{"id":1762,"date":"2022-05-05T12:31:37","date_gmt":"2022-05-05T10:31:37","guid":{"rendered":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1762"},"modified":"2022-05-05T13:32:32","modified_gmt":"2022-05-05T11:32:32","slug":"wazne-przeslanie-wesela-figara","status":"publish","type":"post","link":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1762","title":{"rendered":"Wa\u017cne przes\u0142anie “Wesela Figara” – wywiad z re\u017cyserem"},"content":{"rendered":"
FIGARO NIE\u015aMIERTELNY<\/i><\/strong><\/h5>\n
z<\/i>\u00a0<\/span><\/i>Andr\u00e9 Hellerem Lopesem rozmawia Katarzyna Aszkie\u0142owicz<\/strong><\/h5>\n

Wesele Figara<\/i> to jedna z najs\u0142ynniejszych oper \u015bwiata. Jej wiede\u0144ska prapremiera r\u00f3wnie\u017c odby\u0142a si\u0119 w maju – ale 236 lat temu. Sam spektakl by\u0142 ju\u017c w\u00f3wczas bardzo nowatorski, ale w ci\u0105gu dziesi\u0119cioleci obraz \u015bwiata zmienia\u0142 si\u0119 wielokrotnie: wojny, rewolucje, wstrz\u0105sy spo\u0142eczne, post\u0119p technologiczny – nie zmieni\u0142a si\u0119 tylko muzyka Mozarta.\u00a0 <\/span>Dlaczego wi\u0119c wci\u0105\u017c wracamy do tego dzie\u0142a? Co takiego jest w libretcie Lorenza Da Ponte, \u017ce publiczno\u015b\u0107 chce do niego wci\u0105\u017c powraca\u0107?<\/b><\/p>\n

My\u015bl\u0119, \u017ce wci\u0105\u017c wracamy do Wesela Figara<\/i>, poniewa\u017c w gruncie rzeczy jeste\u015bmy tymi samymi lud\u017ami. To w\u0142a\u015bnie cz\u0142owiecze\u0144stwo zawarte w tej historii czyni j\u0105 tak nie\u015bmierteln\u0105, tak niesko\u0144czenie intryguj\u0105c\u0105. Mo\u017cna wystawi\u0107 t\u0119 oper\u0119 w nowojorskim apartamencie lub w opactwie Downton, a bohaterowie pozostan\u0105 w zasadzie tacy sami. Wol\u0119, aby opera by\u0142a lu\u017ano osadzona w XVIII wieku, wyobra\u017conym przez Da Ponte i Beaumarchais, poniewa\u017c uwa\u017cam, \u017ce to wzmacnia fabu\u0142\u0119: widzowie mog\u0105 obserwowa\u0107 hrabiego pr\u00f3buj\u0105cego zn\u0119ca\u0107 si\u0119 nad Zuzann\u0105 i pomy\u015ble\u0107 ,,jak to mo\u017cliwe, \u017ce takie rzeczy dziej\u0105 si\u0119 jeszcze dzi\u015b, prawie 300 lat p\u00f3\u017aniej\u201d? Jest w tym wa\u017cne przes\u0142anie.<\/p>\n

\u00a0<\/span>Wesele Figara<\/i> zosta\u0142o zainspirowane sztuk\u0105 Pierre’a Beaumarchais – komedi\u0105, kt\u00f3ra zachwyca\u0142a nie tylko b\u0142yskotliwym humorem i wyrazistymi postaciami, ale tak\u017ce g\u0142o\u015bnym przes\u0142aniem spo\u0142ecznym. Mo\u017cna by\u0142o w niej wyczu\u0107 zapowied\u017a nadchodz\u0105cej rewolucji francuskiej. Jak bardzo inspiruj\u0105ca by\u0142a ona dla Pana jako re\u017cysera? Gdzie roz\u0142o\u017cy\u0142 Pan akcenty w budowaniu postaci Wesela Figara<\/i>?<\/b><\/p>\n

C\u00f3\u017c, z powodu potencjalnej cenzury na dworze Habsburg\u00f3w, Da Ponte m\u0105drze przesun\u0105\u0142 nieco punkt ci\u0119\u017cko\u015bci z polityki \u2013 konfliktu klas spo\u0142ecznych \u2013 na relacje mi\u0119dzyludzkie \u2013 nastawienie m\u0119\u017cczyzn i kobiet do mi\u0142o\u015bci, wierno\u015bci, ma\u0142\u017ce\u0144stwa i oczywi\u015bcie seksu. Zawsze intrygowa\u0142 mnie jednak drugi tytu\u0142 dzie\u0142a: La folle journ\u00e9e<\/i>. Ten ,,szalony dzie\u0144” zainspirowa\u0142 mnie do spojrzenia na dzie\u0142o w innym \u015bwietle, mo\u017ce bardziej buffa… prawie jak na cyrk. Nie trzeba dodawa\u0107, \u017ce idea szale\u0144stwa pojawi\u0142a si\u0119 ju\u017c wtedy, gdy rozpoczyna\u0142em trylogi\u0119 oper z librettami Da Ponte, wstawiaj\u0105c uroczy ch\u00f3r szale\u0144c\u00f3w do Don Giovanniego<\/i>, a potem do Cosi fan tutte<\/i>.<\/p>\n

