April 7th & 8th , 20h

Hofesh Shechter Company London, UK

Sun

Choreography, music: Hofesh Shechter
Sets design: Merle Hensel
Costume design: Christina Cunningham
Lighting design: Lee Curran
Additional music: ‘Let’s Face The Music And Dance’, composed by Irving Berlin, published by Universal Music Publishing Ltd / Tannhauser WWV 70’ by Wagner – Arrival of the Guests at Wartburg, composer: Richard Wagner/‘Sigur 1’, written by Sveinsson/Birgisson/Holm/Dyrason, published by Universal Music Publishing Ltd., ‘Abide with me’, (traditional arrangement by David Cresswell), published by Music Masters Ltd., erformed by The Queen’s Royal Irish Hussars and used by courtesy of Music Masters Ltd.
Musicians on soundtrack: Christopher Allan, Rebekah Allan, Nell Catchpole, Joseph Ashwin, Joel Harries, Vinz
Scenic artist: Kirsty Glover
Puppet artists: Businessman, Hoodsman, Tribesman, Explorer – James Ward at jimbobart, with additional work on Tribesman by Rebecca Cusack /Sheep on loan from John I Gordon  / Wolf courtesy of Framestore
Photo: Gabriele Zucca

Dancers: Paula Alonso Gomez, Chien-Ming Chang, Frederic Despierrre, Neus Gil Cortes, Bruno Guillore, Yeji Kim, Merel Lammers, Attila Ronai, Hannah Shepherd, Diogo Sousa.
Apprentice dancers: Madeleine Fairminer, Clara Villalba

duration: 70’
premiere: 2013, Melbourne

Sun” is produced by Hofesh Shechter Company and commissioned by Bruno Wang.  “Sun”is supported by The Columbia Foundation fund of the London Community Foundation.  “Sun” is co-commissioned by Brighton Dome & Brighton Festival, Sadler’s Wells London, Melbourne Festival, Les Théâtres de la Ville de Luxembourg, Théâtre de la Ville - Paris, Festspielhaus St Pölten, Berliner Festspiele - Foreign Affairs, Roma Europa, Belgrade Dance Festival, with co-production support from Mercat de les Flors and the Theatre Royal Plymouth.

Perfection becomes warped and harmony gives way to a visceral depiction of antagonism and violence in Shechter's disruptive new work. From the courtly idyll that sets the scene to the clean, spare vision of a ‘perfect’ world, Shechter’s choreography embraces frenetic abandon and his signature understated intricacy in a work that confronts the pastoral horror of colonialism with a hint of sharp humor.  

