ΕΛωਝ ၐɖढ़ؿӴဍၐᄨཊჱˈᑩe2001ܢ˳ᐰᅥˈᑩɐᆉc αcˢኪͨജҳ۩ʑჱዟcΕୣʺऋᖚຝɻˮᚓ ରʥࡌ g௶ɓ̛e
Rafal Siwek Lodovico Bass A graduate of the Warsaw Academy of Music under Jerzy Knetig, Rafal Siwek has also completed master classes with Alexandrina Milcheva, Ryszard Karczykowski and Christian Elsner. He is currently working with Kaludi Kaludov. Siwek has won awards at international vocal competitions, including the Belvedere Opera Competition in Vienna. He has been a soloist with the Warsaw Chamber Opera since 2001 appearing as Sarastro in Magic Flute and the Commendatore in Don Giovanni at the Mozart Festival.
КღϹμʩgܪϝऋ ᖓᄨԈࡐ Әঢ়ࠑ ؿၐཊcˢᘗֻˎጱෲᄨജؿԑพcιٶڃڲऑؐכϝऋ́ܪ eˢܰؐᙬਝ̔ܞݯɣؐᙬΔਂؿဳࠓೄʹჱඅ ᔁဍఃؿୣʺऋˈᑩdၐɖढ़ܢ˳ଠΛᐰᅥˈᑩؿᆉّc ؿˈᑩʥӴဍၐᄨཊჱˈᑩe 1982αcˢኪͨജҳਝࡼჱዟcԎΕ۩ʑჱԯˢჱˮeˢؿ ܪΕࣜ˿ʩਥdᒚᄨဍdୣʺऋధᄨཊওਥؿჱɻኪ߬ӯeܢ˳ჱˮ ჱჱeुכϝऋऋПᒉੱ
Krzysztof Szmyt Rodrigo Tenor Born in Wiry near Pozna n,´ Krzysztof Szmyt follows in the footsteps of his father, Edward, an organist and conductor of opera choruses in the Wielkopolska region. He is an award-winner of many vocal competitions including the Mozart Competition in Salzburg; the Belvedere Opera Competition and the Song Competition, both in Vienna. Szmyt has been a soloist with the Polish National Opera since 1982, and also sings with the Chamber Opera and other opera theatres. His repertoire includes leading parts in operas by Tchaikovsky, Handel, Mozart and Penderecki. Oratorio and cantata music are his special passion. ࡗʍଽ Cast Biographies 51
ᖓВऋgୣʩਥ ၬෑጻ ГӘɻࠑ ༖Ӣτؿࠑਟ ГࠑӘɻࠑcԚˢכୣʩਥؿᐰᙔ e؟Εჱɻؿეਟรԯᄤ 1975αˢնၤၦ̎ᇂcࣂˢܰؐᙬӘɤ೧ɥ߶Ծผɻ̕ Ƀജҳ˱ڏᖚ྆ʭαඅιࡗe1978αɻነଓพc ჱʹe ჱˮɻؿֺτ˚߬ӘГࠑܢ˳1991αcˢኪͨؐᙬਝࡼჱዟcԯჱ͌ ജҳdᖓऑˈࡐʇؿჱˮeכ܃Әɻࠑͫeˢ౦ͱ
Robert Dymowski Montano Bass-baritone Robert Dymowski is a singer with a rare voice – a bass-baritone – which enables him to sing an extremely broad range of opera parts. His contact with the stage started in 1975, when he was a member of the Youth Choir of the Polish Scouting and Guiding Association Central Artistic Ensemble. After completing his secondary education in 1978, he joined the Warsaw Operetta as a singer. He became a soloist at the Polish National Opera in 1991 and his repertoire includes all the main bass and baritone parts in operas. He has worked with the opera theatres of Warsaw, Lód z´ and Bydgoszcz.
