Karmen e programėlė

Vaidmenys ir atlikëjai | Cast

Karmen | Carmen

IEVA PRUDNIKOVAITĖ

Don Chozė | Don José

EDGARAS MONTVIDAS

Eskamiljas | Escamillo

STEPONAS ZONYS

Mikaela | Micaëla Dankairas | Dancaïro Remendadas | Remendado

VIKTORIJA MIŠKŪNAITĖ ARŪNAS MALIKĖNAS RAFAILAS KARPIS

Fraskita | Frasquita

UGNĖ MATUKAITYTĖ

Mersedes | Mercédès

AURELIJA STASIULYTĖ

Cuniga | Zuniga

EGIDIJUS DAUSKURDIS

Moralesas | Moralès

MINDAUGAS TOMAS MIŠKINIS

Orkestro solistai Orkestro koncertmeiteris | Concertmaster DAINIUS PESECKAS BERNARDAS PETRAUSKAS (pirmasis smuikas | first violin) VYTAUTAS SRIUBIKIS LORETA ŠČERBAVIČIENĖ VYTENIS GURSTIS (fleita | flute) DONATAS POCIUS LINAS ŠALNA (obojus | oboe) PETRAS KURAITIS UGNIUS DIČIŪNAS (anglų ragas | English horn) VYTAUTAS GIEDRAITIS DONATAS KALINAUSKAS ERNESTAS ŠIDIŠKIS (klarnetas | clarinet) ANDRIUS PUPLAUSKIS JONAS ŽEMONIS ROBERTAS ŠIDIŠKIS (fagotas | bassoon) GINTARAS ŠČERBAVIČIUS STEFANO BERLUTI (valtorna | French horn) ARVYDAS BARZINSKAS VILIUS SURDOKAS (trimitas | trumpet) AISTĖ BALIUNYTĖ -DAILIDIENĖ GABRIELĖ ABROMAITIENĖ (arfa | harp)

Spektaklyje dalyvauja | Participating in the production šokėjai Eglė Kančauskaitė, Ugnė Kavaliauskaitė, Kamilė Mazrimė, Kamilė Narkutė, Goda Viliūtė, Viktoras Fedorenko, Modestas Jančiulis, Deividas Meškauskas

LNOBT mimanso artistai | Mime artists of the LNOBT Jokūbas Adamonis, Laurynas Aksamitas, Dmitrijus Babašinskis, Arūnas Bronušas, Skirmantas Galinis, Juozas Janužas, Karolis Kašiuba, Martynas Kavaliauskas, Ugnius Naudžius, Dominykas Papovas

LNOBT Vaikų operos studijos mokiniai | Pupils of the LNOBT’s Opera Studio for children (vadovė Samanta Bielskytė)

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Karmen POPULIARIAUSIA PASAULYJE OPERA Pasakojimà apie Karmen derëtø pradëti nuo to, kad tai daþniausiai pasaulyje statoma opera, o jà sukûræs Georges’as Bizet operos istorijoje pirmiausia ir iðliko kaip vieno ðedevro autorius. Per 135 metus, prabëgusius nuo ðio kûrinio premjeros Paryþiaus

Opéra-Comique teatro scenoje, neatsirado në vienos operos, kuri prilygtø Bizet Karmen inscenizacijø skaièiumi.

Tai nebuvo staigi ðlovë, Karmen premjerà lydëjo veikiau skandalas nei sëkmë. Taèiau jos populiarumas, atëjæs po kompozitoriaus mirties, neblësta iki ðiol.

Bizet planuose buvo apie trisdeðimt operø eskizø. Be Karmen, tik keturios ið jø buvo pabaigtos ir pastatytos jam esant gyvam. Taèiau bûtø uþtekæ ir vienos Karmen, kad jos autoriaus ðlovë pelnytai sklistø iki ðiol.

ROMANTIÐKASIS PAÞANGOS AMÞIUS Bizet gyveno Paryþiuje tuo metu, kai operos þanras ðiame mieste tiesiog klestëjo, – beveik visi XIX a. kompozitoriai, tarp jø ir Richardas Wagneris, ir Giuseppe Verdi, troðko atlikti savo kûrinius bûtent Paryþiaus operoje. Tai buvo laikotarpis, kai kûrybos aukðtumas jau buvo pasiekæ Gaetano Donizetti, Gioachino Rossini, didieji romantikai Hectoras Berliozas, Felixas Mendelssohnas, Frédéricas Chopinas, Robertas Schumannas ir Ferenzas Lisztas.

Karmen laikas ástabiai verþlus ir novatoriðkas. Paávairindamas kasdienybæ linksmybëmis ir karais, pasaulis strimgalviais lekia á prieká. Pademonstruojamas Luiso-Jacques’o Daguerre’o ir Josepho Nicéphore’o Niépce’o fotografijos metodas (dagerotipija), Adolphe’as Saxas sukuria saksofonà, pradedama moksliðkai tirti hipnozë. Paryþiuje atidaromas pirmasis naktinis klubas ir elektrifikuojama Paryþiaus opera. Europa ðëlsta ðokdama kankanà, tuo pat metu keldama revoliucijas ir sukilimus. Prancûzijoje paskelbiama II respublika, Luji Napoleonas iðrenkamas prezidentu.

Karlas Marxas ir Friedrichas Engelsas išleidþia Komunistø 4

partijos manifestà . Rusijoje panaikinama baudþiava.

Niujorke pasirodo The New York Times, o Londone – The Daily Telegraph. Pradedamas kasti Sueco kanalas, Atlantà perplaukia pirmasis garlaivis, o Léonas Foucault iðmatuoja ðviesos greitá. Kyla Prancûzijos– Austrijos–Italijos karas. Karmen premjeros metais JAV Kongresas priima Pilieèiø teisiø deklaracijà.

Iðrandamas dinamitas, sukonstruojamos povandeninës torpedos.

Heinrichas Schliemannas pradeda kasinëti Trojà. Ir taip toliau... Pasaulis mëgaujasi romantiðku XIX amþiumi.

Bet juk þmogaus ásitikinimai, paproèiai, dorovës normos ir tradicijos keièiasi lëèiausiai.

GEORGES’AS BIZET (1838–1875) 1838 m. spalio 25 d. Paryþiuje, dainavimo mokytojo ir kompozitoriaus mëgëjo Adolphe’o Armand’o Bizet ir pianistës Aimée Marie Louise’s Leopoldine’os Josephine’os Delsarte ðeimoje gimë bûsimasis kompozitorius Alexandre’as Césaras Léopoldas Bizet, kuris krikštijant gavo dar ir Georges’o vardà. Kaip tik šiuo vardu jis tapo þinomas visam pasauliui.

Anksti pasireiðkæ muzikiniai gabumai lëmë, kad Bizet, dar nesulaukæs në deðimties metø, buvo priimtas á Paryþiaus konservatorijà. Jo mokytojai buvo Pierre’as Zimmermannas (dëstë polifonijà; daþnai jam pagelbëdavo ir þentas Charles’is Gounod), Antoine’as François Marmontelis (fortepijonas), François Benoist (vargonai) ir Jaques’as Fromentalis Halévy (kompozicija). Tarp reikðmingiausiø studijø kûriniø – simfonija C-dur. Ðis Bizet kûrinys buvo neþinomas iki pat 1933 m., kai buvo rastas Paryþiaus konservatorijos bibliotekos archyvuose ir 1935 m. pirmàkart atliktas.

1857 m. Bizet dalyvavo Jacques’o Offenbacho paskelbtame operetës konkurse, sukûrë Daktarà Miraklá ir drauge su Charles’u Lecocqu pasidalijo pirmàjà premijà. Tuo metu jis susipaþino su Paryþiaus priemiestyje gyvenanèiu Rossini, ir abu tapo gerais draugais. Laiðke savo libretistui Felice’ei Romani’ui Rossini raðë: „Sinjoras Bizet toks talentingas, jog nusipelno, kad mes su tavimi juo pasirûpintume.“

Pasakojama, kad net garsiøjø pyragaièiø receptas buvo sukurtas ir pavadintas Bizet garbei. Baigdamas konservatorijà, Bizet sukûrë kantatà

Klovis ir Klotildë, kuri pelnë Didþiàjà Romos premijà, suteikianèià jos laureatui teisæ trejus metus gyventi ir studijuoti Italijoje uþ valstybës lëðas, ir iðvyko á Romà.

Laiðke savo libretistui Felice’ei Romani’ui Rossini raðë: „Sinjoras Bizet toks talentingas, jog nusipelno, kad mes su tavimi juo pasirûpintume.“

Iðskyrus ðiuos trejus metus (1858– 1860), gyventus Romoje, istorinëje Medici’ø giminës viloje, Bizet visà gyvenimà praleido Paryþiuje. Romoje jis sukûrë vienintelá savo baþnytinës muzikos kûriná Te Deum solistams, chorui ir orkestrui ir operà buffa Don Prokopijus. Baigæs studijas, Bizet keliauja po Italijà, þavisi jos gamta ir þmonëmis. Màsto apie fantastiðkà idëjà sukurti simfonijà, kurios keturios dalys bûtø Italijos miestø – Romos, Venecijos, Florencijos ir Neapolio – muzikiniai paveikslai. Taèiau þinia apie motinos ligà gràþino kompozitoriø namo, á Paryþiø. Po metø mama mirë. O gyvenimas tekëjo sava vaga toliau.

1862 m. ðeimos tarnaitë Mary Reiter pagimdë sûnø. Visiems buvo paskelbta, kad jo tëtis yra Adolphe’as Bizet. Georges’as ágijo netikrà brolá. Tik gerokai vëliau Mary prisipaþino, kad tikrasis jos vaiko tëvas yra Georges’as Bizet.

Tais paèiais 1862-aisiais mirë Halévy, palikdamas nebaigtà savo operà Noé. Netektis sukrëtë Bizet, ðiuos kompozitorius siejo didelë draugystë. Bizet baigë Noé partitûrà, rûpinosi mokytojo ðeima.

LEMTINGOS MOTERYS Bizet buvo energingas, draugiðkas ir kitø mëgstamas þmogus, turintis humoro jausmà. Lemtingas lengvai bendraujanèio Georges’o gyvenime buvo jo 1865 m. susitikimas traukinyje, kuriuo muzikas ið Paryþiaus vyko á nedidelá Le Vesinet kaimelá. Celeste Venard – moteris, galbût tapusi Karmen prototipu, – buvo spalvinga asmenybë. Tarp to, kuo ji uþsiëmë, bûtø galima paminëti prostitucijà ir ðokiø salës lankymà, jà domino raðytojai, reþisieriai ir raiteliai.

Toje lemtingoje kelionëje abu suþinojo esantys kaimynai.

Bizet paveikta, Celeste nusipirko pianinà ir davë kompozitoriui savo namø raktà, kad jis galëtø ramioje aplinkoje kurti. Savo atsiminimuose Celeste raðo, kad jø santykiai buvæ vien platoniðki, ir nëra jokiø árodymø teigti kitaip.

Pragyvenimui ji uþsidirbdavo dainuodama kavinëje, jos repertuare buvo ir Sebastiano de Yradiero dainø. Matyt, Bizet ðios dainos patiko, nes vëliau viena jø suskambës kaip garsioji Karmen habaneros tema.

Celeste’s ir Georges’o santykiai nutrûko staiga, matyt, dël Halévy ðeimos priekaiðtø. Kas þino, gal tai buvo reikšmingiausias kompozitoriaus gyvenime susitikimas?

Tuo metu Bizet sukûrë operas Perlø þvejai ir Perto graþuolë (pagal Walterio Scotto novelæ), simfonijà Roma, aranþavo dvi Ambroise’o Thomas operas.

Nors ðie kûriniai ir nesulaukë ypatingos sëkmës, taèiau átvirtino nuomonæ, kad Bizet – savito veido kompozitorius.

1869 m. birþelá Bizet vedë Geneviève’à Halévy (1849–1926), savo mylimo mokytojo dukrà. Jødviejø sûnus Jacques’as gimë 1872 m. Deja, vedybos nebuvo labai laimingos. Bizet nebuvo turtingi, Georges’o kûriniai (tarp jø ir muzika Alphonse’o Daudet dramai Arlietë) sulaukë vidutiniðkos sëkmës. Ëmë ðlyti sveikata, iðtikdavo depresijos priepuoliai.

Bizet atsisakë fortepijono pamokø ir kûrybos ðiam instrumentui ir, nepaisydamas didþiulio uoðvës nepasitenkinimo, pasinërë á orkestrà. Tiesiog jis nebenorëjo bûti mokytojas, jis tapo vien kompozitoriumi. Ko gero, ðiam laikotarpiui priklauso jo frazë: „O, muzika!.. Koks nuostabus menas!

Bet kokia vargana profesija!”

1870 m. liepà prasidëjus Prancûzijos–Prûsijos karui, Bizet paðaukiamas á Prancûzijos nacionalinæ gvardijà. Tai, þinoma, pristabdo jo kûrybà. 1871 m. sausio paliaubas lydëjo smurto ir neramumø kupinas Paryþiaus komunos metas. Bizet su ðeima persikëlë á Paryþiaus priemiestá. Nuo 1871 m. lapkrièio iki pat mirties jis dirbo Paryþiaus konservatorijos kompozicijos egzaminø komitete. Sukûrë vienaveiksmæ komiðkàjà operà Dþamilë, kurios stilius jau pranašavo Karmen, sudarë pirmàjà Arlietës muzikos siuità (antràjà vëliau sudarys Ernestas Guiraud). „AR NENORËTUMËTE MUMS PARAÐYTI OPEROS?“ Su tokiu klausimu 1873 m. pradþioje á Bizet kreipësi OpéraComique teatro meno vadovas Camille’is du Locle’is. Naujojo kûrinio premjera turëjo ávykti metø pabaigoje. Siuþetui Bizet pasirinko Prospero Mérimée novelæ. Libreto ëmësi Ludovicas Halévy, þmonos pusbrolis, ir Henri Meilhacas. Ið esmës opera buvo raðoma 1873 m. vasarà, taèiau galutinai baigta tik 1874 m. pabaigoje. Per tà laikà jo santuoka patyrë didþiulæ krizæ, Bizet persikëlë á namus Buþivalyje, ant Senos krantø, ir kaip tik èia 1874-øjø vasarà baigë raðyti operos klavyrà. Dar poros mënesiø prireikë orkestruoti partitûrai. Vis dëlto dël ávairiø nesklandumø premjera ávyko tik 1875 m.