Hofesh Shechter is recognised as one of the UK’s most exciting artists and is renowned for composing the musical scores for his dance creations with his raw, atmospheric music complimenting his Company’s unique physicality. Shechter graduated from the Jerusalem Academy for Dance and Music before moving to Tel Aviv to join the world renowned Batsheva Dance Company, where he worked with artistic director Ohad Naharin and other choreographers including Wim Vandekeybus, Paul Selwyn-Norton, Tero Saarinen and Inbal Pinto. He began drum and percussion studies whilst in Tel Aviv and continued later in Paris at the Agostiny College of Rhythm. Subsequently, he began experimenting and developing his own music while participating in various projects in Europe involving dance, theatre and body-percussion. In 2002 Shechter arrived in the UK. His choreographic debut, “Fragments”, for which he also created the score, immediately attracted international attention and in 2004 he was commissioned by The Place Prize to create “Cult”. The work was one of five selected finalists and was announced winner of the Audience Choice Award. From 2004 to 2006 Hofesh was Associate Artist at The Place and was commissioned by the Robin Howard Foundation to create “Uprising”. The three works formed the triple bill “deGENERATION”, Hofesh’s first full evening of work. In 2007 London’s three major dance venues, The Place, Southbank Centre and Sadler’s Wells, collaborated on a unique producing venture, commissioning Shechter to create “In your rooms” which was presented at all three venues in 2007 and culminated in sell-out shows at Sadler’s Wells Theatre. “In your rooms” was nominated for a South Bank Show Award and won the Critics’ Circle Award for best choreography in 2008. In 2008, in response to popular demand Shechter formed Hofesh Shechter Company and the Company embarked on its first world tour. Since then the Company can be found performing throughout Europe, Asia, North America and Australia and reaching audiences in many of the world’s leading dance venues.  Recent tours have included South America and the Middle East with the global appetite for Shechter’s work continuing with his later creations. Now under the banner of Hofesh Shechter Company, in 2009 Shechter produced his first The Choreographer’s Cut – commissioned by Sadler’s Wells and performed at The Roundhouse. He reworked his acclaimed double bill “Uprising/In your rooms” to feature a band of 20 musicians alongside a company of 17 dancers. Also in 2009 he was commissioned by Brighton Festival in 2009 to create the “The Art of Not Looking Back”, which was inspired by and made for six female dancers. In May 2010 his first full-length work “Political Mother” premiered at the Brighton Festival, winning 5 star reviews from all the major national press and subsequently embarking on an extensive international tour, further cementing the Company’s reputation. 2011 saw the second time Shechter created a ‘Choreographer’s Cut’ of his work, this time for “Political Mother” – the result was ‘a howling beast of a dance show’ (Metro), featuring over 40 performers and which returns to Sadler’s Wells in July 2013. Shechter collaborated with Antony Gormley on “Survivor” commissioned by the Barbican and reaching sell-out audiences for its run in January 2012. In 2013 Hofesh unveiled his latest major creation, “Sun”, co-produced by partners around the world and touring worldwide. Alongside his work for Hofesh Shechter Company, Hofesh’s works have been taken into the repertory of many UK and international dance companies including Cedar Lake Contemporary Ballet, Carte Blanche Dance Company, Bern Ballett, Scottish Dance Theatre, CandoCo and Nederland DansTheater. He has also worked as a choreographer in theatre, television and opera notably at The Royal Court Theatre for Motortownby Simon Stephens (2006), TheArsonists (2007), and for the National Theatre’s award winning production of Saint Joan (2007) directed by Marianne Elliot and starring Anne Marie Duff. In television Shechter choreographed the hit dance sequence ‘Maxxie’s Dance’ for the opening of the second series of Channel 4’s popular drama Skins. In 2013, he collaborated with Metropolitan Opera in New York on Nicol Mulhy’s opera “Two Boys” and in 2014 he was Guest Director of Brighton Festival. In March 2015, Shechter is starting to create a piece for The Royal Ballet which will premiere at the Royal Opera House, London. Shechter is an Associate Artist of Sadler’s Wells and Hofesh Shechter Company is Resident Company at Brighton Dome.

Since exploding on to the dance scene with their very first performances, Shechter and his young and talented Dance Company have established themselves as a leading force in the UK contemporary dance. Following a career as a dancer, Shechter moved to the UK making his choreographic debut in 2004. A former drummer in a rock band, Shechter creates the musical scores for each of his dance creations and his atmospheric, groovy music alongside his company’s unique physicality has earned his work acclaim around the world.

He’s still the only dance-maker on earth even attempting shows this eye-poppingly packed with with energy and ambition, and three cheers to him for that.
© The Telegraph

Hofesh Shechter. It’s a name to remember!
© New York Times

 

 

 

premiere: 05. October 2014

Johann Strauss II - WIENER BLUT

Conductor: Stanko Jovanovic 
Director: Voja Soldatovic
Choreographer: Mirko Knezevic
Set Designer: Dalibor Tobdzic
Costume Designer: Maja Studen
Lightning Designer: Srdjan Jovanovic
Translater: Husnija Kurtovic

Cast: Nenad Nenić/Ivan Plazačić, Ljubomir Popović/Vanja Biserčić, Tanja Obrenović/Nataša Tasić Knežević, Milan Milosavljević, Branislava Podrumac/Olga Malević Đorđević, Ivan Bekjarev, Senka Nedeljković/Aleksandra Jovanović, Goran Strgar/Marko Živković

Madlenianum Opera & Theatre Orchestra

Nevena Đorđević, Irina Dragojević, Marijana Radosavljević, Milica Marjanović, Milica Stojčev, Aleksandra Anđelković, Maja Tomašević, Svetlana Krstić, Jovana Ćirić, Danica Andrić, Jovana Bijelić, Jovana Jovićević, Zorana Stanišić, Bojan Dragojević, Srđan Mladenović, Boris Balunović, Nikola Piperski, Ivan Debeljak, Igor Andrić, Momčilo Radojević, Svetozar Vujić, Vladimir Bulatović, Andrija Nikoletić, Marko Pantelić
Choir preparation: Biserka Vasić

Dance Ensemble:
Marija Martinović, Jelena Borović, Vanja Vasiljević, Katarina Obradović, Irena Maksimović, Ignjat Filipović, Marko Vasiljević, Vukašin Prvulović, Boško Graovac, Luka Bugarin

Wiener Blut (Vienna Blood) operetta was first performed on 26th of October 1899 in Vienna, four months after the death of Johan Strauss Jr. The operetta was commissioned by Franz Jauner, the manager of Carl Theatre.