Ԉʺᄨgୣဍ˺ ඨ˥ւ ӘГࠑ
ജҳࠑᅥነכୣဍ˺ܰࡥၬᄨgޫॗʩਥؿነ́c1980αଓพ c1977αࠖω̎cၤነ࣎Εɣჱɐؿᒚᄨဍჱᑩ Ƀؐᙬਝࡼჱ˱܃ԈෙᎼऋcȹαځဍؿˮcҘ ӴΛ٧ᒫԈෙؿᖓޫdୣख़ʇܢ˳ؿჱ͌؟ኪͨዟeˢᄤ ৠఃؿऑࣟँʩ೩eޫ
Ryszard Morka A herald Bass A student of Edmund Kossowski, Ryszard Morka graduated from the Academy of Music in Warsaw in 1980. He debuted as Ariodates in a school production of Handel’s opera Xerxes in 1977 and became a soloist with the Polish National Opera a year later. His extensive repertoire includes the roles of Rocco in Beethoven’s Fidelio and Zbigniew in Moniuszko’s The Haunted Manor. c˰ɻᘭiඡᏬಳעऋПഽ 52 ᅥ྆ʥ྆ιࡗOrchestra and Choir Members
ᙬਝࡼჱᅥ྆ʥ྆ؐ The Orchestra and Choir of the Polish Nation Opera ᅥ྆ The Orchestra
ࠑᅥᐢဟ Music Director ϹКg˺݇σթ Jacek Kaspszyk
ȹɩొೄ First Violins ɣొೄ Cellos Maria Bry la-Liebig (First Concertmaster) Marek Jankowski (Concertmaster) Stanislaw Tomanek (Concertmaster) Piotr Hausenplas (Concertmaster) Slwia Konopka (Concertmaster) Wanda Borucinska-Jackowska ´ Ma lgorzata Czajkowska-Tomanek Jadwiga Traczyk-Pazdrowska Piotr Stawski Robert Karpinski ´ Lidia Wilczynska ´ Rafa l Kobiela Jolanta Maciejewska Jacek Stankiewicz Justyna Kasperek Janina Zydowicz-Kowalewska˙ Alicja Tomków Tomasz B laszczak Piotr Kaniuga Pawe l Wojciechiowski E zlbieta˙ Schatz-Da˛ browska Гࠑɣొೄ Double Basses Anna Bartoszewicz-Kozlowska Stanislaw Glinka Teresa Tadzik Kazimierz Jendrysiak Kazimierz Kania Adam Kotula Alina Gawlik Zbigniew Gorski Andrzej Majewski Maciej Muczke Barbara Bylica Michal Sobu s´ Katarzyna Lech Michal Wo zniak´ Beata Kosewska Adam Rakowski ɀɩొೄ Second Violins Grzegorz Dymek Adam Kublik Barbara Popkiewicz Maciej Przestrzelski ᔶᓫဳ Oboes Agnieszka Zdebska Sylwester Sobola Jacek Michalowicz Przemyslaw Nalewajka Magdalena Talacha Artur Jackowski Ma lgorzata Zdunek Piotr Zacny Maria Grochowalska Jacek Rymarz Jan Kacperczyk Sebastian Aleksandrowicz Adriana Blaszczak ର Flutesٽ Ewa Michalska Urszula Malecka Agnieszka Prosowska-Iwicka Agnieszka Jackowska Robert Nalewajka Magdalena Kisielinska ´ El zbieta˙ Tabernacka Liliana Duda El zbieta˙ Tabernacka-Balauszko Józef Karolak Dorota Puchnowska-Aftyka Katarzyna Demus Dagmara Tondera Magdalena Sokal ௰ᓫဳ Clarinets ɻొೄ Violas Bogdan Kraski Andrzej Szymanski ´ Mariusz Gle˛ bocki Dorota Sapiecha-Sroczynska ´ Krzysztof Mastalerski Dariusz Wachnik Krzysztof Zbijowski Igor Kabalewski Marek Szaparkiewicz Tomasz Turski Jaroslaw Buraczynski ´ Artur Rychlik Wieslawa Czeczota ʱဳ Bassoons Marta Straszynska ´ Artur Kasperek Bogus lawa Zatorska Krzysztof Brych Beata Prylinska ´ Micha l Wawrzyniak Jolanta Pa lka Stanislaw Jastrze˛ bski Andrzej Rza˛ zewski˙ Jerzy Pa lubski Wojciech Ma lecki Irena Jendrysiak Justyna Palacz Krzysztof Zimak ᅥ྆ʥ྆ιࡗOrchestra and Choir Members 53