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Operà Karmen uþsakë teatras, tradiciðkai pasirinkdavæs lengvesnio turinio repertuarà. Herojës mirtis spektaklio pabaigoje ðokiravo publikà, áþeisti burþua pasipiktinæ reikalavo operà uþdrausti. Vargðas Bizet, sudëjæs á Karmen visà savo ðirdá, apimtas nevilties, pripaþino, kad ðis jo kûrinys, ko gero, iðties nevykæs… Bizet klydo, deja, operos ðlovës meto taip ir nesulaukë.

Praëjus trims mënesiams po Karmen premjeros, trisdeðimt treèiojo spektaklio vakarà, Célestine Galli-Marié, dainavusi Karmen, apimta nepaaiškinamos blogos nuojautos, uþkulisiuose staiga nualpo. Buþivalyje tuo metu ðeðtøjø vedybø metiniø iðvakarëse Bizet iðtiko ðirdies smûgis.

Ankstyva kompozitoriaus mirtis mums primena Wolfgango Amadeus Mozarto, Felixo Mendelssohno ar Franzo Schuberto likimà. Bizet mirë vos 36-eriø, ir kas þino, kà jis dar bûtø sukûræs? Palaidotas Bizet Paryþiuje, Per Lašezo kapinëse, ðalia Chopino ir Rossini.

Jo Karmen greitai buvo išbraukta iš Opéra-Comique repertuaro, bet iðkeliavo á Vienà, Briuselá, Londonà ir Niujorkà.

Po penkeriø metø ji pergalingai gráþo á Paryþiø, kur buvo entuziastingai sutikta ir pradëjo stulbinamà karjerà, pelniusià autoriui nemirtingumà.

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KARMEN – KOKIOS JOS TIKIMËS? Kaip minëta, savo operai Bizet pasirinko to paties pavadinimo Mérimée novelæ, paraðytà 1846 m. Mérimée didþiavosi ðiuo savo kûriniu, nors jis, kaip ir buvo tikëtasi, sëkmës nesulaukë. Paryþiuje tuo metu sklandë dorovinio pakilimo idëjos, todël á Karmen istorijà panaðûs kûriniai patylomis buvo uþdrausti pardavinëti knygynuose ir spausdinti laikraðèiuose.

Ko gero, libretistai Halévy ir Meilhacas ið pat pradþiø nepritarë Bizet pasirinkimui. Taèiau kompozitorius manë, kad opera turi apstulbinti ir sukrësti, pavirðutiniðkà moralistiná burþuazijos teatro þanrà opéra comique jis siekë paversti gilesniu ir tikroviðkesniu scenos reginiu.

Tuo metu Opéra-Comique vargino finansiniai sunkumai, ir du Locle’is tikëjosi, kad naujoji premjera iðgelbës teatrà.

Vargðas Bizet, sudëjæs á Karmen visà savo ðirdá, apimtas nevilties, pripaþino, kad ðis jo kûrinys, ko gero, iðties nevykæs…

Darbas prasidëjo 1873 m. vasarà.

Nors Bizet ir libretistai suðvelnino ðokiruojantá Mérimée novelës turiná, ávairiø nesutarimø kilo dar gerokai prieð premjerà. Karmen bëda buvo ta, kad nors ði opera ir iðlaikë iðorinius þanro formos bruoþus (pavyzdþiui, kalbamuosius dialogus), jos personaþai buvo kilæ ið þemøjø visuomenës sluoksniø

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– kapralas, laisvo elgesio èigonë, koridos dievaitis, – o á jø jausmus kûrinyje buvo þiûrima iðskirtinai rimtai. Tragedija, vykstanti scenoje, atspindëjo bendraþmogiðkà problemà.

Repeticijos prasidëjo tik 1874 m. rugpjûtá. Ilgà laikà nerasta tinkamos pagrindinio vaidmens atlikëjos – puikiai dainuojanèios, artistiðkos ir ekspresyvios, kuri bûtø sutikusi scenoje vilkëti jausmingosios Karmen kostiumus. Po derybø 1873 m. gruodá ðio vaidmens ëmësi garsus sopranas GalliMarié (jai paþadëta po 2500 frankø kas mënesá, ið viso keturis mënesius).

PRANCÛZO SUKURTA ISPANIJA Kokia gi ši opera – ispaniðka ar prancûziðka? Joje skamba ispaniðki ritmai, kelios ispaniðkos dainos, habanera, segidilija, èigonø muzikos motyvai, grojama kastanjetëmis. Bizet poþiûris á ispaniðkumà apskritai gana ádomus. Paklaustas, gal ketina vykti á Ispanijà praturtinti partitûros, jis atrëþë: „O kam? Tai mane tik trikdytø.“ Vis dëlto Bizet Karmen – vienas paveikiausiø muzikiniø Ispanijos peizaþø, sukurtø su prancûziðku skoniu.

HEROJØ MEILËS TRIKAMPIS

Kliûèiø darë ir Adolphe’as de Leuvenas – ðis ponas kartu su du Locle’iu buvo vienas ið Paryþiaus operos direktoriø.

Jam atrodë, kad á spektaklá susirinkusios ðeimos bus ðokiruotos, kai garsiojoje Opéra-Comique iðvys toká „nepadorø, iðtvirkëliðkà“ kûriná. Libretistø nuomonë buvo panaði. Bizet palaikë tik bièiulis du Locle’is ir pagrindiniø vaidmenø atlikëjai Galli-Marié, Paulis Lherie (Don Chosë). Du Locle’is, bûdamas praktiðkas, mëgino átikinti Bizet kai kurias scenas ir pabaigà pakeisti, bet kompozitorius puikiai jautë dramaturginius niuansus ir laikësi savo nuomonës. Lherie ir GalliMarié netgi pagrasino iðeisià ið teatro, ir de Leuvenui teko nusileisti.

Natûralu, kad visos ðios aplinkybës nutolino Karmen premjerà – ji buvo perkelta á 1874 m. spalá. O tada Bizet ëmë persekioti asmeninës bëdos, paðlijo sveikata, jis persikëlë á Buþivalá. Kaip tik èia 1874 m. vasarà jis pagaliau baigë garsiosios operos juodraðtá, o tada dar du mënesius jà orkestravo. Premjera ir vël buvo nukelta. ÐTAI JI, KARMEN Repeticijos uþtruko beveik penkis mënesius. Ðis laikotarpis buvo ypaè átemptas, nes kompozitorius susidûrë su nuolatiniais sunkumais. Antai choras skundësi paties Bizet sukeltais vokaliniais ir sceniniais nepatogumais. Teatro direktoriai siekë, kad dainininkø vaidyba bûtø kuo nenatûralesnë, nes kitaip jie galá ðokiruoti publikà. Libretistai slapta mëgino átikinti solistus, kad ðie savo partijas labiau dramatizuotø, – taip norëta sumaþinti operos átaigà. Opéra-Comique orkestras pareiðkë, kad partitûra tiesiog nesugrojama, o artistai sunkiai perprato Bizet nuorodas. Bizet nekreipë dëmesio á spaudimà ir laikësi savo nuomonës.

Ir štai vykstant paskutinëms repeticijoms, dideliam Bizet dþiaugsmui, dauguma teatro artistø suvokë ðios operos genialumà, o tarp Paryþiaus muzikø pasklido gandai, kad Bizet valanda artëja. Taèiau dar laukë kritikø ir publikos teismas.

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Kiekviena ðalis turi savà moters ávaizdá. Ispanams patinka stiprios moterys – ir Karmen charakteris, ir jos partija visada yra iððûkis dainininkei. Ði herojë fataliðka, hedonistiðkos prigimties, gyvenanti tik ðia akimirka. Karmen pasirengusi atiduoti save visà, puikiai suvokdama tokio poelgio galià, taèiau ið þmogaus, kuriam atsiduoda, ji pareikalaus to paties. Laisva, nepriklausoma visø savo norø ðeimininkë, Karmen spinduliuoja laukinæ griaunamàjà aistrà ir nepaaiðkinamai viliojanèià jëgà. Ko gero, tai viena charizmatiðkiausiø operos þanro herojø.

Chosë, savo nelaimei pakerëtas Karmen kaprizø, praranda viskà – griûva visas ligtolinis jo pasaulis, moralus, ramus, doras. Jis ásivaizduoja gebësiantis savo meile jà iðlaikyti, galbût netgi atpirkti… Deja. Ðviesiaplaukë Mikaela simbolizuoja Chosë charakterá ir psichologinæ erdvæ iki jam sutinkant Karmen. Jos muzikinis paveikslas – bel canto arijos, ryðkiai kontrastuojanèios su Karmen þanrinëmis charakteristikomis.

Eskamiljas – ásikûnijæs macho, suþavintis Karmen iðoriniu blizgesiu ir jëga. Raðydamas Eskamiljo kupletus (kuriuose dainininkui nurodoma dainuoti „tuðèiai“), Bizet nujautë, kad epizodas bus populiarus, bet ironiðkai pareiðkë: „Jie nori ðlamðto, tai já ir gaus.“

Adolphe’as de Leuvenas kartu su du Locle’iu buvo vienas ið Paryþiaus operos direktoriø.

Jam atrodë, kad á spektaklá susirinkusios ðeimos bus ðokiruotos, kai garsiojoje Opéra-Comique iðvys toká „nepadorø, iðtvirkëliðkà“ kûriná.

Operos dramaturgija primena tobulas Mozarto operas ar Verdi ðekspyriðkumà. Bizet niekada neásiterpia tarp þiûrovø ir personaþø, jis tarsi ið ðalies stebi iki sielos gelmiø jaudinanèias situacijas. Ið esmës operos dramaturgijà veiksmingai kuria leitmotyvai.

Mocartiðkais galëtume laikyti ir vienu metu gyvuojanèius orkestruotës skaidrumà bei tirðtumà, ir neregëtà muzikinës formos atitikimà draminei situacijai. Karmen stipri tuo, kad ði opera nebruka moralo, o tiesiog leidþia herojams veikti.

Karmen aistra susipina su neapgalvotais Don Chosë veiksmais, Mikaelos dievotumu ir Eskamiljo vyriðkumu – taip sukuriama kvapà gniauþianti istorija.

NESËKMË OPÉRA-COMIQUE TEATRE 1875 m. kovo 3-ioji, premjera. Likimas lëmë, kad jos iðvakarëse kompozitorius buvo apdovanotas Garbës legiono ordinu. Ðurmuliuojanti Opéra-Comique publika, ðnabþdëdamasi apie gandais apipintà kûriná, laukia pakylant uþdangà.

Ir prasidëjo… Vietoj klasikiniø, bibliniø ar mitologiniø herojø aðtriame ir vulgariame psichologiniame kontekste scenoje veikë þemøjø visuomenës sluoksniø atstovai. Don Chosë – tai ne Enëjas, o Karmen – ne Didonë. Jie netgi nepanaðûs 9

PRANAÐAS PIOTRAS ÈAIKOVSKIS Vis dëlto vienas kitas kritikas, pavyzdþiui, Joncières’as ir Theodoras del Banville’is, gyrë kûrinio naujoviðkumà.

Banville’is ðlovino solistus, sukûrusius kur kas gyvesnius personaþus, nei visi iki tol pasirodæ Opéra-Comique scenoje.

Premjerà matë Jules’is Massenet, Vincent’as d’Indy, Leo Delibes’as, Gounod ir Offenbachas. Daugelis muzikø suvokë Bizet kûrinio genialumà – Karmen puikiai ávertino Camille’is Saint-Saënsas, Richardas Straussas, Johannesas Brahmsas, Evardas Griegas, Giacomas Puccini, Èaikovskis, Gounod, Debusy, Wagneris („Pagaliau. Tai þmogus, turintis naujø idëjø.“). Brahmsas spektaklyje lankësi per dvideðimtá kartø ir laikë Karmen geriausia opera, paraðyta po Pran-

á Romeo ir Dþuljetà. Vietoj meilës opera kalbëjo apie seksà ir jo griaunamàjà galià. Skandalas!

Karmen ir jos bendradarbës ið tabako fabriko scenoje rûkë, o kur dar siaubinga mirtis finale! Pagrindinë operos herojë – visuomenës atskalûnë, nepaisanti ástatymø ir tvarkos. Opéra-Comique to dar nematë! Stiprus muzikos dramatizmas taip pat nuvylë tuos, kurie teatre ieðkojo vien pramogø. „Ðeimos teatrui“ operos premjera sukëlë ðokà.

Halévy savo dienoraðtyje paþymëjo, kad spektaklis buvo nenusisekæs. Nors po pirmojo veiksmo, antrojo veiksmo áþangos ir Eskamiljo kupletø publika plojo, bet treèiasis ir ketvirtasis veiksmai buvo „pasveikinti“ slogia tyla, kurià sutrikdë tik aplodismentai po Mikaelos arijos. Kritikai buvo negailestingi ir teigë, kad toks libretas tiesiog netinka OpéraComique teatrui. Ernestas Reyeris ir Adolphe’as Jullienas priekaiðtavo kompozitoriui, kad ðis per maþai pasinaudojæs Wagnerio stilistikos principais, kiti rûstavo, esà orkestras tiesiog uþgoþæs vokalà. Opera buvo apkaltinta perdëtu seksualumu, iðpeikta dël þiaurios finalinës scenos. O kà dar kalbëjo Paryþiaus kuluaruose publika...