Zgadza si\u0119, w Don Giovannim<\/i> opar\u0142 Pan swoj\u0105 koncepcj\u0119 tej opery na temacie szale\u0144stwa, by\u0142o to wyra\u017anie zapisane w libretcie. A jak by\u0142o w przypadku Wesela Figara<\/i>?<\/b><\/p>\n

To by\u0142oby zbyt oczywiste, aby z pa\u0142acu Almavivy i jego mieszka\u0144c\u00f3w uczyni\u0107 szale\u0144c\u00f3w… postanowi\u0142em wi\u0119c spojrze\u0107 na to z drugiej strony: w Don Giovannim<\/i> zg\u0142\u0119bi\u0142em szale\u0144stwo, a Figarze<\/i> zamierzam zg\u0142\u0119bi\u0107 elementy uwodzenia, mi\u0142o\u015bci i oczywi\u015bcie po\u017c\u0105dania seksualnego, zwykle kojarzonego bardziej z przygodami Don Juana, kt\u00f3re zreszt\u0105 te\u017c w tym sezonie pokazywali\u015bcie na scenie.\u00a0<\/span><\/p>\n

\u00a0<\/span>M\u00f3wi si\u0119, \u017ce muzyka Mozarta to czysta rado\u015b\u0107 \u017cycia… Czy zgadza si\u0119 pan z tym stwierdzeniem? Czy jest ona dla pana?<\/b><\/p>\n

Nie jestem tego taki pewien… \u017cycie nie sk\u0142ada si\u0119 tylko z rado\u015bci i mo\u017ce dobrze, \u017ce tak jest, poniewa\u017c wtedy mo\u017cemy bardziej doceni\u0107 szcz\u0119\u015bcie w przeciwie\u0144stwie do smutku. Powiedzia\u0142abym, \u017ce muzyka Mozarta to ca\u0142e \u017cycie, ze wszystkimi jego elementami \u2013 radosnymi i tymi wr\u0119cz przeciwnie.<\/p>\n

Wesele Figara jest wystawiane w ramach programu Opera M\u0142odych<\/i>. Czy bycie m\u0142odym na scenie jest \u0142atwiejsze czy bardziej wymagaj\u0105ce?<\/b><\/p>\n

Od 1996 roku jestem profesorem na uniwersytecie, gdzie zajmuj\u0119 si\u0119 rozwijaniem i wspieraniem rozwoju nowych talent\u00f3w. To zawsze by\u0142a moja pasja, mimo \u017ce sam zacz\u0105\u0142em swoj\u0105 prac\u0119, gdy by\u0142em jeszcze do\u015b\u0107 m\u0142ody. My\u015bl\u0119, \u017ce dzielenie si\u0119 z innymi tym, czego sami si\u0119 nauczyli\u015bmy, jest powo\u0142aniem \u2013 piln\u0105 potrzeb\u0105 przekazywania naszej mi\u0142o\u015bci do opery, kt\u00f3r\u0105 jak s\u0105dz\u0119, dziel\u0119 z Mariuszem Kwietniem, dyrektorem artystycznym Opery Wroc\u0142awskiej.\u00a0<\/span><\/p>\n

\u00a0<\/span>Jest pan re\u017cyserem pochodz\u0105cym z Ameryki \u0141aci\u0144skiej, wykszta\u0142cenie zdoby\u0142 Pan w Brazylii. Jak jest tam odbierana muzyka Mozarta i z oper\u0105 jako gatunkiem?\u00a0<\/span><\/b><\/p>\n