The idea behind the operetta, the title of which was taken from one of Strauss’ s most popular waltzes (Wiener Blut Op. 354), was for the creation of a stage work that made use of melodies from Strauss’ older and less known works. Music was selected and arranged by Adolf Müller Jnr., the house conductor of Theater an der Wien. Jauner had high hopes for the operette Wiener Blut and staged a lavish production, but the first night was a complete fiasco and athe production closed after only thirty performances. Bankrupted by this failure, Jaunert shot himself.

In 1905, with a slightly adjusted book and score, Wiener Blut was revived at the Theater an der Wien, where it was a success. It entered the repertoire of the Vienna Volksoper in 1928, where it has remained ever since.

Wiener Blut is set at the time of the Congress of Vienna, 1814-1815, an international conference that sought to settle Europe after the upheavals of the Napoleonic Wars, and follows a traditional operetta plot full of mistaken identities.

Count Balduin Zedlau, ambassador of the tiny court of Reuss-Schleiz-Greiz, is posted to Vienna. Although married to Gabriele, the Count is having affairs with both the ballerina Franzi and the model Pepi. Pepi in turn is engaged to his valet Josef. Zedlau’s attempts to keep all his relationships in balance at the same time results in confusion, which is made even more chaotic through the involvement of the aged but amorous Prime Minister.

After much intrigue, many misunderstandings, and numerous false identities, Zedlau realises that his heart belongs to Gabriele, who generously forgives him for his numerous amatory indiscretions. Numerous well-known compositions appear in Wiener Blut, including the waltzes Tales from the Vienna WoodsMorning Papers and the unmatchable Blue Danube.

                * * *

This operetta has never been on repertoires in our country, which makes the premiere in Opera and theatre Madlenianum, the first night in Serbia at the same time.

In front of ourselves, we will find XIX century Vienna in its full splendor, frivolity, easiness and beauty, along with its hypocrisy. At the stage, we may see a parade of princes and counts in a sort of a love thriller, with the count as a center of a love action, and his wife and two mistresses, in whirlpool of good music, combine old and new loves drowning into Viennese spirit and Vienna Blood which gives a special charm to all of that. The most popular polkas, gallops and waltzes can be heard and the participants dance, drinking sparkling champagne and “It is the Viennese waltz that gives joy and splendor to the ball”. The thriller stays unresolved until the very end, and the light play with a lot of dance, good music and laugh seems humorous. Luxury, cheating, intrigues, falling in love and joy of life are the drops of Viennese blood, owned only by Viennese people and recognized from far away.

Transferring the real Viennese atmosphere of past centuries to Belgrade is a big challenge, especially because operetta as a genre is not so frequent on the stages in our country. Although everything seems light and swaying, the requests put in front of the participants suppose high singing level and the same level of acting abilities, because operetta consists of extensive spoken parts as well as series of arias, duets and ensembles. The score of Wiener Blut supposes inflamed and accelerated tempos, with the perfected precision of all the parts of the big ensemble which consists of, on the first place, lavish orchestra, choir, a group of dancers and a list of singers and actors. In such jagged team, fitting all the elements into the whole as well as their mutual and tight pervasion bring the success of the staging.

The scene and costumes are supposed to evoke the atmosphere of shining Viennese salons, villas, booths and casinos, and all of that in a naïve play game with the task to entertain, make laugh and offer pleasure. Well-known melodies and music we listen to at the New Year’s concerts broadcasted from Vienna bring us even closer to the environment that has been geographically, socio- economically, as well as musically very close to us during all the previous centuries.