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cûzijos–Prûsijos karo. Friedrichas Nietzsche savo veikale Wagnerio byla ðlovino Bizet, egzotiðkus jo partitûros elementus ir struktûrà: „Ji uþgimsta, plëtojasi ir natûraliai baigiasi.

Tai puikus vagneriðkosios neurozës prieðnuodis.“ Daug ðiltø þodþiø sulaukë ir operos orkestruotë. Straussas jauniesiems kompozitoriams patarë: „Jei norite iðmokti orkestruoti, nestudijuokite Wagnerio natø – gilinkitës á Karmen partitûrà.

Koks nuostabus taupumas, kaip puikiai randa savo vietà kiekviena nata ir pauzë.“ Taèiau publika buvo negailestinga. Spektaklis ðiaip ne taip parodytas 48 kartus ir po Bizet mirties sausio mënesá nusto-

Friedrichas Nietzsche savo veikale Wagnerio byla ðlovino Bizet, egzotiðkus jo partitûros elementus ir struktûrà: „Ji uþgimsta, plëtojasi ir natûraliai baigiasi. Tai puikus vagneriðkosios neurozës prieðnuodis.“

tas rodyti. Á pabaigà teatro vadybininkai bilietais prekiavo urmu, veltui stengdamiesi pritraukti á salæ þiûrovø.

LAIMINGA PABAIGA

Bizet sukûrë veikalà, sulaukusá tûkstanèiø atlikimø, daugybës ávairiausiø teatro pastatymø. Pagal jo muzikà statomi baleto spektakliai (turbût þymiausias ið jø – pagal Rodiono Ðèedrino siuità kubieèiø choreografo Alberto Alonso sukurpati populiariausia pasaulyje opera.“ Deja, Bizet gyveno per tas baletas su Maja Pliseckaja), miuziklai, sukurta begalë trumpai, kad pamatytø, kaip su kaupu iðsipildë ðie þodþiai. populiariosios muzikos adaptacijø ir kino siuþetø – keliasBizet karjera – klasikinë frazës „pristigo laiko“ iliustracija. deðimt nebyliøjø, garsiniø ir netgi animaciniø filmø, o kur dar melodijos skambesys reklamiKARMEN TRIUMFAS niuose klipuose ar mobiliuosiuose telefonuose. Susiþavëjimas XIX a. pranKarmen triumfo þygis prasidëjo Vie1880 m. Èaikovskis savo cûzø operos ðedevru neslûgsta. noje 1875 m. rudená. Naujàja Bizet 1880 m. Èaikovskis savo mecenatei Nadeþdai von Meck raðë: „Manau, kad po kokiø deðimties metø Karmen bus

opera ten buvo susidomëta jau anksèiau – prieð pat mirtá autorius pasiraðë sutartá. Prieð premjerà Vienoje ilgametis Bizet bièiulis Guiraud sukûrë muzikà kalbamiesiems dialogams, ðis variantas iki ðiol daþniausiai ir statomas. Nors originalioji versija kartais gráþta á teatrus kaip dramaturgiðkai pagrástesnë, galima ginèytis, kuri ið jø paveikesnë.

mecenatei Nadeþdai von Meck raðë: „Manau, kad po kokiø deðimties metø Karmen bus pati populiariausia pasaulyje opera.“

Prabëgus keleriems metams, po sëkmingø pastatymø Vienoje, Briuselyje, Londone ir Niujorke, Karmen gráþo á Paryþiø. Ironiðka, bet dabar ir èia jà lydëjo triumfas. Taip neseniai dël amoralumo ignoruota opera sulaukë entuziastingo publikos dëmesio. 1883 m. Bizet ðedevras parodytas Paryþiaus Opéra-Comique .

Nors kompozitorius Karmen triumfo taip ir neiðvydo, já spëjo patirti jo naðlë ir sûnus. 1886 m. Bizet naðlë Geneviève ištekëjo uþ turtingo Paryþiaus advokato, Rothschildø giminaièio Emile’io Strausso. Karmen partitûrà ji atidavë Paryþiaus konservatorijos bibliotekai, daugelá kitø rankraðèiø iðdalijo Bizet draugams. Autoriná honorarà uþ operos spektaklius ji perdavë Rothschildo ákurtam oftalmologijos fondui, o senatvëje ásteigë Bizet atminimui skirtà kasmetæ premijà „ne vyresniam kaip keturiasdeðimties metø kompozitoriui, sukûrusiam neeiliná kûriná“.

1904 m. Paryþiuje ávyko tûkstantasis Karmen spektaklis, o apie ðios operos 1959 m. premjerà spauda raðë: „...stulbinantis pastatymas, kuriame dalyvauja milþiniðkas skaièius artistø, tiek þmoniø, tiek gyvûnø (...), Guiraud reèitatyvai ir Prezidentas de Gaulle’is“.

Karmen ekranizuota ne tik garsiausiose Anglijos, Ispanijos, Italijos, JAV, Prancûzijos ar Vokietijos kino studijose, bet ir Argentinoje, Filipinuose, Honkonge, Japonijoje, Meksikoje, Ðvedijoje. Jà interpretavo þymiausi XX a. reþisieriai – Charlie’is Chaplinas, Carlosas Saura, Peteris Brookas, Jeanas-Lucas Godard’as, Francesco Rosi ir kiti. Nuolat sulaukiama ávairiausiø operos versijø – garsiàsias arijas dainuoja animaciniø filmø veikëjai, Takarazuka Revue pastatytame spektaklyje Taika: ponas Karmenas herojai susikeièia vietomis – Karmen dainuoja vyras, Chosë – moteris, 1953 m. pasirodë operos parodija Spaikas Dþonsas nuþudo Karmen, kur Karmen dirba kramtomosios gumos fabrike.

Taèiau pirmiausia Karmen – kertinis kiekvieno operos teatro repertuaro akmuo, daþniausiai pasaulyje statoma opera, labiausiai jaudinanti operos apraiška, idealus šio þanro pavyzdys.

KARMEN LIETUVOJE 1887 m. Vilniuje dirbusi A. Kartanovo rusø operos trupë per sezonà parodë dvylika Karmen spektakliø. Lietuvos operoje Karmen premjeros ávyko 1924, 1930, 1931, 1940, 1945, 1948, 1972, 1985 ir 2002 m., ne kartà jà statë Kauno ir Klaipëdos muzikiniai teatrai, Èikagos lietuviø opera.

Karmen asmenybë vis sugráþta á scenà – apgaubta pirmykðtës kûrinio atmosferos ar ðiandienos konteksto, asketiðka ar tarp praðmatniø dekoracijø. Kaskart naujai ákûnyta, ji vis ta pati – intriguojanti, kelianti nuostabà, baimæ ir susiþavëjimà.

Eglë Ulienë

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Carmen THE MOST POPULAR OPERA IN THE WORLD It is probably appropriate to start our story about Carmen with a fact that it is the most often staged opera in the world, while its author Georges Bizet remains in the operatic history primarily as an author of that single masterpiece. 135 years have passed since its premiere at the Opéra-Comique theatre in Paris, and even to this day no other operatic work can equal G. Bizet‘s Carmen when it comes to the number of different stagings.

GEORGES BIZET (1838-1875) 25 October, 1838, Tour d’Auvergne street. On that day a family of singing teacher, amateur composer Adolphe Armando Bizet and pianist Aimée Marie Louise Leopoldine Josephine Delsarte celebrated the birth of their son, future composer Alexandre César Léopold Bizet - during baptism he also received the name of George by which we recognize him today.

Georges Bizet displayed unique talent for music quite early and was accepted into the Paris Conservatory two weeks before his twentieth birthday. Here his teachers were Pierre Zimmermann (he taught polyphony and was often assisted by his son-in-law Charles Gounod), Antoine François Marmontel (piano), François Benoist (organ). After Zimmermann died, the art of composition was taught by Jaques Fromental Halévy. Some of Bizet‘s most important early works include Symphony No. 1 in C. This creation was unknown until the end of 1933 when it was discovered in the archives of Paris Conservatory and performed for the first time only in 1935.

In 1857 Bizet participated in J. Offenbach’s competition for creating operetta Doctor Miracle and shared the first prize with Ch. Lecocq. He also got acquainted with G. Rossini, who lived in the suburbs of Paris - the two became good friends. In his letter to F. Romani Rossini wrote: “Mister Bizet is so talented that he deserves you and me to take 12

care of him”. During his graduation from the conservatory Bizet won Grand Rome Prize for his cantata Clovis et Clotilde, which enabled him to live and study in Rome for three years, and moved to Rome just before Christmas.

Except for those three years spent in Rome (1858-1860), in the historical villa of Medicis, Bizet spent the rest of his life in Paris. In Rome he created his only piece of sacred music Te

Deum for soloists, chorus and orchestra, also wrote opera buffa Don Procopio. After his graduation Bizet travelled around Italy, mesmerized by its nature and people. He also contemplated his fantastic idea of creating a symphony in four parts, each one of them serving as a musical picture of four Italian cities - Rome, Venice, Florence and Naples. However, mother’s illness brought him home to Paris.

FATAL WOMEN On the whole Georges Bizet was a charming human being - energetic, friendly, likeable and with a great sense of humour. He never had any problems when it came to communicating with people. In 1865 Georges experienced a fatal meeting on a train from Paris en route to a small village Le Vesinet - he met a woman named Celeste Venard, who according to some sources became a prototype for Carmen. Venard’s character was certainly a colourful one.

To earn her living Celeste sang at a local bar, among others she also sang songs by Sebastian de Yradiero. Bizet probably loved these songs, since one of them was later used as a theme motive for the famous Carmen’s Habanera.

The relationship of Georges and Celeste ended suddenly because of Halevy family disapproval. Who knows, maybe this encounter was the most significant event of Bizet’s life?

During that time Bizet wrote his opera The Pearl Fishers - a drama of love and tradition set in Ceylon, arranged two operas by A. Thomas, created another opera The Fair Maid of Perth (after Walter Scott’s novel) and symphony entitled Rome. Although these works didn’t bring him

success, they still strengthened the image of Bizet as a composer with its own unique character and creative style.

began its stunning career that resulted in the gift of immortality to Bizet.

In June 1869 Bizet married Geneviève Halévy (1849-1926), daughter of his beloved teacher. Their son Jacques was born in 1872. Unfortunately, their life together wasn’t a happy one. The family was poor and Georges’ creations achieved only moderate success. Composer was bothered by health problems, outbreaks of depression. Bizet refused to give piano lectures and write music for this instrument, and decided to dedicate himself to orchestral pieces (such step was met by great disapproval of his mother-in-law). At the outbreak of Franco-Prussian war in July of 1870 Bizet had to join the French National Guard, which certainly limited his creative career. In 1871 Bizet and his family fled to Parisian suburbs to avoid the bloodshed. That same year he became member of the Conservatoire examination

CARMEN. WHAT DO YOU EXPECT?

committee for composition at the Paris Conservatory.

“WOULD YOU LIKE TO WRITE AN OPERA FOR US?” Such question was given to Bizet in the beginning of 1873

by Camille du Locle, general manager of the OpéraComique theatre. The premiere of this new work was due at the end of the year. Bizet chose a novella by Prosper Merimée as his background. Ludovic Halévy and Henri Meilhac undertook to write a libretto. The opera was being written during the summer of 1873, but the work was finished only at the end of 1874. Due to different disturbances Carmen was performed for a first time only on 3 March, 1875.

Carmen was commissioned by a theatre that usually chose a repertoire of “lighter” quality. The death of Carmen certainly shocked the audience... Three months after the premiere, in the evening of the 33rd performance, performer of the title role Célestine Galli-Marié suddenly passed out backstage, overcome by an unexplainable bad feeling. At that same moment in Bougival Georges Bizet suffered from a heart attack. It was the eve of his 6th marriage anniversary.

His premature death reminds us of Mozart, Mendelssohn or Schubert’s fates. Bizet died at the age of 36 and who knows, what other masterpieces he could have created?

Composer was buried in Père Lachaise cemetery in Paris, beside Chopin and Rossini.

His Carmen was soon removed from the repertoire of the Opéra-Comique but travelled to Vienna, Brussels, London and New York. After five years it triumphantly returned to Paris where it was greeted with huge enthusiasm and

Librettists Halévy and Meilhac were against Bizet’s choice of libretto from the very beginning. However, according to the composer, opera had to astonish and impress audiences, to turn superficial moralistic opera comique genre of the bourgeois into a moving, realistic theatrical event.

The hard work began in the summer of 1873. Although Bizet and his librettists toned down the shocking contents of Merimée’s novella, the work still raised acute disagreements. Carmen’s problem was that while it preserved external features of the genre (i.e. spoken dialogues), its characters came from lower social positions - a corporal, a debaucheruous Gypsy and a cult-figure of bullfight - and as if that wasn’t enough, their emotions were treated with great care and seriousness. In August of 1874 the creative team finally started rehearsing. For a long time creators of the opera couldn’t find a suitable performer of the title role. After financial negotiations, in December of 1873 a famous mezzo-soprano Célestine Galli-Marié agreed to create the role of Carmen (she agreed to get 2500 francs a month for four months).

CARMEN - HERE SHE IS! Rehearsals lasted for almost five months. This period of time was exceptionally tense, because composer had to face constant problems. Chorus was complaining about vocal and stage inconveniences, created by Bizet himself; managers of the theatre wanted to decrease the realism of singers’ acting because according to them it could shock the audience. Librettists were secretly trying to convince soloists to overdramatize while performing their roles - by doing so they tried to lessen the suggestibility of the work.

Opéra-Comique orchestra stated that the score is simply impossible to play while artists had trouble understanding Bizet’s directions.

Bizet paid no attention to such pressure and kept his opinion about every possible problem. When first rehearsal started, Bizet was overjoyed - many artists of the theatre claimed the opera to be a work of genius, musicians of Paris started speaking of Bizet’s approaching hour of glory. However, the opera still had to stand the trial of the audience and critics.

