Premijera: 09.02.2018.
Mala scena Madlenianuma
Opera i teatar Madlenianum sa pozorištem Moderna garaža produciralo je predstavu MITROVDAN koja je praizvedba teksta Bratislava Petkovića, vlasnika pozorišta Moderna garaža.
Drama MITROVDAN za temu ima ličnosti srpskog patrijarha Gavrila Dožića i srpskog vladike Svetog Nikolaja Velimirovića, a pre svega njihov poslednji susret na Mitrovdan 1946. godine u Nemačkoj.
2. decembar 2017.
28. novembar 2017.
20. decembra na Maloj sceni Madlenianuma gostuje Hrvatsko narodno kazalište iz Varaždina sa dramom KROKODILI, poznatog srpskog pisca i književnog urednika Vladimira Arsenijevića.
Kad razmišljamo o stvarima koje želimo raditi i mestima gde želimo ići, sve deluje na dohvat ruke i lako izvodivo. Ipak, malo ko se odvaži na prvi korak, jer realnost je teška, a rutina svakodnevice možda i najsigurnije utočište. Kada prepoznamo nekoga tko se suprotstavi realnosti, stavi sve na kocku i krene u nepoznato, zaljubimo se jer želimo verovati da posedujemo istu hrabrost u sebi.
Takav je i Vladimir, mladi pisac koji je krajem osamdesetih godina prošlog veka napustio Jugoslaviju da bi otišao u London i postao poznati pisac...
Vladimirov pokušaj osamostaljenja odlaskom na zapad deluje primamljivo i dan-danas. Međutim, zamislite sebe. Prodali ste sve što imate, skupili nešto novca, kupili kartu i našli se u jeftinom smeštaju u Londonu, bez posla, bez poznanika, bez ičega osim puste želje. Svakog jutra budite se u maloj, mračnoj i vlažnoj sobici. Usred velikog Londona i velikih ideja koje ste doneli sa sobom, vaša sloboda svela se na ta dva kvadrata.
Zamislite da uz to radite na crno, po 10 ili 12 sati dnevno. Zamislite vašu stanodavku, prezaštitnički nastrojenu samohranu majku. Njenog sina, starog, okorelog pankera sklonog drogama. Njegovu devojku, koja mu je istovremeno i diler, u koju ste se zaljubili na prvi pogled. Zamislite da su to manje-više jedini ljudi s kojima razgovarate mesecima. Da li vam je još uvek stalo do vaše slobode? Da li vam je još uvek stalo do vaših ideala? I dalje želite napisati svoj roman?"
Dražen Krešić, reditelj
Još uvek sam pod izuzetnim utiskom sinoćne premijere predstave Krokodili (nastale po mojoj priči Crocodiles iz zbirke Ovo nije veselo mesto) izvedene na sceni Zvonimir Rogoz HNK Varaždin. Priču je dramatizovao Dario Bevanda, režirao je Dražen Krešić, glumilo je četvoro fantastičnih glumaca (Ljiljana Bogojević u ulozi Sabine Klivlend, Marinko Prga u ulozi njenog sina Richarda, Katarina Arbanas kao Vibeke i Igor Skvarica kao Vladimir) i na retko snažan način oživljeni su likovi sabijeni u zagušljivoj atmosferi mračne semi-detached kuće na samom rubu Kensingtona prema Shepherds Bushu kao i uzbudljiva ali i depresivna atmosfera Londona polovinom osamdesetih. Putujući od Beograda do Varaždina na premijeru, nisam iskreno znao šta da očekujem i ostao sam zapanjen količinom sirove snage koja nam je sinoć isporučena duhovito, dinamično, potresno, u nesvakidašnjoj erupciji uverljivosti, kao i sjajnim dramaturškim invekcijama i dopunama priče, neobičnim i veoma efektnim režijskim postupcima te izrazito predanom, neštedljivom glumom četvoro glumaca koji su - nemam ovde bolju reč, izvinjavam se - po-ki-da-li!
Ovako nečemu se zaista izuzetno retko prisustvuje.
Hvala Dražene, hvala Dario, hvala Ljiljana i Marinko i Katarina i Igore. Hvala HNK-u Varaždin što je ovu predstavu uvrstio u svoj redovni repertoar, osećam se trenutno izuzetno počastvovano.
Vladimir Arsenijević o varaždinskoj premijeri "Krokodila"
20. decembra na Maloj sceni Madlenianuma gostuje Hrvatsko narodno kazalište iz Varaždina sa dramom KROKODILI, poznatog srpskog pisca i književnog urednika Vladimira Arsenijevića.