Cho\u0107 \u015brodowisko, w kt\u00f3rym si\u0119 wychowujemy, mo\u017ce mie\u0107 du\u017cy wp\u0142yw, musz\u0119 powiedzie\u0107, \u017ce zawsze czu\u0142em si\u0119 przede wszystkim obywatelem \u015bwiata. Trzeba pami\u0119ta\u0107, \u017ce jestem Brazylijczykiem dopiero w drugim pokoleniu, a rodzina mojego dziadka by\u0142a w ca\u0142o\u015bci polska. Dziadek urodzi\u0142 si\u0119 na terenie \u00f3wczesnego Imperium Rosyjskiego, podczas gdy jego matka mia\u0142a korzenie litewskie. Ca\u0142a rodzina ojca pochodzi\u0142a z okolic Grodna i Gda\u0144ska. Od pokole\u0144 zajmowali si\u0119 handlem herbat\u0105 i drewnem. My\u015bl\u0119 wi\u0119c, \u017ce dzielimy cz\u0119\u015b\u0107 tych samych tradycji i czuj\u0119 si\u0119 w Polsce jak w domu.<\/p>\n

Mimo \u017ce opera nie cieszy si\u0119 w Brazylii takim presti\u017cem jak inne, bardziej popularne formy ekspresji muzycznej, Mozart jest bardzo popularny w ca\u0142ej Ameryce \u0141aci\u0144skiej. W Europie jego muzyka ma wi\u0119cej stylu, jest w niej pewna otoczka, kt\u00f3ra robi r\u00f3\u017cnic\u0119. Na Po\u0142udniu by\u0142bym sk\u0142onny powiedzie\u0107, \u017ce opery Mozarta s\u0105 bardziej wokalne, wykonywane z wi\u0119kszym naciskiem na pasj\u0119 ni\u017c na wielk\u0105 architektur\u0119 jego muzyki.<\/p>\n

Co by\u0142o dla Pana najwi\u0119kszym wyzwaniem przy realizacji Wesela Figara w Operze Wroc\u0142awskiej?<\/b><\/p>\n

Najprawdopodobniej znalezienie r\u00f3wnowagi mi\u0119dzy tradycj\u0105 a nowoczesno\u015bci\u0105. Lubi\u0119 inscenizacje, kt\u00f3re nie s\u0105 zniewolone wymogami tego, co przyj\u0119\u0142o si\u0119 uwa\u017ca\u0107 za normalne. Wol\u0119 robi\u0107 klasyk\u0119 z pewnym twistem, pracowa\u0107 nad subtelno\u015bciami libretta i tekstu. Ponadto \u017cyjemy w trudnych czasach: ledwo co wyszli\u015bmy z potwornej pandemii, a teraz musimy stawi\u0107 czo\u0142a bezsensownej wojnie. Chc\u0119 sprawi\u0107, by opera by\u0142a \u017ar\u00f3d\u0142em rado\u015bci dla widz\u00f3w, a jednocze\u015bnie by\u0142a aktualna \u2013 to ogromne wyzwanie, a podejmowanie si\u0119 go jest dla mnie zaszczytem.\u00a0<\/span><\/p>\n

 <\/p>\n

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IMMORTAL THE MARRIAGE OF FIGARO <\/i>\u2013 Andr\u00e9 Heller Lopes is it interviewed by Katarzyna Aszkie\u0142owicz<\/b><\/p>\n

The Marriage of Figaro<\/i> is one of the world\u2019s most famous operas. The Vienna premiere also took place in May \u2013 but 236 years ago. The production was very innovative at the time. However, the image of the world has changed many times over the decades: wars, revolutions, social upheaval, technological progress \u2013 only Mozart\u2019s music has not changed. So, why do we keep coming back to this work? What is it in Lorenzo Da Ponte\u2019s libretto that makes audiences want to return to it repeatedly?<\/b><\/p>\n

I think we keep on coming back to The Marriage of Figaro<\/i> because we are basically the same humans. It is the humanity presented in the story that makes it so immortal, so \u201ccontinually intriguing\u201d. You can stage the opera in a New York penthouse or in a Downton Abbey setting and the characters remain basically the same. I prefer to keep it loosely set in the eighteenth century imagined by Da Ponte and Beaumarchais because I think it makes the plot stronger: the audience can watch the Count attempting to abuse Susanna and perhaps think, \u201chow is it possible that such things still happen nowadays, almost 300 years later?\u201d. There is an important message there.<\/p>\n

The Marriage of Figaro<\/i> was inspired by Pierre Beaumarchais\u2019 play \u2013 a comedy that delighted not only with its brilliant humour and expressive characters but also with its loud social message. In it, one could sense the harbinger of the coming French Revolution. How much inspiring was it for you as a director? What did you emphasise in building the characters of The<\/i> Marriage of Figaro<\/i>?<\/b><\/p>\n