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charmed by gypsy’s whims, looses everything - his world, once moral, calm and virtuous, is now shattered to pieces.

He hopes that his love will keep Carmen, maybe even redeem her... Sadly, his hopes are only illusions.

A blonde girl Micaëla symbolizes Don Jose’s character and psychological state before he meets Carmen. Her musical characteristics are based in bel canto arias, contrasting heavily with Carmen’s music. Escamillo is an incarnation of macho, who mesmerizes Carmen with his outer brilliance and strength.

The dramaturgy of the work reminds of perfected operas

by Mozart or Verdi’s “shakespeare-esque” works. Bizet never comes between the audience and his characters, he remains at the side watching situations that stir one’s soul. The dramatic power of the opera is effectively created by leitmotifs. Carmen borrows from Mozart the united brightness and density of the score, also the incomparable unity of musical form and dramatic situation. Carmen’s strength lies in a fact that it doesn’t offer any moral judgments - it simply allows its characters to act in their own unique spheres. Thus Carmen’s passion is intertwined with Don Jose’s unwise reactions, Micaëla’s piety and Escmaillo’s virility; this is how a breathtaking story is born.

OPÉRA-COMIQUE. THE FIASCO SPAIN CREATED BY A FRENHMAN Is this opera Spanish or French? In the opera one can hear Spanish rhythms, a few Spanish songs, Habanera, Seguidilla, motives of Gypsy music, playing of castanets.

Bizet’s relationship with Spanish spirit is quite interesting.

When someone asked him if he had plans to travel to Spain for the improvement of his score, he replied “No, that would only confuse me”. And still, Carmen is one of the most beautiful musical landscapes of Spain, created with French sense of refined style.

CHARACTERS TRIANGLE

IMPRISONED

INSIDE

A

LOVE

Each country has its own understanding of femininity. The Spanish like strong women, thus the character of Carmen is always a challenge for any singer. She is fatalistic, hedonistic, living only in current moment and not looking forward. “Free, independent mistress of all of her wishes”, Carmen radiates destructive, wild passion and unexplainably attractive power. She is probably the most charismatic character in operatic history. Don Jose, 14

3 March, 1875, the premiere evening. Destiny prevailed that Bizet be called Knight of the Legion of Honour. OpéraComique’s audience, speaking in a whisper about the premiere surrounded with rumours, couldn’t wait for the curtain to go up.

Scandal! Carmen and her co-workers from the factory were smoking on stage, and please don’t forget the horrifying death in the final scene! Opéra-Comique has never before seen anything like that. Moreover, intensive dramatic power of the music greatly disappointed all those who went to theatre only to be entertained. The premiere was a major shock for the so-called “family theatre”. Critics were merciless and claimed that such libretto is simply unsuitable for the Opéra-Comique. The opera was accused of exaggerated sexuality and condemned for its cruel final scene.

TCHAIKOVSKY - THE PROPHET Despite all negative comments, some critics, i.e. Joncieres and Theodor del Banville praised the work for its innovative

spirit. Banville glorified singers for creating characters that were so much more alive than those who graced the stage of the Opéra-Comique until that time. Premiere was witnessed by Charles Gounod, Jules Massenet, Vincent d’Indy, Leo Delibes and Jacques Offenbach. Many musicians uderstood the genius of Bizet - Carmen was praised by Saint- Saëns , Tchaikovsky, Richard Strauss, Brahms, Gounod, Debussy, Grieg, Puccini and Richard Wagner (“Finally. A human being with new ideas”). Brahms went to see the opera for 30 times and called Carmen the best opera to be written after the Franco-Prussian war.

Friedrich Nietzsche (in The Case of Wagner) hailed Bizet and exalted the exotic elements of the score, as well as its structural clarity; “it builds, organizes, finishes”.

The orchestration received a lot of warm words as well; Richard Strauss advised young composers: “If you want to learn how to orchestrate, don’t study Wagner’s scores, study the score of Carmen. What wonderful economy, and how every note and every rest is in its proper place”.

In 1880 P. Tchaikovsky wrote to his patron N. von Meck: “I am absolutely sure that in some ten years Carmen shall be the most popular opera in the world”. Unfortunately, Bizet didn’t live to see these words coming to life. Bizet’s career is a classical example of a phrase “there simply wasn’t enough time”.

TRIUMPH OF CARMEN

Carmen’s triumphal procession started in the autumn of 1875, in Vienna. Here an interest in Bizet’s new opera was sparkled earlier - on the eve of his death Bizet signed a contract with the theatre. Composer’s long-time friend Ernest Giraud wrote music for the spoken dialogues, tailored for the premiere in Vienna - this variant is most often used to this day. Although the original version returns to theatres from time to time as it is more dramatically reasoned, it is always possible to argue, which of the versions is stronger.

press wrote: “...crowded and mesmerizing production, uniting a huge number of participants - both people and animals (...), we also heard Guiraud’s recitatives, the performance was witnessed by President de Gaulle”.

THE HAPPY END Bizet created a masterpiece that was interpreted in thousands of different performances and productions. His music serves as a material for ballet works (most famous of them being Rodion Shchedrin’s suite by Cuban choreographer Albert Alonso, created together with Maya Plisetskaya), musicals, many popular music adaptations, cinema - numeruous silent movies, sound-films and even cartoons, not to mention advertisements or mobile phone melodies. The admiration of the great 19th century French opera masterpiece is still alive even today.

The theme of Carmen was put on screen not only in the most famous cinema studios ir England, France, Italy, USA, Denmark or Spain, but also in Mexico, Japan, Argentina, Philipines, Sweden, Hong Kong. It was interpreted by some of the greatest directors of the 20th century, such as Charlie Chaplin, Carlos Saura, Peter Brook, Jean-Luc Godard, Francesco Rosi and others. Despite all different visions of the work, Carmen is first of all a major cornerstone of every opera theatre’s repertoire, staged more often than any other operatic work. It is also the most moving facet of opera and an ideal example of this specific art form.

CARMEN IN LITHUANIA In 1887 A. Kartanov’s opera troupe that worked in Vilnius, showed 12 performances of Carmen in one season. At the Lithuanian opera Carmen was premiered in 1924, 1930, 1931, 1940, 1945, 1948, 1972, 1985 and 2002, this opera was also staged by Musical Theatres of Kaunas and Klaipëda, Lithuanian Opera Company of Chicago.

The character of Carmen keeps returning: sometimes After a few years, having won Vienna, Brussels, London surrounded by the original spirit of the work, or put in and New York, Carmen returned to today‘s context, ascetic or decorated Paris. Ironically, even here it was with lush stage designs. Every time P. Tchaikovsky wrote to his rewarded with fantastic success. In she achieves new incarnations, 1883 Bizet’s masterpiece returned to remaining true to her essence - she patron N. von Meck: Paris’ Opéra-Comique. intrigues, rouses wonder, fear and “I am absolutely sure that admiration. in some ten years Carmen In 1904 in Paris Carmen was played shall be the most popular for 1000 times already. In 1959, during Eglë Ulienë the premiere at the Paris Opera, the opera in the world”.

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KARMEN pastatymai Lietuvos operoje PRODUCTIONS OF CARMEN AT THE LITHUANIAN OPERA 1924 m. vasario 7 d. | 7 February 1924 dirigentas | conductor Juozas Tallat Kelpša reþisieriai | directors Aleksandras Rusteikis ir Dimitrijus Arbeninas dailininkas | set designer Vladas Didþiokas 1930 m. geguþës 3 d. | 3 May 1930 dirigentas | conductor Mykolas Bukša reþisierius | director Teofanas Pavlovskis scenografas | set designer Petras Kalpokas kostiumø dailininkë | costume designer Olga Dubeneckienë 1931 m. spalio 28 d. | 28 October 1931 dirigentas | conductor Juozas Tallat Kelpša reþisierius | director Teofanas Pavlovskis dailininkas | set designer Aleksandras Benua 1940 m. rugsëjo 24 d. | 24 September 1940 dirigentas | conductor Juozas Tallat Kelpša Teofano Pavlovskio pastatymà reþisavo | director Stasys Dautartas dailininkas | set designer Aleksandras Benua 1945 m. gruodþio 13 d. | 13 December 1945 dirigentas | conductor Mykolas Bukša reþisierius | director Petras Oleka dailininkas | set designer Aleksandras Benua 1948 m. birþelio 27 d. | 27 June 1948 dirigentas | conductor Algimantas Kalinauskas reþisierius | director Antanas Zauka dailininkas | set designer Aleksandras Benua 1972 m. spalio 10 d. | 10 October 1972 dirigentas | conductor Jonas Aleksa reþisierius | director Eligijus Domarkas dailininkas | set designer Fricis Matis pagal Aleksandrà Benua 1985 m. kovo 6 d. | 6 March 1985 dirigentai | conductors Juozas Domarkas ir Alvydas Šulèys reþisierë | director Vlada Mikðtaitë scenografas | set designer Adomas Jacovskis

2002 m. vasario 8 d. | 8 February 2002 dirigentai | conductors Liutauras Balèiûnas ir Alvydas Šulèys reþisierius | director Lech Majewski scenografas | set designer Janusz Kapusta kostiumø dailininkë | costume designer Maria K. Szarùat

Fotogrfas Michail Raðkovskij

kostiumø dailininkë | costume designer Virginija Idzelytë

Karmen. 2002 m. vasario 8 d.

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Vladislava Grigaitienë

Kipras Petrauskas

Lietuvos opera KARMEN:

DON CHOSË:

Vladislava Grigaitienë Marijona Rakauskaitë Vincë Jonuðkaitë-Zaunienë Marija Lipèienë Aliodija Dièiûtë Marija Veriovkinaitë Aldona Vaitkutë Viktorija Melieðytë Vlada Mikðtaitë Marija Aleðkevièiûtë Birutë Almonaitytë Irena Jasiûnaitë Nijolë Ambrazaitytë Vitalija Ðiðkaitë Auðra Stasiûnaitë Laima Domikaitë Laima Jonutytë Inesa Linaburgytë Ligita Raèkauskaitë

Kipras Petrauskas Aleksandras Kutkus Kazimieras Gutauskas Donatas Lukštoraupis Vladas Ivanauskas Vladas Usinas Balys Radþius Valentinas Adamkevièius Stasys Liupkevièius Virgilijus Noreika Gehamas Grigorianas Zenonas Þemaitis Èeslovas Nausëda Antanas Tveraga Algirdas Janutas Audrius Rubeþius Vytautas Kurnickas Sergejus Larinas

Karmen. 1924 m. vasario 7 d.

17

Oper , Londono Cadogan Hall , Madrido Auditorium de Nationale, Maskvos P. Èaikovskio konservatorijos Didþiojoje salëje, Osakos

Festival Hall ir Symphony Hall , Tokijo Metropolitan Art Space, taip pat Hamburgo ir Kelno filharmonijø salëse.

ROBERTAS ÐERVENIKAS, Conductor An active, productive and authoritative ROBERTAS ÐERVENIKAS, dirigentas Veiklus, produktyvus ir autoritetingas dirigentas Robertas Ðervenikas ypaè vertinamas uþ aktyvià ir ávairialypæ kûrybinæ raiðkà – lietuviø kompozitoriø dideliø simfoniniø kûriniø premjeras bei átaigias ir brandþias ðiuolaikinës ir klasikinës muzikos interpretacijas. Ðio ryðkiausio savo kartos Lietuvos dirigento intensyvi kûrybinë veikla 2005 m. ávertinta Nacionaline premija.

Sankt Peterburgo konservatorijoje R. Ðervenikas baigë chorinio bei operinio ir simfoninio dirigavimo specialybæ. Diriguoti Lietuvos nacionaliniam simfoniniam orkestrui pradëjo dar 1993 m. Su LNSO jis dalyvavo A. Benedetti Michelangeli, H. Berliozo, Eviano, Forbacho, Liudvigsburgo, Meklenburgo-Pomeranijos, Osakos, Reingau ir Vilniaus festivaliuose.

2007 m. su LNSO koncertavo Anglijoje, o su Lietuvos kameriniu orkestru (taip pat ir 2009 m.) – Japonijoje.

R. Šerveniko diriguojamuose koncertuose dalyvavo altininkai J. Bašmetas, W. Christas, pianistai F. Kempfas, M. Pletniovas, A. Volodosis, smuikininkai S. Chang, M. Fedotovas, J. Rachlinas, trimitininkas M. Andre, violonèelininkai D. Geringas, M. Maisky, M. Rostropovièius ir daugelis kitø garsiø atlikëjø. Geriausiu partneriu tarp jaunosios kartos dirigentø R. Ðervenikà vadina áþymusis rusø pianistas Denisas Macujevas.

Nuo 2008 m. vasario mën. R. Ðervenikas – Lietuvos nacionalinio operos ir baleto teatro muzikos vadovas. Ðiame teatre jis yra parengæs M. Musorgskio operos Borisas Godunovas , G. Verdi operos Traviata ir A. Šenderovo baleto

Dezdemona premjeras, diriguoja baletus Gulbiø eþeras, Mieganèioji graþuolë, Raudonoji Þizel, Romeo ir Dþuljeta.

