“Il trovatore” in Krakow

trovatoreKrakowThe Troubadour

(Il trovatore)

Composer: Giuseppe Verdi

opera in four acts
libretto: Salvatore Cammarano and Leone Emanuele Bardare after the play Antonio Garcia Gutiérrez
in the original Italian
world premiere: Roma 1853
Polish premiere: Warsaw 1854
premiere in the Krakow Opera: 8 june 2013

Production team:
Director: Laco Adamik
Music director: Tomasz Tokarczyk
Set and costume designer: Barbara Kędzierska
Chorus master: Zygmunt Magiera
Lighting designer: Bogumił Palewicz

director’s assistant: Dagmar Bilińska
ausic director’s assistant: Grzegorz Brajner
set designer’s assistant: Izabela Firek
chorus master’s assistant: Joanna Wójtowicz
stage managers: Agnieszka Sztencel, Magdalena Wąsowska
prompters: Dorota Sawka, Krystyna Behounek
soloists’ coaches: Irena Celińska-Głodek, Kristina Kutnik, Olha Tsymbalyuk, Natalia Wasidlow
chorus accompanist: Magdalena Kurek
displayed libretto translated by Dorota Sawka

trovatoreKrakow1  trovatoreKrakow2

IL CONTE DI LUNA | Leszek Skrla, Dainius Stumbras

LEONORA | Magdalena Barylak, Katarzyna Oleś-Blacha, Ewa Vesin

AZUCENA | Małgorzata Ratajczak, Agnieszka Rehlis, Małgorzata Walewska

MANRICO | Vasyl Grokholskyi, Tomasz Kuk, Arnold Rutkowski

FERRANDO | Jozef Benci, Krzysztof Dekański, Volodymyr Pankiv

INES | Agnieszka Cząstka, Monika Korybalska

RUIZ | Krzysztof Kozarek, Marek Gerwatowski, Rafał Pawłowski

OLD GYPSY | Marcin Herman, Jan Migała

MESSENGER | Marek Gerwatowski, Rafał Pawłowski

time: 6:30 pm
scene: Main Stage
duration: 3 hrs.
intervals: 1

time: 6:30 pm
scene: Main Stage
duration: 3 hrs.
intervals: 1

trovatoreKrakow3  trovatoreKrakow4

A story of two brothers, separated by fate and then pitted against each other by their love for the same woman and by political turbulences – both unaware of their brotherhood… “Troubadour’s” libretto, despite based on authentic events from Middle Age Spain torn with civil wars, is regarded to be complicated and unclear, mainly because the key events for the plot take place out of stage – they exist only in relations of other characters. The opera’s success was attributed primarily to music – it is “a music and vocal pleasure”, they wrote. Laco Adamik – in defiance of these opinions – tries, relying on his many year’s narrative experience of a director, to make the performance shine also from the plot’s side. His staging offers fleshy characters, well-shaped events and a crime which once committed entails next ones, like in the ancient tragedy. You will be anxious and moved. It is the first staging of the title in the entire history of the Krakow stage.


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