Because of the potential censorship at the Habsburg court, Da Ponte wisely slightly shifted the focus from politics (the clash of classes) to human relationships (men\u2019s and women\u2019s attitudes to love, fidelity, marriage and, of course, sex). That said, I have always been intrigued by the work\u2019s secondary title: La folle journ\u00e9e<\/i>. That \u201ccrazy day\u201d inspired me to look at the work in a different light, perhaps more buffa\u2026 almost like a circus. Needless to say, the idea of madness (\u201cfollie\u201d) was already there when I started this Da Ponte trilogy, inserting the lovely chorus of lunatics into Don Giovanni <\/i>(and then in Cosi fan tutte<\/i>).<\/p>\n

In Don Giovanni<\/i>, <\/i>you based your concept of this opera on the theme of madness, which was very clearly written in the libretto. What was it like in the case of The Marriage of Figaro<\/i>?<\/b><\/p>\n

It would have been too obvious to make the Almaviva palace and its inhabitants lunatic. Thus, I decided to look at this, so to speak, the other way around. In Giovanni<\/i>, I explored madness and in The Marriage of Figaro<\/i>, I plan to explore the elements of seduction, love and, of course, sexual desire, typically more associated with the adventures of Don Juan, which we have been showing on our stage this season.<\/p>\n

It is said that Mozart\u2019s music is the pure joy of life. Do you agree with that? Is it for you?<\/b><\/p>\n

I am not so sure about that. Life is not only made of joys \u2013 and maybe fortunately so because we then can appreciate happiness more in opposition to sadness. I would say that Mozart\u2019s music is the entire life, with its all elements, those which are happy and those which are sad.<\/p>\n

The Marriage of Figaro <\/i>is being produced as part of the Youth Opera<\/i> programme. Is it easier or more challenging to be young on stage?<\/b><\/p>\n

I have been a professor at the university since 1996. I help and support the development of new talents. It has always been my passion \u2013 even though I started doing it when I was quite young myself. To share whatever we learn with others is a vocation, an urgency to communicate our love for opera, which, I think, I share with Mariusz Kwiecie\u0144, the artistic director of Wroc\u0142aw Opera.<\/p>\n

You are a Latin American director; you were educated in Brazil. How is Mozart\u2019s music received there and what about opera as a genre?<\/b><\/p>\n

As much as the environment in which one is raised can be a strong influence, I must say I have always regarded myself primarily as a citizen of the world. We need to remember that I am only a second-generation Brazilian and that my grandfather\u2019s family was all Polish. He was born in what was then the Russian Empire and, while his mother had Lithuanian roots, his father\u2019s whole family came from the vicinities of Grodno and Gda\u0144sk. They had been tea and timber merchants for generations. So, I think we share part of the same traditions and I feel very much at home in Poland.<\/p>\n

While, unfortunately, opera does not enjoy the same prestige in Brazil as other more popular forms of musical expression do, Mozart is very popular all over Latin America. In Europe, his music has more style; there is the background that makes all the difference., I would be inclined to say that, in the South, Mozart\u2019s operas are more \u201cvocal\u201d, performed with more emphasis on passion than on the incredible architecture of his music.<\/p>\n

What was the biggest challenge in creating The Marriage of Figaro<\/i> at Wroc\u0142aw Opera<\/b>?<\/p>\n

What was most challenging was most probably finding the right balance between tradition and modernity. I like the productions that are not enslaved by the \u201edemands\u201d of what is assumed to be normal. I prefer to do \u201cclassical works with a twist\u201d, to work on the subtleties of the libretto and the text. Moreover, we live in difficult times: we are barely out of a horrible pandemic and now we must face a senseless war. I want to make the opera a source of joy to the audience and, at the same time, to make it relevant is a huge challenge. I find responding to this challenge a great honour for me.<\/p>\n","protected":false},"excerpt":{"rendered":"

FIGARO NIE\u015aMIERTELNY z\u00a0Andr\u00e9 Hellerem Lopesem rozmawia Katarzyna Aszkie\u0142owicz Wesele Figara to jedna z najs\u0142ynniejszych oper \u015bwiata. Jej wiede\u0144ska prapremiera r\u00f3wnie\u017c odby\u0142a si\u0119 w maju – ale 236 lat temu. Sam spektakl by\u0142 ju\u017c w\u00f3wczas bardzo nowatorski, ale w ci\u0105gu dziesi\u0119cioleci obraz \u015bwiata zmienia\u0142 si\u0119 wielokrotnie: wojny, rewolucje, wstrz\u0105sy spo\u0142eczne, post\u0119p technologiczny – nie zmieni\u0142a si\u0119 […]<\/p>\n","protected":false},"author":10,"featured_media":1773,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1762","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktualnosci"],"_links":{"self":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1762","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1762"}],"version-history":[{"count":11,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1762\/revisions"}],"predecessor-version":[{"id":1778,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1762\/revisions\/1778"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/media\/1773"}],"wp:attachment":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1762"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1762"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1762"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}