R. Ðervenikas yra kvieèiamas diriguoti Izraelio kameratai, Miuncheno valstybinës operos, Rusijos valstybiniam, Sankt Peterburgo filharmonijos, Slovënijos nacionalinës operos ir kitiems uþsienio orkestrams. Jo diriguojama muzika skambëjo beveik visose Europos ðalyse, Izraelyje, Japonijoje ir Pietø Afrikos Respublikoje. Diriguota Amsterdamo Concert-

gebouw, Berlyno Konzerthaus, Frankfurto Alte

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conductor Robertas Šervenikas is often praised for the intensive and diverse creative activities ranging from the first performances of largescale symphonic compositions by Lithuanian composers to distinctive and mature interpretations of contemporary and classical repertoire. He is numbered among the most talented

and

professional

Lithuanian

conductors of his generation. In recognition of his accomplishments, he was awarded the Lithuanian National Arts and Culture Prize in 2005. After graduating from the St. Petersburg Conservatory in choral and operatic-orchestral conducting, Šervenikas began working with the Lithuanian National Symphony Orchestra (LNSO) in 1993 and was appointed its Second Conductor in 2000. He led the LNSO in a number of music festivals including Rheingau, Ludwigsburg and Mecklenburg-Vorpommern (Germany), Forbach (France), A. Benedetti Michelangeli (Italy), Osaka, H. Berlioz, Evian and Vilnius. 2007 found him performing in the UK with the LNSO and in Japan with the Lithuanian Chamber Orchestra. He is regularly invited to conduct such orchestras as the Sankt Petersburg Philharmonic, the Slovenian National Opera, the Russian State Symphony Orchestra

and

the

Israel

Camerata.

Šervenikas has collaborated with cellists M. Rostropovich, D. Geringas and M. Maisky, trumpeter M. Andre, pianists A. Volodos, M. Pletnev and F. Kempf, violinists S. Chang, M. Fedotov and J. Rachlin, violists W. Christ and Y. Bashmet among other celebrated soloists. The famed Russian pianist Denis Macujev has singled out Šervenikas as his best partner among the conductors of younger generation.

In February 2008, Šervenikas was appointed the Music Director of the Lithuanian National Opera and Ballet Theatre (LNOBT). In this theatre he prepared the premieres of M. Mussorgsky’s opera Boris Godunov, G. Verdi’s

La traviata and A. Šenderovas’ Desdemona, and is currently conducting such ballets as The

Sleeping Beauty, Swan Lake, Romeo and Juliet and The Red Giselle.

Since 2008, he has been regularly invited to

kritikø ðiltai sutiktà operà Falstafas, vëliau statë

Nice, Paris, Montpellier, Monte-Carlo, Bordeaux)

the podium of the Munich State Opera.

Trubadûrà ir Sevilijos kirpëjà.

as well as abroad (Germany, Belgium, England,

Šervenikas has conducted in almost all

1999–2003 m. jis reþisavo C. Gounod Romeo ir

Argentina and the United States, Japan, Italy,

European countries, Japan, the Republic of

Dþuljetà (Èikagos lyrinë opera), kurioje pa-

Spain) and particularly in the world’s most

South Africa, Israel and Russia appearing in

grindinius vaidmenis atliko R. Alagna ir

prestigious operahouses, such as Covent

such concert venues as the Great Hall of the

A. Gheorghiu, statë Meilës eliksyrà (Kapitoli-

Garden, Metropolitan Opera, La Scala di

Moscow

Amsterdam’s

jaus teatras), G. Meyerbeero Hugenotus (Mar-

Milano, Opéra Bastille, Teatro Colon in Buenos

Concertgebau , Madrid’s Auditorium de

tina Frankos vasaros festivalis), L. Delibes’o

Aires and others.

nationale , Frankfurt’s Alte Oper, London’s

Lakmæ (Palermo Massimo teatras, taip pat

Since 1993, Mr. Bernard has had the occasion

Cadogan Hall, Berlin’s Konzerthaus, Osaka

rodyta Tokijuje ir Filadelfijoje), J. Massenet

to stage more than 35 revivals of Mr Joël’s

Festival Hall, Osaka Symphony Hall, Tokyo

Verterá (Martina Frankos vasaros festivalis),

productions in France and abroad, notably

Metropolitan

Romeo ir Dþuljetà (Tokijas), Vindzoro ðmaikð-

Romeo et Juliette at the Royal Opera House

Conservatory,

Art

Space,

as

well

as

philharmonic halls in Cologne, Hamburg and

tuoles (Nantas ir Anþë).

Covent Garden and Lucia di Lamermoor at the

Sankt Petersburg.

Tarp 2004–2005 m. sezono darbø – naujas Lui-

Metropolitan Opera.

zos Miler pastatymas Olandijos Nationale

After having been appointed as Associate

Reiseopera teatre, Meilës eliksyras Sent

Stage Director and Production Manager at the

Etjene, Romeo ir Dþuljeta Pekino muzikos

Th éâ tre du Capitole in 1996, he made his

festivalyje, Lahoro karalius atnaujintame Vene-

personal debut, at the age of 29, staging Falstaff

cijos La Fenice teatre, didþiulës sëkmës sulau-

for the Spoleto Festival in Charleston, SC. to

kusi Bohema Veronos Arena di Verona ir Lo-

great critical acclaim, followed by Il Trovatore

zanoje pastatytas Rigoletas.

in Toulouse and by a new production of Il

Pastarøjø metø A. Bernard’o darbai: Luiza Miler

Barbiere di Siviglia (1998), also at the Théâtre

(La Fenice teatras), Traviata (Praha, Lozana,

du Capitole.

Tokijas), Falstafas (Neapolio San Carlo ir Buenos

Between 1999 and 2003, he produced

Airiø Colon teatrai), Rigoletas (Marselis, Nantas),

Gounod’s Roméo et Juliette for the Chicago Lyric

Meilës eliksyras (Tulûza), Kaimo garbë (Sankt

Opera with Roberto Alagna and Angela

ARNAUD BERNARD, reþisierius

Galenas), Karmen (Helsinkis, Lozana, Tokijas,

Gheorghiu in the leading roles. He presented a

Arnaud Bernard’as Strasbûro nacionalinëje

Bilbao), Pikø dama (Tulûza), Bohema (Verona),

new production of L’Elisir d’amore at the

konservatorijoje studijavo ávairius muzikinius

Falstafas ir Bohema (Zagrebas).

Théâtre du Capitole in Toulouse for the debut of

dalykus – smuikà, orkestrà, muzikos analizæ ir

Tarp menininko ateities planø – Þydë ir Kaukiø

Marcelo Alvarez in the role of Nemorino, a new

t. t. 1986–1987 m. sezonà jis grieþë smuiku

balius (Sankt Peterburgas), Penelopë (Atënai),

production of Meyerbeer’s Les Huguenots for

Strasbûro filharmonijos orkestre. 1988 m. tapo

Falstafas (Bilbao), Hofmano pasakos (Atënai),

the summer Festival in Martina Franca, Italy.

þymaus reþisieriaus N. Joëlio asistentu, tuo pat

Romeo ir Dþuljeta (Lozana, Marselis, Ljeþas),

He also produced a new production of Lakmé

metu buvo ir reþisieriaus J. C. Auvray asistentas

Likimo galia (Bolonija) ir Otelas (Maskvos

(revival in Tokyo and Philadelphia) for the Teatro

Prancûzijoje ir Vokietijoje.

didysis teatras).

Massimo in Palermo, Werther for Martina

1989 m. A. Bernard’as tapo Kapitolijaus teatro

Franca, Roméo et Juliette in Tokyo, Die Lustigen

(Tulûza) reþisieriaus padëjëju ir asistentu. Ðiuo

Arnaud BERNARD, Director

Weiber von Windsor in Nantes and Angers.

laikotarpiu jis taip pat dirbo asistentu ávairiuose

Arnaud Bernard, born in 1966, began playing

In 2004-2005 he worked on a new production

Prancûzijos miestuose (Nansi, Lione, Strasbû-

the violin at the age of 6. He entered the

of Luisa Miller for the National Reiseopera in

re, Nicoje, Paryþiuje, Monpeljë, Bordo) ir presti-

Conservatoire National de Strasbourg at the age

The Netherlands, L’Elisir d’amore in Saint-

þiðkiausiuose uþsienio (Anglijos, Argentinos,

of 17, where he completed a wide range of

Etienne, Roméo et Juliette at the Beijing Music

Belgijos, Ispanijos, Italijos, Japonijos, JAV,

musical studies including violin, orchestra and

festival, Le Roi de Lahore for the re-opening of

Vokietijos) operos teatruose: Covent Garden,

analysis. Subsequently, he was engaged as

La Fenice in Venice. La Bohème at the Arena

Metropolitan Opera, La Scala, Opéra Bastille,

violinist with the Philharmonic Orchestra of

of Verona to great critical acclaim, Rigoletto in

Teatro Colon ir t. t.

Strasbourg for the 1986 and 1987 seasons.

Lausanne .

A. Bernard’as daugiau kaip 35 kartus buvo

In 1988, he became an assistant to the

More recently, he has staged Luisa Miller at

N. Joëlio spektakliø reþisierius statytojas ne tik

renowned director Nicolas Joël. At the same

the Fenice, La Traviata in Prag (PSO), a new

Prancûzijoje, bet ir uþsienyje. Tarp ryðkiausiø

time he served as assistant to Jean-Claude

Falstaff at the Teatro San Carlo in Napoli for the

darbø – Romeo ir Dþuljeta (Covent Garden) ir

Auvray throughout France and Germany.

opening of the season 2006, Rigoletto in

Liuèija di Lamermur (Metropolitan Opera).

In 1989, he was hired by the Théâtre du Capitole

Marseille and Nantes, L’Elisir d’amore in

1996 m. jis paskirtas Kapitolijaus teatro reþi-

in Toulouse as a stage manager and since that

Toulouse, a new production of Cavalleria

sieriaus pavaduotoju ir spektakliø vadybinin-

time has worked as an assistant director for all

Rusticana in St. Gallen, a new production of

ku, o netrukus ávyko ir jo paties reþisûrinis de-

major productions. During this period, he

Carmen in Helsinki in coproduction with

biutas: bûdamas dvideðimt devyneriø, Spoleto

continued his activities as an assistant

Lausanne and Tokyo, a new production of The

festivalyje (Èarlstonas) A. Bernard’as pristatë

throughout France (Nancy, Lyon, Strasbourg,

Queen of Spades in Toulouse, Falstaff at the

19

Teatro Colon, revival of la Bohème in Verona,

ir S. Prokofjevo Meilæ trims apelsinams (abiejø

Carmen and La Traviata in Lausanne and in

reþ. G. Deflo), o vëliau abu bendradarbiavo kur-

Frigerio on the film Le Hussard sur le toît ,

Tokyo, Carmen in Bilbao, Falstaff and La

dami C. Monteverdi Orfëjo , P. Èaikovskio Pikø

directed by Jean-Paul Rappeneau (1995).

Punishment. In cinema, he worked with Ezio

Bohème in Zagreb. In preparation : La Juive

damos (Barselonos Gran Teatre del Liceu),

The year 1997 marked the beginning of his

and Un Ballo in Maschera in Saint-Petersburg,

P. Mascagni Kaimo garbës , J. Massenet

intensive collaboration with William Orlandi. At

Pénélope by Fauré in Athens (Greek National

Teresës, A. Ponchielli Dþokondos (Ciuricho

Paris’ Opéra Bastille the two worked together

Opera), Falstaff in Bilbao, Les Contes

Opernhaus), G. Rossini Semiramidës (Rossini

on Massenet’s Don Quichotte and Prokofiev’s

d’Hoffmann in Athens (Megaron), Romeo and

operos festivalis Pezare), G. Meyerbeero

Love for Three Oranges , both directed by

Juliet by Gounod in Lausanne, Marseille and

Hugenotø, J. Massenet Lahoro karaliaus (reþ.

Gilbert Deflo. Also in tandem with Orlandi,

Liège, La Forza del Destino in Bologna, Otello

A. Bernard’as, La Fenice teatras), G. Verdi

there followed set designs for Monteverdi’s

at the Bolshoï Theatre.

Luizos Miler (Enschedës Nationale Reisopera

Orfeo and Tchaikovsky’s The Queen of Spades,

ir Venecijos La Fenice teatras) ir Rigoleto

both for Barcelona’s Gran Teatre del Liceu ;

(Lozanos operos teatras) scenografijà.

Mascagni’s Cavalleria rusticana, Massenet’s

ALESSANDRO CAMERA, scenografas Alessandro Camera dirbti su operomis pradëjo dar studijuodamas Accademia di Belle Arti di

Brera ir bendradarbiaudamas su L. Damiani.

Karjeros pradþioje jis dalyvavo statant I. Stravinskio Fëjos buèiná (Milano La Scala), G. Verdi

Traviatà (Veronos Arena di Verona ir Zalcburgo festivalis) ir H. Berliozo Fausto pasmerkimà (Štutgarto Staatstheater). Tuo metu jis kûrë scenografijà ir dramos spektakliams, ið kuriø svarbesni – Euripido Hekabë ir Bakchantës. Ðiø darbø dizainas buvo pritaikytas atlikti Sirakûzø teatre (Sicilija) po atviru dangumi. Kartu su L. Damiani scenografas dalyvavo ir ávairiuose eks-perimentiniuose projektuose Romos

Teatro di Documenti teatre.

Tarp ryðkiausiø A. Cameros darbø – I. Bergmano Vedybinio gyvenimo scenø (Romos

Piccolo Eliseo teatras, reþ. G. Lavia), G. Flaubert’o Ponios Bovari (su M. Guerritore) ir F. Schillerio Marijos Stiuart (abu Romos Eliseo teatre, reþ. G. Sepe) scenografija. Bendradarbiaudamas su reþisieriumi G. Mauri, jis sukûrë E. E. Schmitto Máslës variacijø , B. Jonsono

Volponës, C. Goldoni Melagio ir F. Dostojevskio Nusikaltimo ir bausmës scenografijà. Kartu su E. Fringero kûrë filmà Le Hussard sur le toît (reþ.

J.-P. Rappeneau, 1995).

