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Eugeniusz Oniegin Premiera / Premiere 1 O grudnia / Decem ber 201 O Opera Krakowska OPERA KRAKOWSKA KOPRODUKCJA OPERY KRAKOWSKIEJ TEATRU W IELKIEGO IM . STANISŁAWA MONIUSZKI W POZNAN IU ABAO W BILBAO I TEATRO ARGENTINO LA PLATA CO-PRODUCTION OF OPERA KRAKOWSKA, TEATR W IELKI OPERA POZNAŃ ASOCIACION BILBAINA DE AMI GOS DE LA OPERA AND TEATRO ARGENTINO LA PLATA Opera Krakowska instytucja kul tury r4 Ąteatro. Województwa TEATR WIELKI nRG,ENTINO Małopo l skiego i"STANI S ŁAWA MONIUSZKI POZNAN IU 3 EUGENIUSZ ONIEGIN OBSADA / CAST CZAJKOWSKI EUGENIUSZ ONIEGIN / Eugene Onegin Jewgienij Oniegin / Eugene Onegin Mariusz Kwiecień, Stanisław Kufluk Sceny liryczne w trzech aktach i siedmiu obrazach Lyrical scenes in three acts and seven tableaux TATIANA , córka Łariny / Tatyana, Larina's daughter Magdalena Barylak, Ewa Biegas, Magdalena Nowacka Libretto Piotr Czajkowski, Konstantin Szyłowski / Lensky według poematu Aleksandra Puszkina LEŃSKI after Alexander Pushkin 's novel in verse Mikołaj Adamczak, Vasyl Grokholskyi, Adam Zdunikowski Oryginalna wersja językowa / In the o riginal Russian ŁARINA, właścicielka ziemska / Madame La ri na, a landowner Prapremiera/ World premiere Moskwa, Konserwatorium / Moscow, Conservatory1879 Marta Abako, Bożena Zawiślak-Dolny Premiera polska / Polish premiere OLGA, córka Łariny / Olga, Larina's daughter Warszawa, Teatr Wielki / Warsaw 1899 Agnieszka Cząstka, lryna Zhytynska Reżyseria i kostiumy/ Director and Costume Designer FILIPIEWNA, niania / Filipyevna, a nurse Michał Znaniecki Vera Baniewicz, Bożena Zawiślak-Dolny Kierownictwo muzyczne/ Music Director KSIĄŻĘ GREMIN / Prince Gremin Bogdan Kurowski, Volodymyr Pankiv Łukasz Borowicz ROTMISTRZ / Captain, ZARECKI / Zaretsky Scenografia/ Set Designer Krzysztof Dekański, Bartosz Urbanowicz Luigi Scoglio TRIQUET, Francuz / MonsieurTriquet, a Frenchman Choreografia/ Choreographer Janusz Dębowski, lmeri Kawsadze Diana Theocharidis Orkiestra, Chór i Balet Opery Krakowskiej Reżyseria światła/ Lighting Designer The Krakow Opera Orchestra, Choir and Ballet Bogumił Palewicz Dyrygent / Conductor Przygotowanie chóru / Chorus Master Łukasz Borowicz Marek Kluza Współpraca reżyserska / Assistant Director • Zofia Dowjat Asystent reżysera / Director's Assistant Dagmar Bilińska Asystenci kierownika muzycznego / Music Director's Assistants Sebastian Pertowski, Tadeusz Płatek Asystent kostiumografa / Costume Designer's Assistant Joanna Medyńska Asystent choreografa / Choreographer's Assistant Elena Korpusenko Inspicjenci / Stage Managers Agnieszka Sztencel, Magdalena Wąsowska Suflerzy / Prompters Dorota Sawka, Krystyna Behounek Korepetytorzy solistów / Soloist Coaches Irena Celińska-Głodek , Kristina Kutnik, Olha Tsymbalyuk Natalia Wasidlow Akompaniator Chóru / Choir Accompanist Magdalena Kurek Akompaniator Baletu / Bal let Accompanist Jakub Polaczyk Tłumaczenie tekstu na tablicę świetlną Displayed libretto translated by Dorota Sawka 7 I tam właśnie , w styczniu 1878 roku , kończył operę o zawiedzionych nadzie­ Stracone zachody miłości m TOMASZ 07. jach i przegranych uczuciach, o straconych zachodach miłości . To poczucie c dotyka wszystkich bohaterów. Bez wyjątku . Nawet Łarinę , Nianię , nie mó• [) wiąc o Greminie. Główn y kwartet międzyludzki - Tatiana i Oniegin, Olga m z Muzyka ".Eugeniusza Onie~ina " uwodzi. Nie tak jak Tatiana Oniegina, i Leński - tkwi w nim cały czas. Niezwykłą decyzją było nietypowe (i wciąż ale Jak. Oniegin Tatianę. Czyli nagle, bezwarunkowo, jak grom z jasnego nie­ nietradycyjne) połączenie par głosów - sopran / baryton, mezzosopran / te­ c l/) łączy Tatianę Leńskim ba: Mimo ze kolor tej muzyki jest bliski nocy, bliski mrocznym chmurom nor. To z jednej strony (po )tajemnie (sopran) z (te­ N nor), z drugiej na Oniegina (baryton) rzuca światłocień Don Giovanniego. zw1astugcym rzęsisty deszcz. Deszcz łez. o z Weź my uwerturę - kró tki błysk namiętności , w którego temacie rozpo­ Ukochaną bohaterką Czajkowskiego - duchową siostrą - była tylko Tatiana. „Tatiana jest nie tylko prowincjonalną panną , która zakochała się w wiel­ m zn amy po.tern motyw niespełnionej miłości Tatiany, jej płonnych nadziei. [) komiejskim dandysie. Jest ona dziewiczą istotą, nie tkniętą jeszcze przez re­ Weź m y arioso Leńskiego - to o jego uczuciu (miłości? ) do Olgi, lekkie, ta­ z ~eczne , moze przez to nieco przerysowane, ironiczne; albo jego przed­ alne życie , istotą o czystej, prawdziwie kobiecej piękności; jest to natura sm1ertny monolog - tak ciemny (tonacja e-moll ) jak dusza Czajkowskiego marzycielska, która poszukuje ideału i dąży namiętnie do uchwycenia go. (albo Jak m.otyw losu z V Symfonii e-moll z 1888 roku), z cudownym, nie do Dopóki nie znajduje niczego, co byłoby podobne do ideału , jest niezadowo­ zapomn1.enia, gęstym morzem dźwięków dętych drewnianych. Albo scenę lona, ale spokojna. Wystarczyło jednak, by pojawiła się osobistość odcina­ pisania l1~tu Tatian~ - w k~órej . niestabilność harmonii jest znakiem emocjo­ jąca się zewnętrznie od pospolitego, prowincjonalnego otoczenia, w którym nalnej hustawk1, ktorą konczy Jasne C-dur, tryumf miłości. Tryumf? „ żyje Tatiana, a już wyobraża sobie ona, że to jest właśnie ów ideał i daje się porwać namiętności dochodzącej do poświęcenia . Puszkin odmalował siłę To w większości. tylko sceny z I aktu. A dalej? Kuplety Triqueta - dystansu­ tej dziewiczej miłości tak genialnie, że zawsze - ju ż od dzieciństwa - wzru­ gce nas na chwilę od tragedii, słodkie i gorzkie na zmianę . Kwintet z końca sza mnie ona do głębi duszy" (z listu do Nadieżdy von Meck, 28 września pierwszej sc.eny. z li aktu - zawieszony gdzieś w ciemnym niebie, zapierają ­ 1883). Nas też. cy dech w p1ers1ach nie tylko bohaterów. Otwierający Ili akt polonez - uro­ czysty, ale nikt nie powie, że świąteczny. Aria Gremina - solenna, powol­ W uwerturze brzmi temat Tatiany, we frazach Oniegina w Ili akcie - pieśni na, Jakby chciała zatrzymać w klatce uczuć Tatianę . I wreszcie finał - duet Tatiany, w listach Czajkowskiego - Tatiana. Gdzie jest Oniegin? Może gdy­ Tatiany i Oniegina - płomienny, zaskakujący barwami, melodiami, emocjo­ by Czajkowski posłuchał, jak frazy Oniegina śpiewa Mariusz Kwiecień , ina­ nalnym światłocieniem . czej oświeciłby tę postać. A ~omy ś leć, że kiedy ~zaj .kowskiemu w kwietniu 1877 roku podczas jakie­ Jest w „Eugeniuszu Onieginie" kilka fragmentów, które są dominantą jego gos p. rzyJęc1a podpow1edz1ano skomponowanie