ਝ໔ French Horns ɣ໔ Tubasؒ Tomasz Binkowski ´ Roman Miller Cezary Falkowski Eugeniusz Gumu la Igor Szeligowski ሉೄ Harps Grzegorz Blaszczyk Gra zyna˙ Strzeszewska-Lis Grzegorz Zelazko˙ Barbara Witkowska Andrzej Kiljanek Anna Piechura Boguslaw Wróbel Krzysztof Kozij ፡ೄ Piano Ryszard Szubert ɩ໔ Trumpets Mieczyslaw Latawiec Ꮎ Percussion Krzysztof Bednarczyk Henryk Mikolajczyk Kazimierz Adamski Edward Krzy zaniak˙ Malgorzata Wlodarska Andrzej Abramowski Wieslaw Bory s´ Krzysztof Szmanda ´ Zbigniew Chodak Rafa l Kucharski Pawel Kraski ᅥ྆ဟ Orchestra Inspectors Jacek Brzózka Grzegorz Zelazko˙ ໔ Trombones Artur Rychlikٽ Piotr Wawreniuk ᅥᖪဳଉ Orchestra Librarian Andrzej Zielinski ´ Dariusz Szewczyk Tomomasa Ueyama Piotr Da˛ browski Mariusz Opalinski ´
྆ The Choir ྆ᐢဟ Choir Master ࣟ༠gʷּ Bogdan Gola
྆ܞ Choir Conductor Miroslaw Janowski
ɤঢ়ࠑSopranos Anna Adamko Joanna Pulawska Wioletta Bijata Marta Radwanska ´ Izabela Burakowska Beata Rozwadowska Justyna Kaba la Magdalena Rze˛ sikowska Marta Kasprzyk El zbieta˙ Sajnok-Ga lecka Maria Ka zmirowicz´ Alicja Schirmer Teresa Ksie˛ zak˙ Anna Szczepanska-Morawska ´ Agnieszka Leniec Dominika Szewczyk Teresa Lewandowska Anna Tabe˛ dzka Magdalena Majlert-Strzalka Barbara Tobera-Przybysz Gra zyna˙ Ma lecka Cecylia We˛ gier Joanna Michalska Agnieszka Wilemajtys Katarzyna Mozol Ma lgorzata Zalewska Iwona Murawska-Truszczynska ´ Beata Zamojska-Ku zmiak´ Waleria Patejuk ᅥ྆ʥ྆ιࡗOrchestra and Choir Members 55
ɤГࠑAltos Jadwiga Bartnik Marek Ka˛dziela Zaretta Bursche Tadeusz Kozlowski Agnieszka Chmielewska Tomasz Markiewicz Izabela Cybulska-Adamus Adam Miroszczuk Kinga G logowska Andrzej Paulanis Stefania Janus-Kinicka Michal Szymkiewicz Marta Jasiorska Bartosz Tomczuk Joanna Je˛ kot-Bajtlik Michal Zambrzycki Malgorzata Juszczak Andrzej Zaradkiewicz Katarzyna Klejne Ewa Lewandowska ӘГࠑBasses Danuta Milczarek Pawel Borkowski Ewa Nowak Wojciech Bucinski ´ Beata Piwowarska-Traut Wojciech Dylewski Rados law Flasza Anna P lachecka Piotr Galecki Marzanna Poglud-Kisielewska Ryszard Gniazdowski Ewa Roguska Klejne Katarzyna Jadwiga Joanna Rosner