Nuo 1997 m. A. Camera daug dirbo kartu su W. Orlandi. Paryþiaus Opéra Bastille teatre ðis kûrybinis duetas kûrë J. Massenet Don Kichotà

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Tarp artimiausiø A. Cameros darbø – G. Verdi

Thérese , and Ponchielli’s La Gioconda at

Nabukas ir G. Puccini 150-osioms gimimo

Zurich’s Opernhaus; Rossini’s Semiramis for the

metinëms skirtas Triptikas (Palermo Teatro

Rossini Opera Festival in Pesaro, Italy;

Massimo). Kartu su G. Lavia jis kurs R. Strausso

Meyerbeer’s Les Huguenots ; Verdi’s Luisa

Salomëjà (Bolonijos Comunale teatras),

Miller (at the Nationale Reisopera in Enschede,

G. Verdi Þanà d’Ark (Verdi festivalis Parmoje),

and the Teatro La Fenice in Venice,

W. A. Mozarto Figaro vedybas, Don Þuanà ir

respectively); Rigoletto (Lausanne Opera); and

Visos jos tokios (Suntory salë Tokijuje). Ðiuo metu

Le Roi de Lahore by Massenet ( Teatro La

menininkas

Fenice), directed by Arnaud Bernard.

kartu

su

G.

Lavia

kuria

A. Strindbergo Mirties ðokio scenografijà.

During this season at Teatro Massimo in

2007 m. A. Camera pelnë Gassmano apdova-

Palermo Mr. Camera has signed for Verdi’s

nojimà kaip geriausias scenografas.

Nabucco and Trittico , dedicated to the 150

anniversary of G. Puccini. He will work in

ALESSANDRO CAMERA, Set Designer

intense cooperation with Gabriele Lavia for

Alessandro Camera came to be active in the

such productions as Salome (R.Strauss) at

field of opera while still studying at the

Teatro Comunale di Bologna, Verdi’s Giovanna

Accademia di Belle Arti di Brera , when he

d’Arco Parma’s Verdi Festival , Mozart’s Le

worked with Luciano Damiani. During the early

Nozze di Figaro, Don Giovanni and Così fan tutte

stage of his career, he was involved in the

(Suntory Hall in Tokyo). With Gabriele Lavia

making of productions of Igor Stravinsky’s The

he is currently working on the set of Strindberg’s

Fairy’s Kiss (La Scala, Milan), Verdi’s La traviata

Danse Macabre.

(The Arena in Verona and the Salzburg

In 2007 he received the Gassman Award for

Festival), and Berlioz’s La Damnation de Faust

the best set designer.

(Staatstheater Stuttgart). His designs for drama

productions included Euripides’ Hecuba and

The Bacchae, conceived as classical stagings for the open-air Greek theatre at Syracuse, Sicily; he was also involved in various experimental projects, again in partnership with Damiani, for Rome’s Teatro di Documenti.

Alessandro

Camera’s

other

notable

commitments have included set designs for productions of Ingmar Bergman’s Scenes from

a Marriage at Rome’s Teatro Piccolo Eliseo (directed by Gabriele Lavia), Flaubert’s

Madame Bovary, with Monica Guerritore, and

MARIA CARLA RICOTTI,

Schiller’s Mary Stuart (both at Rome’s Teatro

kostiumø dailininkë

Eliseo, directed by Giancarlo Sepe). Working

Maria Carla Ricotti 1992 m. baigë scenografijos

with the director Glauco Mauri, he designed

studijas Milano Brera menø akademijoje, kurioje

sets for productions of E. E. Schmitt’s Enigma

ðiuo metu dësto. 1990–1996 m. ji buvo kostiu-

Variations; Ben Jonson’s Volpone; Goldoni’s

mø dizainerio ir scenografo L. Spinatelli asisten-

The Liar ; and Dostoevsky’s Crime and

të statant ávairias dramas, operas ir baletus,

Šiuo metu C. Ricotti kuria spektaklio Triptikas,

bendradarbiavo su J. MacFarlane kuriant

kuris bus rodomas Palermo Teatro di Massimo

in 1996, creating costumes for L’Americano by Piccinni (Festival Della Valle D’Itria, Martina

G. Verdi Falstafo (Florencijos Comunale teatras,

(reþ. G. Scandella, G. Ciabatti ir F. Micheli),

Franca). Her following project was Simon

Liono operos teatras, Briuselio Th éâtre Royal

kostiumus. Tarp artimiausiø dizainerës planø –

Boccanegra by Verdi, directed by G. Maresta

de la Monnaie) ir W. A. Mozarto Don Þuano

G. Verdi Otelo (Maskvos didysis teatras) ir

(Teatro Vittorio Emanuele, Messina) and I due

( Th éâ tre Royal de la Monnaie ) kostiumus.

G. Fauré Penelopës (Graikijos nacionalinë

timidi by N. Rota, directed by Gragoretti (Arena

1997 m. kartu su J. Ivory ji kûrë pagal G. F.

opera, reþ. A. Bernard’as) kostiumai.

della Vittoria, Bari).

Händelio Apolonà ir Dafnæ statomo baleto

In 2001 she began her collaboration with

kostiumus, po metø buvo J. P. Gaultier asistentë

MARIA CARLA RICOTTI, Costume Designer

Arnaud Bernard and created costumes for the

kuriant baletà Pinokis (abiejø choreogr.

Maria Carla Ricotti achieved her diploma

following productions: Les Huguenots by

K. Armitage, Florencijos Teatro la Pergola).

degree in 1992 as a stage designer at the Brera

Mayerbeer (Festival della valle d’Itria), Luisa

1995 m. M. C. Ricotti pradëjo savarankiðkà

Academy of Fine Arts in Milano where she’s

Miller by Verdi ( Nationale Reisopera ,

scenografës ir kostiumø dizainerës karjerà

currently working as a teacher. From 1990 to

Enschede), Le Roi de Lahore by Massenet

dramos spektakliuose – P. Calderóno de la

1996 she was an assistant to L.Spinatelli for

(Teatro La Fenice , Venice), La Traviata by Verdi

Barcos Didþiajame pasaulio teatre ir M. de

costumes in numerous dramas, operas and

(State Theatre, Prague), Falstaff by Verdi (Teatro

Cervanteso Stebuklø teatre (abiejø reþ. G. De

ballets.

San Carlo, Naples), Cavalleria Rusticana (St.

She

also

collaborated

with

J.MacFarlane for the costumes of Verdi’s

Gallen, Switzerland), Carmen by Bizet (Finnish

sielose (Milano Teatro Franco Parenti). 1997 m.

Falstaff (Teatro Comunale in Florence, Opera

National Opera, Helsinki), Queen of Spades by

menininkë pradëjo aktyviai bendradarbiauti su

de Lyon, and Theatre Royal de la Monnaie

Tchaikovski (Theatre du Capitole, Toulouse),

S. De Luca, sukurdama C. Collodi Pinokio ir

Bruxelles) and W. A. Mozart’s Don Giovanni

Trittico by Puccini (Zagreb Opera) and Thais

A. de Saint-Exupéry Maþojo princo (abu Milano

(Theatre Royal de la Monnaye). In 1997 she

by Massenet (Megaron Opera House in

maþajame teatre), A. Jarry’o Karaliaus Ûbo

worked with J.Ivory for the costumes of ballet

Athens).

(Timišoaros nacionalinis teatras, Rumunija),

Apollo and Daphne by Handel and the following

She is currently creating costumes of Trittico

V. Alfieri’o Oresto (Vièencos Teatro Olimpico) ir

year she was an assistant to J. Paul Gaultier

for Teatro Massimo, Palermo, with the direction

A. Christie Pelëkautø (Turino Spettacoli teatras)

for the costumes of ballet Pinocchio , both

of Scandella, Ciabatti and Micheli.

scenografijà ir kostiumus. Vëliau dirbo Makbetø

choreographed by Karole Armitage (Teatro La

Her future engagements include creating

klane (reþ. A. Longoni, Milano Teatro Studio),

Pergola, Florence).

costumes for the opening of the new Teatro

W. Shakespeare’o Romeo ir Dþuljetoje (reþ.

She launched her own stage designs and

Massimo di Palermo season (director Saverio

L. Muscato) ir Skrydyje pagal A. Èechovo

costumes in 1995 with the dramas Il Gran

Marconi), opera Otello (Bolshoi Opera House)

Þuvëdrà (Teatro Ventidio Basso).

Teatro del Mondo (Calderon de la Barca ), Il

and Penelope by Faure for the Greek National

Dizainerë sukûrë L. Pirandello Skrybëlës ir var-

Teatro delle meraviglie (Cervantes ) directed

Opera, with the direction by Arnaud Bernard.

peliø ir Tu teisus (jei taip manai) (abiejø reþ.

by G. De Monticelli and afterwards with Le

G. Bosetti, Milano Teatro Carcano) kostiumus,

Anime Morte by Gogol (Teatro Franco Parenti,

o vëliau dirbo kartu su tuo paèiu reþisieriumi jo

Milano). In 1997 she began a close

pagal C. Goldoni Ponà Toderà burbeklá stato-

collaboration with S. De Luca and produced

mame spektaklyje (Venecijos teatro bienalë).

stage designs and costumes for the following

Italø operos þanre C. Ricotti debiutavo sukurda-

dramas: Pinocchio by Collodi (Piccolo Teatro

ma N. Piccinni Amerikieèio (Martina Frankos

di Milano), The Little Prince by Saint-Exupery

Festival della Valle D’Itria ), G. Verdi Simono

(Piccolo Teatro di Milano ), Ubu Roi by Jarry

Bokanegros (reþ. G. Maresta, Mesinos Viktoro

(Teatro Nazionale Timisoara), Oreste by Alfieri

Emanuelio teatras) ir N. Rotos Dviejø drovuoliø

(Teatro Olimpico di Vicenza), Mouse Trap by A.

(reþ. Gragoretti, Bario Arena della Vittoria )

Christie (Torino Spettacoli). She was also stage

kostiumus.

and costume designer of Macbeth Clan

Nuo 2001 m. scenografë bendradarbiavo su re-

directed by A. Longoni (Teatro Studio, Milano),

þisieriumi A. Bernard’u statant G. Meyerbeero Hu-

director Leo Muscato’s Romeo and Juliet by

genotus (Martina Frankos Festival della Valle

Shakespeare, and The Flight from The Seagull

d’Itria), J. Massenet Lahoro karaliø (Venecijos

by Chekov ( Teatro Ventidio Basso , Ascoli

La Fenice teatras) ir Tais (Atënø megarono ope-

Piceno).

ros teatras), G. Verdi Luizà Miler (Enschedës

Carla Ricotti created costumes for Il berretto a

Nationale Reisopera), Traviatà (Prahos valsty-

sonagli and Cos ì e se vi pare by Pirandello,

binis teatras), Falstafà (Neapolio San Carlo

directed by G. Bosetti ( Teatro Carcano ,

teatras) ir Kaimo garbæ (Sankt Galenas, Šveica-

Milano). She continued her collaboration with

rija), G. Bizet Karmen (Suomijos nacionalinë ope-

Mr. Bosetti by creating costumes for Goldoni’s

ra), P. Èaikovskio Pikø damà (Tulûzos Kapitoli-

Sior Todero brontolon (The Biennale of Theatre

jaus teatras) ir G. Puccini Triptikà (Zagrebo opera).

in Venice). She made her debut in Italian Opera

Fotografas Martynas Aleksa

Monticelli), o vëliau – N. Gogolio Mirusiose

GIANNI SANTUCCI, choreografas Choreografas ir reþisierius Gianni Santucci klasikinio ðokio meno mokësi Arece (pas G. Papi), Romoje (pas M. Ellis ir H. Diolot) ir Niujorke (pas D. Howardà ir L. Danias). Moderniojo ðokio paslapèiø menininkas pirmiausia sëmësi Niujorke (pas M. Owensà, M. Assaf ir R. Atwellà) ir Romoje (pas S. Moujolle), o tada vël tobulinosi Niujorke (pas A. Nikolaisà ir R. Tolle’à), Romoje (pas E. Palmieri) ir Prancûzijoje (pas C. Carlson

Atelier de Paris ir Rubë nacionaliniame choreografijos centre).

21

G. Santucci – ávairialypis menininkas. 1984–

1992, with various Italian companies in Rome,

1992 m. jis ðoko ávairiuose Romos, Neapolio,

Naples, Taormina, Urbino and Trieste, and with

Taorminos, Urbino ir Triesto teatruose bei ke-

several dance ensembles in New York);

liuose Niujorko ðokio kolektyvuose. Vëliau jis

professor of modern dance at the Centre

dirbo Rubë nacionaliniame choreografijos cent-

Choréographique National de Roubaix-Nord-

re, buvo Bellini teatro (Katanija) baletmeisteris,

Pas de Calais; ballet master of the Bellini

mokë klasikinio ir moderniojo ðokio keliose

Theatre in Catania; teacher of classical and

Italijos, Prancûzijos ir kitø ðaliø mokyklose. Jis

modern dance at a number of schools in Italy

taip pat mokytojavo daugelyje dramos ir

France and elsewhere; drama-school teacher;

muzikos mokyklø, Romoje ir Trieste kurá laikà

musical-school teacher; and stage manager,

dirbo muzikinio teatro reþisieriaus padëjëju, o

chiefly of musical theatre productions in Rome

netrukus ir pats tapo pripaþintu reþisieriumi.

and Trieste.

G. Santucci kûrybinëje sàskaitoje – áspûdingas

Following an early period as an assistant

darbø sàraðas. Jis yra kino filmø (Nuotakos ke-

director, he has evolved into a distinguished

lionë, reþ. S. Rubini, 1997 (Venecijos festivalio

stage director, having to his credit an impressive

Auksinio liûto apdovanojimas); Balandis, reþ.

list of productions and choreographies for films

N. Moretti, 1998; Matilda , reþ. L. Manfredi;

(among others, Il Viaggio della Sposa , dir.

Pinokis , reþ. R. Benigni, 2005; Moana, reþ.