WIENER BLUT

Book & Buy Tickets

5. October 2014
Large Stage od Madlenianum

Conductor: Stanko Jovanovic 
Director: Voja Soldatovic
Choreographer: Mirko Knezevic
Set Designer: Dalibor Tobdzic
Costume Designer: Maja Studen
Lightning Designer: Srdjan Jovanovic
Translater: Husnija Kurtovic

Datum: 
Monday, April 27, 2015 - 19:30
Sunday, May 10, 2015 - 19:30
eng

12. Beogradski festival igre

Kompanija Hofeša Šehtera London, Velika Britanija

7. i 8. april 2015. u 20:00
Velika scena Madlenianuma


SUNCE

koreografija, muzika: Hofesh Shechter
scenografija: Merle Hensel
kostim: Christina Cunningham
dizajn svetla: Lee Curran

dodatna muzika: ‘Let’s Face The Music And Dance’, composed by Irving Berlin, published by Universal Music Publishing Ltd/Tannhauser WWV 70’ by Wagner – Arrival of the Guests at Wartburg, composer: Richard Wagner/‘Sigur 1’, written by Sveinsson/Birgisson/Holm/Dyrason, published by Universal Music Publishing Ltd.‘Abide with me’, (traditional arrangement by David Cresswell), published by Music Masters Ltd., erformed by The Queen’s Royal Irish Hussars and used by courtesy of Music Masters Ltd.
muzički izvođači: Christopher Allan, Rebekah Allan, Nell Catchpole, Joseph Ashwin, Joel Harries, Vinz
pozorišni umetnik: Kirsty Glover
lutkari: Businessman, Hoodsman, Tribesman, Explorer – James Ward at jimbobart, with additional work on Tribesman by Rebecca Cusack/Sheep on loan from John I Gordon  Wolf courtesy of Framestore
fotografijaGabriele Zucca
igrači: Paula Alonso Gomez, Chien-Ming Chang, Frederic Despierrre, Neus Gil Cortes, Bruno Guillore, Yeji Kim, Merel Lammers, Attila Ronai, Hannah Shepherd, Diogo Sousa.
učenice: Madeleine Fairminer, Clara Villalba

trajanje: 70’
premijera: 2013, Melbourne

Savršenstvo postaje iskrivljeno i harmonija otvara put ka unutrašnjem prikazu antagonizma i nasilja u Šehterovom uznemirujućem, novom komadu. Od otmene idile koja predstavlja scenu čiste, jednostavne vizije ”savršenog“ sveta, Šehterova koreografija obuhvata frenetičnu strast i obeležja potcenjenog zapleta, u komadu koji se otvoreno konfrontira idiličnom užasu kolonijalizma, sa primesama oštrog humora. 