opery według powieści po­ inscenizacyjnego odbioru. To - wyłączając uwerturę - początek I aktu, od­ etycki.ej Aleksandra Puszkina „Eugeniusz Oniegin" ( 1823-1831 ), zareagował realniony duet Tatiany i Olgi (o śpiewie wśród nocy samotnika, o jego mi­ zdz1w1eniem i dezaprobatą. łosnej skardze), łączący się po chwili w kwartet (jeszcze Łarina i Niania). To scena pisania listu - bo jak? piórem? ołówkiem? na maszynie? na lapto­ Dla kompo~tora był to bowiem trudny czas. Miesiąc wcześniej otrzymał pie? To scena pojedynku (z li aktu) - bo jak dziś pokazać coś tak anachro­ pierwszy miło. sny list od swojej uczennicy Antoniny Miliukowej, za chwilę nicznego jak honorowy pojedynek dwóch mężczyzn (przyjaciół!) na pistole­ kolejny, 1 kolejny. I przygł tę miłoś ć, i zaproponował małżeństwo . Ślub od­ ty? Wreszcie polonez (z Ili aktu) - danse macabre? był się - już! - 6 l.ipca 1877 rnku. Trzy tygodnie później kompozytor pierw­ szy raz uciekł od zony; wrócił na kilkanaście dni w bardzo złej kondycji psy­ Przypominają mi się sceny z dwóch inscenizacji „Eugeniusza Oniegina" ch1czn.eJ , ale rozstrój nerwowy był jednak tak silny, że usiłował popełnić sa­ z ostatnich lat. U Roberta Carsena (dyr. Valery Gergiev, Metropolitan Ope­ ri:obójstwo. W październiku, po decyzji o separacji oraz po kilku konsulta­ ra w Nowym Jorku, wyd . DVD 2007), w przedśmiertnym monologu Leń­ CJach z lekarzami, wraz z bratem Anatolem wyjechał za granicę , tym razem skiego o rodzinnym domu, pozornie nic się nie dzieje. Ramón Vargas stoi do Szwajcarii. Na zawsze. na scenie, w pustce, w tle wielkie ściany świecą się na błękitno i fioletowo. Bije z tego obrazu jakaś wszechogarniająca pustka, jakiś koniec wszystkie­ go - miłości, pragnień, marzeń. Nie ma nic. Światła wyławiają Oniegina Oniegin - Akt li / Act li r . , I· (Dmitri Hvorostovsky) i Leńskiego . Mężczyźni stoją bokiem, ale próbu• ją zbliżyć się do siebie. Wyciągają ręce, jakby stali po obu stronach lustra. Brzmią wymowne słowa: „niet, niet". Przygasają światła, scena pogrąża się "' w tajemniczym półmroku, widzimy tylko ciemne sylwetki mężczyzn. Pistolety są już przygotowane, pada strzał . Na horyzoncie pojawia się słońce. Onie­ gin biegnie do Leńskiego . Staje przy nim, wyprostowany. Powinna spaść kurtyna, ale nic takiego się nie dzieje. Brzmią dźwięki poloneza, ale nikt nie tańczy. W tym samym czasie służący podchodzi do Oniegina z miską wody, w której ten zamacza sobie dłonie, jak Piłat. Pozostali podnoszą z podłogi '"" l , ciało Leńskiego. Po chwili ubierają Oniegina. Rozkładają krzesła . Przecież trwa przyjęcie . Schodzą się goście. Oto jesteśmy w domu Gremina (Sergei • I 4 1 t.." 11 Aleksashkin), wśród uczestników piękna Tatiana (Renee Fleming). Pierwsza scena salzburskiej inscenizacji Andrei Breth (dyr. Daniel Baren­ boim, wyd . DVD 2008) robi wielkie wrażenie. Dojmujące . Tatiana (Anna Samuil) i Olga (Jekaterina Gubanowa) siedzą na materacu na podłodze, wśród łanów zboża, wśród wielkich czarnych drewnianych ścian i drzwi zu­ bożałego dworu. Filipiewna (Emma Sarkissian) szydełkuje, Łarina (Renee Morloc) obcina maszynką włosy stojącym w kolejce mężczyznom . Jakby szli do wojska, jak przed egzekucją (po chwili na środku
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