Utorak, 28. novembar 2017. u 19:30
Velika scena MADLENIANUMA
PREMIJERA
Koprodukcija Opere i teatra Madlenianum i Narodnog pozorišta u Beogradu
Volfgang Amadeus Mocart
Dirigent: Marko Boemi
Režija: Alberto Triola
Scenograf: Ticiano Santi
Kostimograf: Katarina Grčić Nikolić
Dizajn svetla: Srđan Jovanović
Dizajn maske: Marko Dukić
LICA:
Don Đovani: Vladimir Andrić
Komendatore: Aleksandar Manevski
Dona Ana, njegova kći: Aleksandra Petrović
Don Otavio, njen verenik: Stevan Karanac
Dona Elvira, dama iz Bugosa: Aleksandra Stamenković Garsija
Leporelo, sluga Don Đovanija: Vuk Matić
Mazeto, mladi seljak: Marko Pantelić
Cerlina, njegova nevesta: Nevena Matić
Seljaci, seljanke, sluge, muzikanti, igrači, igračice
Hor, orkestar i balet Narodnog pozorišta u Beogradu
Koncert majstori: Edit Makedonska, Vesna Janssens
Šef hora: Đorđe Stanković
Asistent dirigenta: Dijana Cvetković
Asistenti reditelja: Ana Grigorović, Libero Steluti i Mikelanđelo Patrici
Inspicijent: Branislava Pljaskić, Ana Milićević
Sufleri: Silvija Pec, Kristina Jocić
Organizator: Vukašin Tomić
Asistenti kostimografa: Aleksandra Pecić
Asistenti scenografa: Miraš Vuksanović i Jasna Saramandić
Audio realizacija: Dušan Arsikin
Realizacija svetla: Vladimir Krunić
Prevod za titlove: Gavrilo Rabrenović
Realizacija titla: Dragan Stevović
Majstor pozornice: Milan Ćirić
Šminka i frizure: Mirjana Rakić
Garderoba: Tanja Vuksanović i Milorad Vukotić
Dekor i kostimi su izrađeni u radionicama Narodnog pozorišta.
Vreme trajanja: 3 sata i 20 minuta sa jednom pauzom
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ALBERTO TRIOLA, director
A native of Milan, Italy (1965), Alberto Triola - considered as one of the most prominent and respected name of the opera in Italy - is an opera manager, stage director end editor.
Starting February 2013, he took the delicate position of General Director at Teatro del Maggio Musicale Fiorentino, that he kept until June 2017. Joining the work of a governative commissioner, Triola undertakes an unprecedented work of strong restructuring – that concerns economic, financial and functional aspects - that gives to the company not only a new arrangement, but also the solid economic balance necessary to guarantee its future and the artistic relaunch to the Maggio Musicale, one of the most ancient and prestigious European festivals, which recently experienced the most critic years of its long history. One of the sign of the new era are the very new florentine opera house, the magnificent OF/Opera di Firenze and the appointment of Fabio Luisi as new Music Director, starting 2018, succeeding Zubin Mehta, named Principal Conductor Emeritus.
Since 2010 Triola holds also the position of Artistic director of Festival della Valle d’Itria in Martina Franca (Apulia), one of the most prominent italian summer festival, with its 42 years of history. Under Triola’s direction, the critic remarks the commendable level of the artistic programs and the Festival gets twice the Abbiati Prize, the most prestigious critic's acknowledgement in the country. Alberto Triola is also Director of Accademia del Belcanto Rodolfo Celletti, the distinguished young artists program of the festival, the very only in Italy to be specifically devoted to belcanto and the baroque repertoire.
He worked at Teatro alla Scala of Milano from 1988 to 2002, engaged in different departments and holding several positions, including that of Production Assistant, Assistant to the Artistic Director, Assistant to the Music Director (Riccardo Muti), and finally Assistant to the Technical Director. His rich and multiform professional profile - as well as his education in the music and theatre field, together with an engineering degree - highlights both artistic and managing tasks.
In February 2002, after leaving Milan, he worked as Artistic Administrator for the Festival dei Due Mondi in Spoleto, next to Maestro Giancarlo Menotti. In February 2003 he joined the Teatro Carlo Felice in Genoa as Artistic Director, a position he held until 2007: for the house, a period of unprecedented artistic successes.
For seven seasons, from 2002 until 2008, Alberto Triola has also been Artistic Director of the Teatro Ponchielli in Cremona, taking artistic responsability as well for the Monteverdi Festival, devoted to the ancient and baroque repertoire.
In July 2007 he took on the post of Assistant to the General Manager at Teatro Comunale in Bologna and of General Director of the newly-formed program for young artists (singers, coaches, conductors, directors, set and costumes designers), that the bolognese House ran in collaboration with several italian and international theaters, festivals and universities: La Scuola dell’Opera Italiana.
In 2010 he was also Artistic advisor for the educational programs of the Fondazione Pergolesi-Spontini in Jesi, and in 2011 he was also Artistic advisor to Teatro Lirico di Cagliari.
After more than twenty years spent on support of artistic activity, Alberto made his international, admired debut as Stage Director at Wexford Opera Festival (Ireland) in 2008, with an acclaimed production of Rossini’s Il signor Bruschino, that received enthusiastic reviews by the international critic and huge success of public. In 2009 the Teatro Comunale di Bologna staged a new production of Puccini’s Madama Butterfly, with his own dramaturgic concept: the acclaimed production had an italian tour with a number of successful performances. His debut as stage director in Germany was sensational: his Carmen for Theater Luebeck, in April 2011, was acclaimed by both public and critics. Following that success, even bigger with the revival of the following season, which got a great resonance in Germany, he was considered for new productions by some major opera houses. After a surprising production of Macbeth in Luebeck (January 2013), came his engagement for La clemenza di Tito, that represented Triola’s remarkable debut in Austria (Kammeroper of Theater an der Wien): an amazing, intimate production with thirteen "sold out" performances.
He was President of Conservatorio Nino Rota, Monopoli (Bari).
He is regularly invited to hold masterclasses in Dresden, at the prestigious Semperoper, for the artists of the Junges Ensemble of the house.
He is also editor of Riccardo Muti alla Scala, published jointly by Teatro alla Scala and Rizzoli (2001), and author of Giulio Gatti Casazza, una vita per l'Opera, a volume which includes the first italian version of the famous Memories of the Opera, the autobiography of the legendary italian opera impresario, published in 2014 by Zecchini Editore.
Interviewed - Alberto Triola >>>