Hofeš Šehter je jedan od najzanimljivijih britanskih umetnika, podjednako priznat kao koreograf i kao kompozitor. Diplomirao je na Akademiji za igru i muziku u Jerusalemu, a potom u Tel Avivu dobio angažman u poznatoj Kompaniji Batševa, gde je sarađivao sa umetničkim direktorom Ohadom Naharinom i koreografima poput Vima Vanderkejbusa, Pola Nortona, Tera Sarinena i Inbal Pinto. Još u Tel Avivu, Šehter je započeo muzičke studije, posvetivši se posebno izučavanju bubnjeva i udaraljki, a svoje školovanje nastavio u Parizu, na Agostini koledžu. Nadalje eksperimentišući, počeo je da komponuje i učestvuje u različitim projektima u Evropi, koji su uključivali igru, glumu i zvuk udaraljki. U Britaniju je stigao 2002. godine, a njegov koreografski debi, predstava „Fragmenti“ za koju je pisao i muziku, počela je da gostuje u zemlji i inostranstvu. Pored nastupa u Finskoj, Italiji, Portugalu i Koreji, ova predstava je u Poljskoj osvojila prvu nagradu na koreografskom takmičenju „Serž Đagiljev“. Godine 2004., Šehter postavlja komad „Kult“, za koji dobija prestižnu Nagradu publike. Od 2004. do 2006. godine, bio je pridruženi umetnik teatra The Place, angažovan od strane Fondacije Robina Hauarda da kreira „Uspon“, komad za sedam muških igrača koji je stekao veliku popularnost. Ova tri naslova su formirala prvi celovečernji program Hofeša Šehtera, triptih „deGENERACIJA“. Godine 2007., najpopularnije londonske plesne scene, teatar The Place, Southbank centar i Sadlers Vels, sarađivale su u jedinstvenom producentskom poduhvatu, naručivši Šehteru predstavu „U tvojim sobama“, koja je izvođena u sva tri pozorišta i kulminirala unapred rasprodatim predstavama u Sadlers Velsu. Predstava je bila nominovana za Nagradu South Bank Show i osvojila Circle nagradu kritike za koreografiju, 2008. godine. To je i godina, kada Šehter pokreće svoju plesnu kompaniju, koja kreće na svoju prvu svetsku turneju. Od tada je trupa prisutna na vodećim scenama širom Evrope, Azije, Severne Amerike i Australije. Skorije turneje su uključile gradove Južne Amerike i Bliskog istoka. Pod zastavom svoje trupe, još 2009. godine Šehter se pojavljuje na smotri „Koreografski rez“, i za ovu priliku po narudžbini Sadlers Velsa u legendarnom londonskom Roundhouse-u, predstavlja prerađene komade „Uspon“ i „U tvojim sobama“ u izvođenju 17 igrača i 20 muzičara. Takođe, 2009. godine, na poziv Brajton festivala, kreira „Umetnost neosvrtanja unazad“, komad inspirisan ženskim likovima, u izvođenju šest igračica. Godine 2010., njegov prvi celovečernji naslov „Politička majka“ premijerno je izveden na Festivalu u Brajtonu, zavredevši najbolje kritike međunarodne štampe, nakon čega je usledila intenzivna svetska turneja koja je doprinela reputaciji kompanije. Godine 2011., po drugi put za “Koreografski rez” prikazuje obnovljenu verziju komada “Politička majka”, koji će iznova osvojiti publiku i kritiku, predstavljajući preko 40 izvođača na sceni. Ova predstava će se ponovo vratiti na scenu Sadlers Velsa, u julu, 2013. godine. Šehterova poslednja velika kreacija, “Sunce”, produkcija je nekoliko partnerskih organizacija u svetu, i kao takva intenzivno gostuje.  Pored rada za svoju kompaniju, Šehter je u Britaniji kreirao za mnoge poznate trupe, dok je na međunarodnoj sceni postavljao nove ili već postojeće komade za Cedar Lake Contemporary Ballet, Carte Blanche,  Balet Berna,  Škotski plesni teatar, CandoCo i Holandski plesni teatar. Kao koreograf, Šehter je učestvovao u produkcijama „Motorni grad“ i „Palikuće“ za Royal Court teatar. Takođe, postavio je koreografiju za pozorišni komad „Sveti Jovan“ u režiji Marijan Eliot, sa En Mari Daf u naslovnoj ulozi, kojim je zavredeo Nagradu Nacionalnog teatra, 2007. godine. Potpisnik je i koreografije za hit plesnu sekvencu „Maxxies Dance“, kojom je otvorena druga sezone popularne drame „Skins“, Kanala 4. Tokom 2013. godine, Šehter je radio za Operu Metropolitan, a 2014. godine je bio Gost Direktor Festivala u Brajtonu. U martu, 2015. godine, Šehter otpočinje rad na predstavi za londonski Kraljevski balet, koji će biti premijerno izveden na sceni Kraljevske opere u Londonu. Šehter je pridruženi umetnik Sadlers Velsa, a njegova trupa je stalna kompanija Brajton doma.

Od vremena kada su sa svojim prvim naslovima izazvali eksploziju na plesnoj sceni, Šehter i njegova mlada i talentovana kompanija, postali su vodeća snaga britanske savremene igre. Nakon karijere igrača, Šehter se preselio u Britaniju, gde je njegov prvi koreografski naslov ostvaren 2004. godine. Bivši bubnjar u rok orkestru, Šehter komponuje muziku za svoje plesne predstave, a njegov prepoznatljiv snažan zvuk u kombinaciji sa jedinstvenom telesnošću igrača, već su zavredeli svetski uspeh i priznanja.

On je i dalje jedini kreator igre na svetu, koji se osmeli da stvara ovakve iznenađujuće predstave, pune energije i ambicija, i zbog toga, tri put ura za njega.
© The Telegraph

Hofeš Šehter. Ime koje treba zapamtiti!
© New York Times



Kompanija Hofeša Šehtera (London, Velika Britanija) - Sunce

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12. BEOGRADSKI FESTIVAL IGRE

7. i 8. april 2015. u 20:00
Velika scena Madlenianuma


koreografija, muzika: Hofesh Shechter
scenografija: Merle Hensel
kostimChristina Cunningham
dizajn svetla: Lee Curran

