by Veronika Raguz
Confusion, bizarre, fairy-tale and modern expression. These are precisely the features Prokofiev's opera "The Love for Three Oranges" whose premiere is scheduled on February 17 in Zagreb National Theatre. As pointed manager of the Croatian National Theatre in Zagreb, Dubravka Vrgoč, this opera returns on their stage after 46 years. Interestingly, this time has been translated and will be sung in Croatian. The intention is to attract young audiences.
Prokofiev had a chance to hear the last season premiere of the ballet "Romeo and Juliet". Opera "The Love for Three Oranges" was composed during his stay in the United States. During this period, the young Prokofiev remains recalcitrant and unconventional, as it was for their stay at the conservatory in St. Petersburg, where he was nicknamed brat. His music from this creative period exudes grotesque, satire, rhythm, dynamic, dissonant and harmonic progressions. "This opera is one of the milestones of modern musical creativity. Prokofiev did not want to inject daily, trivial effects. He always stayed within the artwork, emphasizing his integrity, "the maestro Niksa Bareza to equate performances of this work. As he pointed out, in this extremely demanding score, which has a large number of images, Prokofiev behaved like a mathematician: pre-determined length of each part of that opera would become impossible.
Many display and effective music were a big challenge for Simon Beyer, a guest from London who signs the art direction and costume design. Character characters Prokofiev brings bright hues of good guys and bad guys in the dark, Beyer wanted to evoke their costumes: "Music is my starting point, that what I'm looking for inspiration. It is chaotic, wild, avant-garde. Brings colorful characters such as court jester, spoiled princess, prince depressed. Its costumes I wanted to emphasize the character of the characters, which is why they are colorful, bright, somewhat exaggerated like a caricature. In addition, three oranges really exist; Among them are the singer. "As I pointed out, for Beyer's stage like a blank canvas on which to paint the landscape and be men.
As set design is concerned, it follows the controlled chaos of music and costumes. Interestingly, the stage will be found and the screen, which is especially important for Farfarello figure, a demon who is like the wind. "He will not be present on the stage, but will his singing live recorded and broadcast by the other place, to achieve a certain dose of mystique," explains Beyer. The Australian currently residing in London earlier collaborated with big opera houses such as La Fenice, La Scala, the Royal Opera House, the Teatro del Liceu and Teatro Petruzzelli. The founder of the Third Hand, the only British theater company that combines puppetry and opera. In Zagreb the first time, and came to call Kresimir Dolencic, who directs the National Theatre opera after 10 years.
He just Dolenčić directing opera "Ero" and "Nikola Subic Zrinski" considered the longest-running opera performances of these titles in history. "Prokofiev knew in advance that they will be criticized by a number of different social groups, as usually is the art when you're doing something different. Therefore, in the opera characters brought tragedians, comedians, eccentric, romantic, arising from the audience, from the loggia, from the stage. Prokofiev conflicts with the traditional opera and plays with elements of theater, "explains Dolenčić.
"Although the opera at first glance seems like a fairy tale and an escape from reality, the chaos that is created is actually our everyday life. Are not today's powerful family just like that? Often melancholic, lost, looking for true happiness. The world today is a bizarre and chaotic. There's nothing more to us is not new nor surprising. People fall in love with one and all, so that no one would be surprised if anyone actually fall in love with three oranges. "In his career Dolenčić set fifty operas authors of different periods. He was intendant of Dubrovnik Summer Festival and director ZGK Gavella, and in the Academy of Dramatic Arts in Zagreb, taught at Rice University in Houston and Trinity College of Music in London.
The opera "The Love for Three Oranges" begins with a prologue in which we court spokesman Herald introduces the story. In the first act, the old King of Clubs is concerned for his son. The young prince actually suffered from hypochondria and only the laughter can cure, which is why the court called Truffaldino - king nuts. The first few attempts do not laugh Prince. But then his clumsiness laugh Fata Morgana, a witch who curses him then. In the third act of the Prince, now the magic of love with three oranges, with Truffaldino goes to the castle cooks Kreontine, which the latter keeps. Prince manages to take them and returned to his father. But in the desert, two oranges opens thirsty Truffaldino. However, they emit girls who are also thirsty. When Prince morning awakens, he finds only an orange from which emerges a beautiful princess Ninetta. When left alone, the princess to Fata Morganinoj send sting Smeraldina and turns it into rats, and itself takes place princess. However, the opera ends happily. Prince and Ninetta get married, but Fata Morgana with your co-workers is being driven off.
The main protagonists, the Prince and Truffaldino, the premiere performance will be sung by Michael Robert Hendrick and Ladislav Vrgoč. Vrgoč, who plays Truffaldino, said that it was his character sort of Sancho Panza, the only faithful companion and friend of the Prince. This opera, due to performance in the Croatian language, a difficult task for Hendrick. The famous American tenor debuted in the New York Metropolitan Opera Manelaja role in Strauss' The Egyptian Helen ". During 27 years of impressive career has been a series of major roles in many of the world's opera houses. In 2001 proclaimed Artist of the Year of the Washington National Opera in the role of Lenny Small in Floydovoj opera "Of Mice and Men". Rado appearances in Slavic opera. It was his experience singing in Czech and Russian help in overcoming the Croatian text. "The invitation from Zagreb for me is primarily a great honor. On the other hand, it is a great responsibility. If the audience has already removed the money and the time to come see this opera, then I have to give my best to overcome this text, understand, I understand, so I brought the character completely. Moreover, lately I have not had a chance to play roles such as Prince. Melancholy, helpless and comedy, "says Hendrick.
When asked if watching a Croatian opera, Michael Hendrick replied: "I watched 'Zrinjski' in October when I was here, a few days ago and 'Ero'. I am delighted. I wish to opera 'Ero' over the world presented and promoted your language and culture. It would be great if we can make an American-Croatian co-production, with your director and maestro. "Hendrick fascination Croatian opera proves his statement:" I'd really like to sing Era. I love this role. I know that for me was a huge challenge, perhaps the biggest in her career, because I would like to run in Croatian. If you receive this opportunity and I find myself in the right place at the right time, no one will be happier than me. "
It features performances and Luciano Batinić, Berislav Puskaric, Niksa Radovanovic, Sofia Ameli Gojić, Davor Radic, Ljubomir Puskaric, Ozren Bilušić, Ivanka Boljkovac, Tamara Franetović Felbinger, Tanja Ruždjak, Martin Menegoni, Iva Krušić, Sinisa Stork, Vitomir Marof and others. Choir master Luka Vuksic. The choreography is signed by Larisa Navojec and Mario Vrbanec, a light designer Elvis Butković. The author results Mary Tonković.