Waldemar Kalinowski Dagmara Sokalska Grzegorz Karczmarzyk Beata U las Jan Kloskowski Beata Witkowska Stanislaw Kokowski Dorota Wojtyniak Jacek Koston ´ Malgorzata Wolarska Marek Kulik Dorota Wojcik Marcin Maciak Mariusz Majchrowicz Әঢ়ࠑTenors Maciej Molenda Roman Berbaum Stefan Nemtusiak Marian Bolek Marcin Olszowy Tomasz Borkowski Marek Picz Igor Buczynski ´ Micha l Piskor Marek Chmiel Tadeusz Szyluk Piotr Chmiel Zbigniew Wolosiewicz Dariusz Duch Piotr Zagórski Robert Dullas Artur Zo˙ lnacz Maciej Dunin-Borkowski ઠᆻCoaches Miroslaw Janus Ewa Goc Jakub Jarmula Maciej Rostkowski
ࠗಋᖚຝ྆ Hong Kong Arts Festival Chorus ྆ኒChorus Master ଲᅼͮ Raymond Fu з Huen Tsz-kwanٮᅩዷ Au Tsz-wing ̀ዷҴ Alison Cannon ່Ⴜዙ Chloe Ip Paloma Lau ظஹ‘ Cheryl Chan ჳѴ ՚࢟ാ Charmaine Chow дு࢟ Sharon Ng ࢘ણഛ Elise Chui ඡጻၐ Novy Norwich Wong Є๔ᙍ Vivian Ho ฦೡYeung Ching Єᐌޔ Ernestine Ho ໒ɝᄫ Bonny Yu
ࠗಋᖚຝᅥඅ Hong Kong Arts Festival Ensemble ɩ໔ Trumpets ˢ Guitar Jonathan Clarke ඡʼ፦ Chris Wong ᕍ᎘ Kevin Ngai ໔ Trombonesٽ ధᓤ Ben Pelletier Maciek Walicki ᖳХིٞ߮Patron’s Club ผࡗ Gold Membersټ ผࡗ Platinum Membersټ͉ ಲΊˊ Anonymous ᚋ༅ႺϷ Coutts Bank ผ C C Wu Cultural & Education ષᛷСጙพτࠉʔ̇ Henry G Leong Estates Ltdټඑιʼʝઠөਥ͢ Foundation Fund তඡࡣτࠉʔ̇ Hutchison Whampoa Ltd 㟱එ྆ E2-Capital Group ֱඑ྆ Jardines Matheson Ltdټ ෙᄤй Ogilvy & Mather Asia Pacific ཽԈઁٖτࠉʔ̇ Kerry Holdings Ltd ଓۤผ߮ԑ৻ֺ KPMG Ⴚผࡗ Silver Members Ⱦᄤᚁ༏ʔ̇ Kowloon-Canton Ⴛผࡗ Bronze Members RailwayCorporation ఒᄨͬพτࠉʔ̇ Fontana Enterprises Ltd ɐࣵਆพႺϷ Shanghai Commercial Bank Ltd ෬சࠗಋτࠉʔ̇ Microsoft Hong Kong Ltd The Swire Group Charitable Trust ټপਥڌʪ̀එ྆෯ഁ ነི́߮ࢶХɁ Student Ticket Scheme Donors ᆉ Platinum Award The Helena May The Helena Mayټ͉ ಲΊˊ Anonymous ߈͓́ͱ́ Mr Maurice Hoo ผ C C Wu Cultural & Education Ms Caroline Hu Ms Caroline Huټඑιʼʝઠөਥ͢ Foundation Fund Ms Hu Shu Ms Hu Shu ٦࿏ႺϷ Citigroup Mrs Dorothy Hung Mrs Dorothy Hung 㟱ᔔ HSBC Ms Teresa Hung Chi Wah Ms Teresa Hung Chi Wah ณҙ༅τࠉʔ̇ Welcome Group Investment Limited ʬ˥ജɤɡ Ms Hung Ling Wahٴ ผ Zegna Culture Foundation ਝᘷ߹ʼʝɻʶ The International Centre ofټ٠ᙬʼʝਥ Sakyamunis Culture Ltd ͱ́ Mr Paul R Jacksonڌᝃ͏ᆉ Diamond Award ષࡼͱ́ʩɁ Mr & Mrs Alan Leong Mr David G Jeaffreson Mr David G Jeaffreson བ࢟ࠑᅥɻʶ Joyin Piano Music Centre ᆉ Gold Award Ms Joelle Kabbaj Ms Joelle Kabbajټ ಲΊˊ Anonymous Kambo Manufacturing Co Ltd Kambo Manufacturing Co Ltd Bloomsbury Books Ltd Bloomsbury Books Ltd Mr Ko Ying Mr Ko Ying Sir