Datum: 
Tuesday, April 7, 2015 - 20:00
Wednesday, April 8, 2015 - 20:00
srp

početak sezone 2014/2015 sa premijerom operete J. Štrausa

BEČKA KRV

Premijera

5. oktobar 2014 u 19:30
Velika scena Madlenianuma

Dirigent: Stanko Jovanović
Režija: Voja Soldatović
Koreograf: Mirko Knežević
Scenograf: Dalibor Tobdžić
Kostimograf: Maja Studen
Dizajn svetla: Srđan Jovanović
Prevod: Husnija Kurtović

LICA

Knez Ipshajm Gindelbah
Nenad Nenić / Ivan Plazačić
Balduin, grof Cedlau
Ljubomir Popović / Vanja Biserčić
Gabrijela, njegova žena
Tanja Obrenović
Grof Bitovski
Milan Milosavljević
Gospođica Franciska Kaljari
Branislava Podrumac / Olga Malević Đorđević
Kagler
Ivan Bekjarev
Pepi
Senka Nedeljković / Aleksandra Jovanović
Jozef
Goran Strgar / Marko Živković

Orkestar Opere i teatra MADLENIANUM, koncertmajstor Vesna Janssens

Horski ansambl:
Nevena Đorđević, Irina Dragojević, Marijana Radosavljević, Milica Marjanović, Milica Stojčev, Aleksandra Anđelković, Maja Tomašević, Svetlana Krstić, Jovana Ćirić, Danica Andrić, Jovana Bijelić, Jovana Jovićević, Zorana Stanišić, Bojan Dragojević, Srđan Mladenović, Boris Balunović, Nikola Piperski, Ivan Debeljak, Igor Andrić, Momčilo Radojević, Svetozar Vujić, Vladimir Bulatović, Andrija Nikoletić, Marko Pantelić
Hor pripremila: Biserka Vasić

Plesni ansambl:
Marija Martinović, Jelena Borović, Vanja Vasiljević, Katarina Obradović, Irena Maksimović, Ignjat Filipović, Marko Vasiljević, Vukašin Prvulović, Boško Graovac, Luka Bugarin

 
Inspicijent: Vesna Ćurčić Petrović 
Organizator: Andreja Rackov
Muzička priprema: Dragana Anđelić Bunjac 
Sufleri: 
Zorica Popović i Silvija Pec
Audio realizacija: Dušan Arsikin
Video realizacija: Zvonimir Jelušić
Realizacija svetla: Vladimir Krunić
Prevod i titl: Dragan Stevović
Majstor pozornice: Milan Ćirić
Šminka i frizure: Mirjana Rakić
Garderoba: Tanja Vuksanović i Miladin Pavićević


Opereta Bečka krv je prvi put izvedena 26. oktobra 1899. godine, četiri meseca nakon smrti Johana Štrausa II. Operu je naručio Franc Januer, upravnik Karl pozorišta. Ideja u pozadini ove operete, kao i naslov preuzet od jednog od Štrausevih najpopularnijih valcera (Bečka krv- op. 354), bila je kreiranje scenskog dela u kome bi se iskoristile melodije iz Štrausovih starijih i manje poznatih dela. Muziku je izabrao i uredio Adolf Miler Jnr, dirigent pozorišta u Beču (Theater an der Wien). Jauner je imao visoka očekivanja po pitanju Bečke krvi koja je urađena u raskošnoj produkciji, ali je izvođenje prve noći doživelo potpuni fijasko i nakon samo trideset izvođenja, predstava je otkazana. Doveden do bankrotstva ovim neuspehom, Januer se ubio. 
1905. godine Bečka krv je, sa neznatno prerađenim tekstom i muzikom, ponovo počela da se prikazuje u pozorištu u Beču (Theater an der Wien) i tada doživljava veliki uspeh. Ona je 1928. godine stavljena na repertoar Bečke narodne opere i do dana današnjeg je ostala na repertoaru. 
Bečka krv je komponovana u vreme Bečkog kongresa, 1814-1815, međunarodne konferencije koja traži naseljavanje Evrope nakon Napoleonovih ratova, te stoga prati tradicionalni zaplet operete koji je pun pogrešnih identiteta. Grof Balduin Cedlau, ambasador malog okruga Reus-Šlajc-Grajc, poslat je u Beč. Iako je oženjen Gabrijelom, Grof je u vanbračnim aferama i sa igračicom Franci i sa manekenkom Pepi. Sa druge strane, Pepi i njegov sluga Josef su vereni. Cedlaovi pokušaji da istovremeno sve drži pod kontrolom dovode do potpune konfuzije koja biva još haotičnija kad se tu umeša vremešni, ali zaljubljivi ministar. Nakon mnogo intriga, puno nesporazuma i brojnih lažnih identiteta, Cedlau shvata da njegovo srce pripada Gabrijeli, koja mu velikodušno prašta brojne ljubavne indiskrecije. 