Sergio Rubini, 1997, awarded the Golden Lion

A. Peyretti), dramø (Satyrikonas, reþ. R. Gior-

at the Venice Festival; Aprile, dir. Nanni Moretti,

dano; Paukðèiai (pagal Aristofanà), reþ. R. Gior-

1998; Matilde , dir. Luca Manfredi, Pinocchio,

dano, 2001), literatûros kûriniø adaptacijø

dir. Roberto Benigni 2005, Moana , dir. A.

(Pragaras (pagal Dante’s Dieviðkàjà komedijà),

Peyretti 2009), drama (Satyricon, dir. Renato

1990; Þmonës ir dievai (pagal C. Pavese’à),

Giordano, Aristophanes’ Gli Uccelli, dir. Renato

2005; Atminties sapnai, 2008), operø (Karmen

Giordano, 2001), adaptations of literary works

Helsinkyje, Lozanoje ir Japonijoje; Traviata

(Suoni della Memoria, 2008, Uomini e Dei, based

Prahoje, Lozanoje ir Ankonoje; Hugenotai

on Cesare Pavese’s Dialogues with Leuco ,

Martina Frankoje, 2002; Lahoro karalius

Rome 2005; Inferno , two cantos from Dante’s

Venecijos La Fenice teatre, 2004; Pikø dama

Divina Commedia , Lecce 1990), operas

Tulûzos Kapitolijaus teatre, 2007), opereèiø,

(Carmen, in Helsinky, Lausanne and Japan, La

miuziklø, televizijos serialø, komerciniø rekla-

Traviata, in Prague, Lausanne, Ancona, The

mos klipø ir televizijos ðou choreografas.

Queen of Spades , Capitole de Toulouse, 2007;

G. Santucci nuolat bendradarbiauja ne vien su

Le Roi de Lahore, Teatro La Fenice, Venice

Italijos teatro, kino ir televizijos kompanijomis.

2004; Les Huguénots, Martina Franca 2002),

Jam yra tekæ dirbti ir Graikijoje, Ispanijoje,

operettas (Trieste Operetta Seasons 1997–

Jungtinëse Amerikos Valstijose, Prancûzijoje,

1998); Operetta Festival 1988), musicals

Rusijoje, Ðveicarijoje ir Vokietijoje.

( Musical – TSF, Rome 2004; Cancan , 1998/

1999), and Serial TV (Rome, produced from the

GIANNI SANTUCCI, Choreographer

HBO, Los Angeles, awarded the Golden

Choreographer and stage director Gianni

Globe), as well as commercial promotional

Santucci studied classical dance in Arezzo,

films and presentations (Peroni beer; car

Italy (with Giovanna Papi), in Rome (with

industry: Ferrari Marlboro Tour; Fiat), and

Michelle Ellis and Hélene Diolot), and in New

television shows (Domenica in ; Fantastico ).

York (with David Howard and Lisa Danias). He

Apart from numerous Italian theatre, film and

trained modern dance styles, also in New York

television companies, he has worked in the

(with Michael Owens, Michelle Assaf and Rick

USA, France, Switzerland, Russia, Germany,

Atwell), and in Rome (with Silvie Moujolle), to

Greece, and Spain.

pursue his studies of contemporary dance in

New York (with Alvin Nikolais and Roger Tolle), in Rome (with Enrica Palmieri), and in France (at the Atelier de Paris – Carolyn Carlson, and at CCN Roubaix-Nord-Pas de Calais). An artist of great versatility, he has been active, at various stages of his career, as a dancer (1984–

22

VINICIO CHELI, ðviesø dailininkas Vinicio Cheli šviesø dailininko specialybæ ágijo Florencijos menø akademijoje, kurià baigë 1973 m. 1974–1979 m. jis kûrë visø festivalyje

Maggio Musicale Fiorentino statomø spektakliø apðvietimà. 1979 m. pradëjo dirbti Milano

Piccolo teatre, kur iki 1989 m. bendradarbiavo su reþisieriumi G. Strehleriu. 1987–1991 m. kûrë apðvietimà Pezaro Rossini operos festivalyje ávairiø reþisieriø statomuose spektakliuose. Tuo pat metu dirbo ir Zalcburgo festivalyje, kur sukûrë W. A. Mozarto operø Tito gailestingumas (reþ. P. Brenneris, 1989) ir Idomenëjas (reþ.

N. Lehnhoffas, 1990) ðviesø dizainà.

Vëliau spektakliø apðvietimà V. Cheli kûrë þymiausiuose pasaulio teatruose: Milano Teatro

alla Scala (Lukrecija Bordþija, 1998; Likimo galia, 1999 (abiejø reþ. H. de Ana); Manon, 1999;

Karmen, 2004 (abiejø reþ. N. Joëlis); Fidelijus, rež. W. Herzogas, 1999), Niujorko Metropolitan

Opera (Liuèija di Lamermur, reþ. N. Joëlis, 1998), Paryþiaus Eliziejaus laukø teatre (Vilius Telis, reþ.

P. L. Pizzi, 1989; spektaklis pelnë prancûzø kritikø premijà), Ch â telet teatre ( Fidelijus , reþ.

G. Strehleris, 1989; Don Karlas, reþ. L. Bondy, 1996), Madrido Real teatre (Aida, reþ. H. de Ana, 1998; Madam Baterflai, 2002; Meilës eliksyras, 2006 (abiejø reþ. M. Gasas); Toska , reþ.

N. Espertas, 2004), Sevilijos Teatro la Maestranza (Aida, 1994; Sevilijos kirpëjas, 1997), Venecijos

La Fenice, Palermo Teatro di Massimo (Aida, 1998) ir Tulûzos Kapitolijaus teatre (Karmen, 1997; Reino auksas, Otelas, Minjon, visi 2002; visø reþ. N. Joëlis).

Tarp naujausiø menininko darbø – 2009 m. sukurtas Tais (Atënø megarono operos teatras, reþ. A. Bernard’as), Fausto (Tulûzos Kapitolijaus teatras, reþ. N. Joëlis)ir Mirej (Paryþiaus Opera

Garnier, reþ. N. Joëlis) ðviesø dizainas.

V. Cheli dëstë šviesø technikà Milano naujojoje menø akademijoje ir La Scuola Professionale

della Scala.

1991 m. È. Radþiûnas buvo JAV ir Kanados

Fotografas Michail Raðkovskij

VINICIO CHELI, Lighting Designer In 1973 Vinicio Cheli graduated from the Florence’s Accademia di Belle Arti di Firenze as a lighting designer.

From 1974 to 1979 he created lighting designs for all productions presented at the Maggio

Musicale Fiorentino festival, and in 1979 started working at the Teatro Piccolo in Milan, where

lietuviø tautinës dainø ðventës dirigentas.

2001 m. jis pelnë Ðv. Kristoforo apdovanojimà uþ P. Èaikovskio operos Pikø dama pastatymà LNOBT, 2005 m. apdovanotas ordino Uþ

nuopelnus Lietuvai Riterio kryþiumi.

ÈESLOVAS RADÞIÛNAS, Chorus Master

he collaborated with director Giorgio Strehler in all of his productions up until 1989.

From 1987 to 1991 Mr. Cheli presented his lighting designs in productions by various directors at the Rossini Opera Festival in Pesaro. At the same time he also worked at the Salzburg Festival, creating lighting for Mozart’s operas La clemenza di Tito (dir.

Brenner, 1989) and Idomeneo (dir. Lehnhoff, 1990).

Throughout his impressive career Vinicio Cheli created lighting designs for productions of the world’s greatest opera theatres: Teatro alla

Scala in Milan (Lucrezia Borgia, dir. H. de Ana, 1998; La forza del destino, dir. H. de Ana, 1999;

Manon, dir. N. Joel, 1999; Fidelio, dir. W. Herzog, 1999; Carmen, dir. N. Joel, 2004), New York’s

Metropolitan Opera (Lucia di Lammermoor, dir.

N. Joel, 1998), Paris’ Th éâ tre des Champs

Elysées (William Tell, dir. P. L. Pizzi, 1989; this production was awarded the French Critics’ Prize), Th éâ tre du Ch â telet ( Fidelio , dir. G. Strehler, 1989, Don Carlos, dir. L. Bondy, 1996),

Teatro Real in Madrid (Aida, dir. H. de Ana, 1998; Madam Butterfly, dir. M. Gas, 2002; Tosca, dir. N. Espert, 2004; L’elisir d’amore , dir. M. Gas, 2006), Teatro la Maestranza in Seville (Aida, 1994; Il barbiere di Siviglia, 1997), Venice’s La

Fenice , Teatro Massimo in Palermo ( Aida , 1998), Théâtre du Capitole in Toulouse (Carmen, dir. N. Joel, 1997; Das Rheingold , Otello ,

Mignon, all directed by N. Joel, 2002), and many others.

His newest projects, completed in 2009, include lighting designs for Thais ( Teatro

Megaron in Athens, dir. A. Bernard), Faust (Toulouse’s Théâtre du Capitole, dir. N. Joel) and

Mireille ( Opera Garnier in Paris, dir. N. Joel).

Beside his career as a lighting designer, Mr. Cheli also worked as a lecturer in La Nuova

Accademia di Belle arti and La Scuola Professionale della Scala in Milan.

Èeslovas Radþiûnas (b. 1955) graduated from ÈESLOVAS RADÞIÛNAS,

the Lithuanian Academy of Music in 1977, and

choro meno vadovas

completed postgraduate course in opera

Vyriausiasis chormeisteris ir dirigentas, Lietu-

conducting at the Moscow Conservatory in

vos nusipelnæs artistas Èeslovas Radþiûnas

1984. For a short period after returning to

Lietuvos operos ir baleto teatro chorui vado-

Lithuania, Èeslovas Radþiûnas has conducted

vauja nuo 1989 m. (1976–1985 m. – ðio choro

the Symphony Orchestra of Vilnius Municipality

chormeisteris). 1977 m. Lietuvos muzikos aka-

and various amateur choirs. In 1985, he was

demijoje jis ágijo choro dirigento specialybæ.

appointed Associate Professor at the LAM. In

1984 m. baigë staþuotæ-asistentûrà Maskvoje

the same year he began conducting the

(operinis dirigavimas). Vadovavo Vilniaus savi-

Chamber Choir of the LAM, with which he won

valdybës simfoniniam orkestrui Vilnius , ávai-

several important prizes in Italy (Grand Prix in

riems mëgëjø chorams. Nuo 1985 m. – LMA

Goricia, 1988; 1st prize in Arezzo, 1989),

docentas. 1985–1989 m. – LMA kamerinio

France (Grand Prix in Tours, 1991) and Spain

choro vadovas. Tuo metu ðis choras tapo ávairiø

(1st prize in Tolosa, 1991).

tarptautiniø konkursø laimëtoju Italijoje (Didy-

From 1976 to 1985 he has also worked as an

sis prizas 1988 m. Goricijoje, pirmoji vieta

assistant chorus master at the LNOBT where

1989 m. Arece), Prancûzijoje (Didysis prizas

he subsequently became the chief chorus

1991 m. Ture) ir Ispanijoje (pirmoji vieta 1991

master in 1989. With the Opera Chorus

m. Tolosoje).

Èeslovas Radþiûnas has prepared the

È. Radþiûnas su LNOBT choru paruoðë 67 ope-

premieres of 67 operas and 15 large-scale

rø premjeras, 15 dideliø vokalinio ir simfoninio

symphonic works, including G. Verdi’s

þanro kûriniø, tarp kuriø – G. Verdi Requiem, A.

Requiem, A. Dvorák’s Requiem (first perfor-

Dvoráko Requiem (pirmas atlikimas Lietuvo-

mance in Lithuania), G. Puccini’s Messa di

je), G. Puccini Messa di Gloria, J. S. Bacho

Gloria , J. S. Bach’s St. Mark Passion (first

Pasija pagal Morkø (pirmas atlikimas Lietuvo-

performance in Lithuania), F. Schubert’s Stabat

je), F. Schuberto Stabat Mater, C. Orffo Carmina

Mater, C. Orff’s Carmina Burana, W. A. Mozart’s

burana, W. A. Mozarto Requiem, H. Berliozo

Requiem, H. Berlioz’s La damnation de Faust

Fausto

dirigavo

and others. Over 100 works were recorded for

koncertuose. Iðleista kompaktiniø plokðteliø,

the funds of Lithuanian Radio and Television.

per ðimtas veikalø áraðyta Lietuvos radijo ir

Èeslovas Radþiûnas together with LNOBT took

televizijos fondams.

part in various international opera festivals

Su LNOBT gastroliavo Vokietijoje, Olandijoje,

(Finland, Italy, England), also performed in

JAV,

operos

Germany, Taiwan, Holland, USA. In recent

festivaliuose Suomijoje, Italijoje, Anglijoje, Lie-

years the press has praised high professional

tuvoje – Trakø, Paþaislio ir kituose festivaliuose.

standard the Lithuanian Opera Chorus

È. Radþiûno vadovaujamas operos choras kon-

achieved under the artistic leadership of

certavo su LNOBT simfoniniu, Lietuvos valsty-

Èeslovas Radþiûnas.

biniu ir Nacionaliniu simfoniniais orkestrais diri-

In 1991 Èeslovas Radþiûnas was the conductor

guojant Jonui Aleksai, Gintarui Rinkevièiui,

at the National Song Festival of the Lithuanians

Juozui Domarkui, kitiems Lietuvos ir uþsienio

living in Canada and USA. In 2001 he received

dirigentams.

a Kristoforas award for the production of P.

pasmerkimas

Taivane,

ir

kt.,

tarptautiniuose

Pastaruoju metu kritikai paþymi iðaugusá choro

Tchaikovsky’s The Queen of Spades at LNOBT,

meniná lygá, neðykðti kolektyvui pagyrø prem-

while in 2005 Èeslovas Radþiûnas attained

jerø ir koncertø recenzijose.

Lithuanian order of Merit – Knight Grand Cross.

23

Bizet Karmen – vienas paveikiausiø muzikiniø Ispanijos peizaþø, sukurtø su prancûziðku skoniu.