Kenneth Fung Ping Fan Sir Kenneth Fung Ping Fan Mr Kelvin Koo Mr Kelvin Koo Foundation Trust Foundation Trust Mr Irving Koo Yee Yin Mr Irving Koo Yee Yin Mr & Mrs Lester Kwok Mr & Mrs Lester Kwok Ⱦ᎘ᐢਆผ Kowloon Chamber of Commerce ષਝᚬͱ́ʩɁ Mr & Mrs Lincoln Leong ᗐʼႚͱ́ Mr Johnny Kuan Ms Nam Kit Ho Ms Nam Kit Ho Ms Anna Kwok On Nar Ms Anna Kwok On Nar ͱ́ Kwok Shiu Mingעͱ́ Mr Stephen Suen Ͱעࡸ ࡸ̷ሣͱ́ʥܪဈᄨɤɡ Mr Stephen Sun & Ms Edith Shih Mr Lam Kiu Sum Mr Lam Kiu Sum ҧ࿘ਥͱ́ Mr To Wing 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Δэ Address: ࠗಋᜪˠಋᜪ༞ɀ໔ࠗಋᖚɻʶɊɀᅢ 12th Floor, Hong Kong Arts Centre, 2 Harbour Road, Wanchai, Hong Kong ཋ Telephone: 2824 3555 ඨभ Fax: 2824 3798 / 2824 3722 ၉ࠒ Website: http://www.hk.artsfestival.org ཋ൯ Email: [email protected] ᓻࡗ Staff ᓻࡗ Staff (contract) Ϸܧᐢဟ ([HFXWLYH'LUHFWRU ຝ͌ Programme ଉ /RJLVWLFV0DQDJHUۿঢ়ᄨᓤ Douglas Gautier અ ነ֦ Elvis Kingټ ຝ͌ Programme ႇАଉ 3URGXFWLRQ0DQDJHUV ຝ͌ᐢဟ 3URJUDPPH'LUHFWRU ̝ۢ̽ Tiffany Yiu ષు☜ Grace Lang ષᜮ Roy Leung ຝ͌ଉ 3URJUDPPH0DQDJHUV ̔ࢄᘐ 2XWUHDFK&RRUGLQDWRU Andrew Chan ڭᘣਝඔ So Kwok-wan ஹҁ ՚⌿ Mio Margarit Chow ̔ࢄХଉ 2XWUHDFK$VVLVWDQW ჳϐ૯ Eva Lau ຝ͌ᘐ 3URJUDPPH&RRUGLQDWRU ຝ͌Хଉ 3URJUDPPH$VVLVWDQW ່৪༻൬࠳ͤ Linda Yip (on study leave) ңણต Christina Lee ອଉຝ͌ᘐ $FWLQJ3URJUDPPH&RRUGLQDWRU Ҍᘐ 7HFKQLFDO&RRUGLQDWRUV ፠Ї Eddy Zee ஹ⍱ജ Billy Chan ሲᅳშ Cat Cheng ઐᄤ Marketing ඟ֗Σ Rufina Fung̟ Nancy Lam׳ ଉ 0DUNHWLQJ0DQDJHU̟ ሲֆ࿘ Katy Cheng ңཽᗸ Kathy Lee ષᘚੜ Gary Leung Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHUV ࠑᚊᘐ 6RXQG&RRUGLQDWRU ՚ֱ Alexia Chow ஹ৪ Joey Chan ॐ࣠ Chris Lam׳ Publication خಌ༠ᑞ Andy Yau ˮ ᇁፎ (GLWRU ೕࢄ Development χ㠒ෲ Daisy Chu ೕࢄଉ 'HYHORSPHQW0DQDJHU ߜʼᇁፎ (QJOLVK(GLWRU ஈዷඓ Angela Hui Mya Kirwan Mya Kirwan Хଉᇁፎ $VVLVWDQW(GLWRU Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ඡฑΪ John Wong ஹ᜔ᙀ Eunice Chan ̟ઐᄤ Marketing ผ߮ Accounts Хଉ̟ଉ $VVLVWDQW0DUNHWLQJ0DQDJHU ผ߮ $FFRXQWDQW ЄయᎩ Agatha Ho ࣨუށ June Yun ̟˚ͨ 0DUNHWLQJ2IILFHU ฦዤ Michelle Yeung ผ߮ʼࡗ $FFRXQWV&OHUN ৻Хଉ 7LFNHWLQJ$VVLVWDQW Bonia Wong ඡਝෲ ோுജ Ada Mak ৻˚ͨ &XVWRPHU6HUYLFHV2IILFHUVרAdministration ۪ʸ ܧϷ Ϸܧो࣊ ([HFXWLYH6HFUHWDU\ ᘣϤ Alfee So Wu Kai-yin ۽χ༠⍖ Carmen Chu ͢ԙ ႚ Pang Leoژధ ज़ो࣊ 5HFHSWLRQLVW-XQLRU6HFUHWDU\ ೕࢄ Developmentٱࡗþۿઅ ң Virginia Li Хଉೕࢄଉ $VVLVWDQW'HYHORSPHQW0DQDJHU ೡણֱ Michelle Ching ፒʔ۩Хଉ 2IILFH$VVLVWDQW Administration ܧTony Cheng Ϸ ټሲ ፒʔ۩Хଉ 2IILFH$VVLVWDQW Dicky Chan ̵ژஹ
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