* * *

Na našim prostorima ova opereta nikada nije izvođena, tako da je njena premijera na sceni Opere i teatra Madlenianum ujedno i njena srpska premijera.

Pred nama se pruža Beč iz 19. veka u svoj svojoj raskoši, frivolnosti, ležernosti, lepoti, ali i licemerju i hipokriziji. Na sceni se ređaju prinčevi, grofovi, kneževi u nekoj vrsti ljubavnog trilera u kome je grof centar ljubavnog zbivanja, a njegova žena kao i dve ljubavnice u vrtlogu dobre muzike, mešaju stare i nove ljubavi utapajući se u bečki duh i bečku krv koja svemu tome daje posebnu draž. Smenjuju se najpoznatije polke, galopi, valceri, pleše se uz penušavi šampanjac, a „Šta daje balu radost i sjaj/ bečki je valcer taj“. Triler se do samog kraja ne razrešava, a laka igra uz mnogo plesa, dobre svirke i smeha deluje razgaljujuće. Raskoš, neverstvo, intrige, zaljubljivanje, radost življenja predstavljaju kapljice bečke krvi koju samo Bečlije poseduju i koja se prepoznaje na daleko. 
Prenošenje prave bečke atmosfere dalekih vekova u Beograd, veliki je izazov, posebno jer opereta kao žanr nije česta na našim scenama. Iako sve deluje lako i lepršavo, zahtevi koji se postavljaju pred protagoniste podrazumevaju veoma dobro pevanje i isto tako dobru glumu, jer se opereta i sastoji iz obimnih govorenih delova kao i iz niza arija, dueta, ansambala. Partitura Bečke krvi podrazumeva zahuktala i ubrzana tempa, uz preciznost do perfekcije svih delova velikog ansambla koji sadrži najpre raskošan orkestar, zatim hor, grupu igrača-plesača i niz solista, pevača i glumaca. U tako razuđenoj ekipi, uklapanje svih elemenata, kao i njihovo međusobno i tesno prožimanje donosi uspeh postavke.
Scena i kostimi treba da dočaraju blistavi sjaj bečkih salona, vila, separea, kazina a sve to u naivnoj igrariji koja ima zadatak da razonodi, zasmeje i ponudi uživanje . Poznate melodije kao i numere koje slušamo prilikom Novogodišnjih koncerata prenošenih iz Beča, još više nas približavaju sredini kojoj smo i geografski, društveno-ekonomski, politički, ali i muzički bili veoma blizu svih proteklih vekova.

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premijera: 5. oktobar 2014.
Velika scena Madlenianuma

Dirigent: Stanko Jovanović
Režija: Voja Soldatović
Koreograf: Mirko Knežević
Scenograf: Dalibor Tobdžić
Kostimograf: Maja Studen
Dizajn svetla: Srđan Jovanović
Prevod: Husnija Kurtović

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Datum: 
Monday, April 27, 2015 - 19:30
Sunday, May 10, 2015 - 19:30
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18. jun - Humanitarni koncert za vrtić u Svilajncu

"ZA NAŠE DRUGARE"

18. jun 2014.  u 19 časova
Velika scena Madlenianuma

Učesnici:

Leontina, Ivana Negativ, Minja Subota

Pesnici: Dobrica Erić, Raša Popov, Ljubivoje Ršumović

Dečji hor ČAROLIJA

Baletski studio AMADEUS - Požarevac

 

Cena ulaznice: 250 dinara

Rezultat konkursa namenjenog mladim pozorišnim stvaraocima

odabrani: "I KONJE UBIJAJU, ZAR NE?" i "LOLITA"

Opera i teatar „Madlenianum“ izražava svoje veliko zadovoljstvo povodom bogate i kvalitetne ponude koja je stigla kao odgovor na Konkurs za mlade pozorišne stvaraoce. Na ovaj prvi, ali ne i poslednji, Konkurs kojim se pozivaju umetnici mlade generacije da predlože projekat za Malu scenu „Madlenianuma“ stiglo je skoro pedeset prijava sa podrobno razrađenim atraktivnim idejama. Na osnovu tih prijava može se zaključiti da u mladoj generaciji pozorišnih stvaralaca u Srbiji ima velikog umetničkog elana i potencijala. Nije bilo lako doneti odluku o pobedniku Konkursa, jer je veliki broj radova izdvajala i maštovitost i profesionalizam i inovativnost, sve ono što smo kao pozorišna kuća želeli pod našim krovom sa predstavom koja bi dobila sve uslove za premijeru i kasnija redovna izvođenja.