I veiksmas Sevilija. Prie miesto vartø uþkardos nuobodþiaujantys ið neturëjimo kà veikti kareiviai laukia sargybos pamainos. Jø dëmesá patraukia jauna mergina. Serþantas Moralesas jà uþkalbinæs suþino, jog ji vardu Mikaela ir ieðko serþanto Don Chosë. Kadangi jis atvyks keièiantis sargybai, kareiviai kvieèia Mikaelà á sargybiniø namelá. Kvietimas gan áþûlus, ir mergina pabëga. Pagaliau pasirodo ir lauktoji sargybos pamaina – bûrys kareiviø, vadovaujamø Don Chosë. Moralesas papasakoja draugui apie Mikaelà ir su savo kareiviais gráþta á kareivines.

Neseniai atvykæs á miestà kapitonas Cuniga domisi tabako fabrike dirbanèiomis merginomis. Ir ðtai per trumpà pertraukëlæ darbininkës iðeina á aikðtæ. Tarp jø – ir èigonë Karmen. Ji nekreipia dëmesio á kareivius, nes jà intriguoja tik abejingas jai Don Chosë. Koketuodama Karmen sviedþia jam gëlæ. Tuo metu sugráþta Mikaela. Ji áduoda mylimajam motinos laiðkà. Susijaudinæs Don Chosë já skaito. Motina trokðta, kad sûnus vestø jos auklëtinæ Mikaelà. Chosë nutaria paklusti motinai.

Tabako fabrike uþverda peðtynës. Á aikðtelæ iðbëga bûrelis merginø ir padrikai pasakoja kapitonui Cunigai, kas nutiko. Ðis ásako Don Chosë ávesti fabrike tvarkà. Po valandëlës serþantas gráþta vedinas Karmen, kuri peiliu suþeidë bendradarbæ. Kadangi graþioji èigonë atsisako pripaþinti kaltæ, Cuniga nusprendþia iðsiøsti jà á kalëjimà. Kapitonui iðëjus raðyti areðto ásakymo, Karmen, tuo pasinaudodama, ákalbinëja Don Chosë padëti jai pabëgti, mainais þadëdama jam savo meilæ. Kiek paabejojæs serþantas sutinka ir atriða jai rankas. Pakeliui á kalëjimà Karmen pabëga.

II veiksmas Nuo pirmojo veiksmo ávykiø praëjo keturios savaitës. Sevilijos águlos karininkai, vadovaujami kapitono Cunigos, uþmiesèio smuklëje rengia pasilinksminimà. Jame dalyvauja ir Karmen su savo draugëmis Mersedes ir Fraskita. Jos ðoka ir dainuoja nekasdieniams sveèiams. Ðeimininkui davus þenklà, merginos atsisveikina su kariðkiais. Prieð iðeidama Karmen ið Cunigos suþino, kad Don Chosë jau paleistas ið kalëjimo, á kurá pateko dël jos pabëgimo.

Uþdaryti smuklæ sutrukdo atvykæs garsus toreadoras Eskamiljas. Arenos didvyris patinka Karmen, bet ji atmeta nedviprasmiðkus jo siûlymus. Per daug dël to nenusivylæs, Eskamiljas iðeina kartu su karininkais. Kapitonas Cuniga paþada Karmen tà patá vakarà sugráþti.

26

27

Smuklë uþdaroma kontrabandininkø gaujos vadeivos Dankairo ásakymu. Kartu su savo padëjëju Remendadu jis atvyko organizuoti þygio. Jiems turëtø padëti ir merginos, kuriø uþduotis – susilpninti muitininkø budrumà. Fraskita ir Mersedes sutinka dalyvauti þygyje, tik Karmen, nepaisydama Dankairo grasinimø, padëti atsisako. Ji ásimylëjusi ir laukia mylimojo. Norom nenorom Dankairas priverstas sutikti, kad Karmen prie þygio prisidës vëliau. Tolumoje girdëti besiartinanèio Don Chosë daina.

Kontrabandininkai siûlo Karmen ákalbëti Don Chosë stoti á jø gaujà. Áeina Don Chosë. Karmen pradeda ðokti mylimojo garbei, bet pasigirsta trimito garsai, ðaukiantys á patikrinimà. Don Chosë privalo gráþti á kareivines, bet Karmen nenori jo paleisti. Priekaiðtauja, kad jos nemylás, ir, paklausiusi Dankairo patarimo, ákalbinëja já dezertyruoti ir pabëgti á kalnus. Pasipiktinæs Don Chosë atmeta ákalbinëjimus ir rengiasi iðeiti ið smuklës. Tuo tarpu gráþæs Cuniga provokuoja pavaldiná siekdamas sukelti muðtynes. Tam sutrukdo kontrabandininkai. Cuniga iðvedamas, o Don Chosë, neturëdamas kitos iðeities, prisideda prie gaujos.

Pertrauka

III veiksmas Gauja, á kurià ástojo Don Chosë, verèiasi angliðkø prekiø kontrabanda. Pasislëpæ prieðkalnëse kontrabandininkai laukia tinkamo meto gráþti á miestà. Stumdamos laikà, Mersedes ir Fraskita buriasi. Karmen taip pat iðsidëlioja kortas. Likimo nuosprendis negailestingas – mirtis. Pirmiausia jos, tada ir Don Chosë.

Ið þvalgybos gráþta Dankairas su Remendadu, ir gauja iškeliauja miesto link. Pirmos eina moterys, turinèios atitraukti muitininkø dëmesá. Don Chosë liekasi saugoti prekiø.

Tuo metu jo motina guli mirties patale, ir Mikaela, nepaisydama pavojø, leidþiasi á kalnus jam to praneðti. Nuaidi ðûviai, ir persigandusi mergina pasislepia uþ akmenø.

Bet Don Chosë ðaudë ne á jà. Ið miesto atvyko toreadoras Eskamiljas, kuris ásimylëjo Karmen ir ieðko jos kalnuose. Tarp vyrø uþverda kova. Tik netikëtai gráþusi gauja ir Karmen iðgelbsti Eskamiljui gyvybæ. Jis pagrasina Don Chosë su juo dar susitiksiàs ir pakvieèia visus á koridà Sevilijoje.

Kontrabandininkai suranda tarp uolø pasislëpusià Mikaelà. Mergina papasakoja Don Chosë apie jo motinos ligà. Dankairas ir kontrabandininkai verèia vaikinà vykti namo, ir galiausiai jis iðkeliauja su Mikaela.

Tolumoje skamba lengvabûdiðka Eskamiljo daina.

IV veiksmas Prieðais arenà Sevilijoje. Miesto gyventojai skuba á koridà, kurioje dalyvaus garsus toreadoras Eskamiljas. Visø laukiamas didvyris pasirodo lydimas graþuolës Karmen.

Mersedes ir Fraskita perspëja draugæ, kad netoliese yra Don Chosë. Jis uþtveria kelià besiruoðianèiai á tribûnà Karmen. Maldauja meiluþæ gráþti, o kai Karmen atsisako, jà nuþudo.

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ACT I Seville. Soldiers at the toll gates, bored with idleness, are waiting for their change of guard watching the usual city life. A young girl catches their attention. Sergeant Morales finds out her name is Micaela and that she is looking for sergeant Don Jose, but he will arrive only with the change of guard. Meanwhile the soldiers invite Micaela into the guardhouse, but she runs away. The long awaited change of guard finally approaches. They are under the command of Don Jose. Morales tells his colleague about Micaela’s arrival and returns to quarters with his men.

Captain Zuniga has recently arrived in the city and is interested in girls working in the cigarette factory. His curiosity is satisfied when they come out during a short break.

Among them is the Gypsy Carmen. She pays no attention to the soldiers, however, but is intrigued by the indifferent Don Jose. She flirts with him and throws him a flower. Meanwhile Micaela returns. She brings her beloved a letter from his mother.

The touched Don Jose reads it and finds out that his mother wishes him to marry her protege. He decides to heed his mother’s advice.

A fight breaks out in the cigarette factory. A crowd of girls runs out into the yard and chaotically tells Captain Zuniga about the reason for the fight. Don Jose is commanded to restore order in the building. The sergeant returns after a while, leading Carmen, who has stabbed a co-worker with a knife. The beautiful Gypsy refuses to talk, so Zuniga decides to arrest her. Taking advantage of the fact that the Captain is gone to write out orders for Carmen’s arrest, she induces Don Jose to help her escape. In exchange, she promises him her love. The sergeant agrees and unties her hands.

On their way to jail, he allows Carmen to escape.

ACT II Four weeks go by since the events of Act I took place. A party goes on in Lillas Pastia, a tavern located outside the city walls. Carmen and her two friends, Mercedes and Frasquita sing and dance for the extraordinary guests. When the owner of the tavern gives a sign, the girls say goodbye to the soldiers. Before they part, Carmen finds out from Captain Zuniga that Don Jose has just been released from jail, where he was put for allowing her to escape.

The tavern’s closing is delayed by the arrival of the famous bullfighter Escamillo. The guests drink a few more glasses of wine in his honour. Escamillo notices Carmen.

She likes the hero of the arena, but rejects his obvious proposals. Escamillo is not discouraged by her refusal and leaves together with the soldiers. Captain Zuniga tells Carmen that he will come back for her this evening.

The tavern was closed at the order of Dancairo, the leader of a band of smugglers.

He has arrived with his aide Remendado to organize an expedition. For this, they need the help of girls, whose job it will be to distract the attention of custom officials.

Frasquita and Mercedes agree to take part in the foray. Carmen refuses in spite of Dancairo’s threats. She is in love and awaits the arrival of her beloved. Dancairo

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agrees that Carmen will join the group later. Don Jose can be heard singing in the distance. The smugglers tell Carmen to convince Don Jose to join their band.

Don Jose enters and, after greeting him, Carmen starts a dance in the honour of her lover. The dance is interrupted by the sound of a bugle for the roll-call in the garrison.

Jose must return to the quarters but Carmen does not want to let him go. She chides him for his lack of love for her and, following Dancairo’s advice, urges him to desert and flee into the mountains. Don Jose is outraged at this and tries to leave the tavern.

At this time Captain Zuniga comes back and provokes a fight with his subordinate.

The smugglers break up the fight. They capture Zuniga and now Don Jose has no choice but to join the band.

Intermission

ACT III The smugglers deal in contraband. Hidden in the mountains, they are waiting for an appropriate moment to return to the city. To while away their time, Mercedes and Frasquita tell each other fortunes from cards. Carmen lays cards down as well and the prediction is irrevocable: death. First for her, and soon after for Don Jose.

Dancairo and Remendado return from their reconnaissance and the band sets out for the city. The women, whose job it is to distract the customs officials’ attention, leave first. Don Jose remains behind to guard the goods.

Meanwhile the mother of Don Jose is dying. Heedless of the danger, Micaela sets out into the mountains to inform him. A gunshot rings out and the terrified girl hides among the rocks. Don Jose was firing at the bullfighter Escamillo that arrives from the city. He has fallen in love with Carmen and is looking for her in the mountains. Both men engage in a duel. Escamillo’s life is saved only by the sudden return of Carmen and the rest of the band. Escamillo promises Don Jose that they will meet again. He invites all those who love him to his next bullfight in Seville.

The smugglers find Micaela hidden among the rocks. She tells Don Jose about his mother’s sickness. Dancairo and the smugglers force him to go and he leaves with Micaela. Meanwhile Escamillo’s light-hearted singing is heard in the distance.

ACT IV The citizens of Seville proceed to the bullfighting arena in great numbers. The awaited Escamillo arrives. Mercedes and Frasquita warn Carmen about Don Jose, who is hidden somewhere nearby. When Carmen wants to enter the arena, Don Jose blocks her way. He begs his beloved to come back to him. When she refuses, he kills her.

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Režisieriaus asistentai | Assistant Directors Choreografo asistentė | Assistant Choreographer Atsakingoji spektaklio vadovė | Chief Stage Manager Spektaklio vadovai | Stage Manager Pianistai repetitoriai | Rehearsal Pianists Chormeisteriai | Chorus Masters Mimanso koordinatorė | Supervisors of Supernumenaries LNOBT vyr. šviesų dailininkas | LNOBT’s Lighting Designer Grimo dailininkė | Make-up Designer Meninės pastatymų tarnybos vadovas | Head of the Artistic Productions Department Kostiumų dailininkės asistentė | Assistant to the Costume Designer Dekoracijų dailininko asistentas | Assistant to the Set Designer LNOBT gamybinių dirbtuvių tarnybos vadovas | Head of the LNOBT Workshops Operos solistų koordinatorės | Opera Soloist Coordinators Reklamos, edukacijos ir projektų tarnybos l. e. p. vadovas | Acting Head of Advertising, Education and Projects Department Spektaklio organiztoriai | Production Managers

Gediminas Šeduikis, Jurgita Mieželytė Jūratė Sodytė Sigita Ivaškaitė Motiejus Liudvikas Impolevičius, Tautvydas Juzėnas Olga Eleonora Taškinaitė, Justas Čeponis, Artur Shutov Povilas Butkus, Alfredas Celiešius Goda Telmentaitė Levas Kleinas Ūla Pakalniškytė Viktoras Vyskupaitis Marta Vosyliūtė Kristijonas Siparis Valdas Vėlyvis Vladyslava Zonienė, Simona Kliševičienė Tautvydas Juzėnas Giedrė Butrimienė, Artūras Alenskas

KARMEN. Programa Dailininkë ir maketuotoja Birutë Èerniauskienë. Redaktorë Eglë Ulienë Lietuviø kalbos stilistë Danutë Ulèinskaitë. Anglø kalbos vertëja Laûra Karnavièiûtë Programoje panaudoti scenografo Alessandro Cameros ir kostiumø dailininkës Marios Carlos Ricotti eskizai, Martyno Aleksos ir LNOBT archyvo nuotraukos Lietuvos nacionalinis operos ir baleto teatras www.opera.lt