Gospođa Madlena Zepter donela je odluku da dva projekta dobiju mogućnost realizacije na Maloj sceni njenog pozorišta u sezoni 2014/2015. Prva predstava imala bi premijeru 28. novembra 2014., a druga 21. maja 2015. godine. Oba izabrana projekta odlikuju izuzetni dramski predložci koji imaju uporište u klasičnoj literaturi (u oba slučaja polazište je roman), a ono što potpuno osvaja je precizna rediteljska eksplikacija koja delo sagledava sa sociološkog i teatrološkog stanovišta, dok sa druge strane nekim sasvim novim praktičnim scenskim rešenjima otvara mogućnost za izuzetan pozorišni događaj. Biografije svih predloženih učesnika nagrađenih projekata govore da su u pitanju mladi profesionalci koji vredno koriste sve mogućnosti da usavršavaju svoje umetničko biće i smatramo da je to za svaku pohvalu u vremenu koje nije lako za početke u pozorišnom stvaralaštvu.

Prvi projekat koji je izabran da bude realizovan u novembru 2014. godine je projekat „I KONJE UBIJAJU, ZAR NE?“. Podnosioci ovog projekta su kao tim dramaturg Milica Konstantinović, reditelj Boris Todorović i glumica Lidija Cvetić. Milica Konstantinović dramatizovala je roman Horasa Mek Koja iz 1935. godine. Tema romana i drame su plesni maratoni koji su trajali i po nekoliko nedelja, takmičenja za novčanu nagradu koja su u 20-tim i 30-tim godinama prošlog veka bila veoma popularna u Americi. Ta tema, na žalost, svojom dehumanizovanošću i danas stoji kao aktuelna. Kako reditelj Todorović navodi „Ova priča, nastala 1935. u romanu Horasa Mek Koja, predvidela je tragediju televizujskih rialiti programa, u kojima oni koji su „propali“ i koji nikada nisu ni bili rizikuju svoje zdravlje i dostojanstvo zarad novca i slave.“. Smatramo da je u drami koja predviđa devet učesnika veoma zanimljivo to što glavni plesni par predstavlja neostvarenog reditelja i neostvarenu glumicu. Prostor koji se prema eksplikaciji i samoj drami na veoma neobičan način otvara za plesnu umetnost pozdravljamo kao jednu od najvećih dragocenosti projekta „I KONJE UBIJAJU, ZAR NE?“.

Drugi izabrani projekat je „LOLITA“, po predlogu reditelja Jovane Tomić. Ta predstava imala bi svoju premijeru u maju 2015. godine. „Lolita“ Vladimira Nabokova je jedan od najkontraverznijih klasika književnosti XX veka. Posle brojnih filmskih i scenskih adaptacija „Lolite“ svuda u svetu, osetili smo kroz detaljnu eksplikaciju Jovane Tomić koliko je ta priča živa i potrebna i ovde u današnjem trenutku i smatramo da će duh današnjeg vremena koji je Jovana Tomić pravilno povezala sa romanom dovesti do veoma zanimljivog čitanja. Zanimljivo je koliko „Lolita“ kroz decenije nije izgubila na svojoj kontraverznosti, a smatramo važnim da mladi autori progovore kroz „Lolitu“ o mnogim stvarima po pitanju ljudskih prava. Hrabra odluka Jovane Tomić da se bavi jednom od najneobičnijih ljubavnih priča, prenešenom u današnje vreme, veoma dobro vizuelno i muzički uobličenom više nego zavređuje scensku realizaciju.

Pobednicima Konkursa čestitamo i radujemo se saradnji sa njima, a svim ostalim učesnicima se zahvaljujemo na kvalitetnim radovima koje su nam dostavili i nadamo se da će se u budućnosti ukazati prilika da radimo na nekim novim projektima.

 

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