{"id":1858,"date":"2022-06-23T12:26:56","date_gmt":"2022-06-23T10:26:56","guid":{"rendered":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1858"},"modified":"2022-06-23T12:26:56","modified_gmt":"2022-06-23T10:26:56","slug":"recenzja-madame-butterfly-broadwayworld-com-%f0%9f%91%8f","status":"publish","type":"post","link":"https:\/\/newsletter.opera.wroclaw.pl\/?p=1858","title":{"rendered":"Recenzja MADAME BUTTERFLY broadwayworld.com \ud83d\udc4f"},"content":{"rendered":"

MADAME BUTTERFLY w Operze Wroc\u0142awskiej<\/strong><\/p>\n

To by\u0142o po prostu niesamowite<\/strong><\/p>\n

Natalia Jarczy\u0144ska<\/strong><\/p>\n

Je\u015bli chcesz by\u0107 \u015bwiadkiem materializacji s\u0142owa pi\u0119kno, zobacz ten spektakl. Dzi\u0119ki porywaj\u0105cym g\u0142osom, wspania\u0142ej muzyce Pucciniego i \u017cywej prezentacji ta opera zaprowadzi Ci\u0119 prosto do muzycznego nieba.<\/p>\n

To 118-letnie arcydzie\u0142o nale\u017c\u0105ce do tradycji weryzmu przedstawia \u015bwiat z wi\u0119kszym realizmem. W ramach tego nurtu opera ta nie jest oparta na kr\u00f3lach, kr\u00f3lowych czy bogach, ale na przeci\u0119tnych m\u0119\u017cczyznach i kobietach z ich problemami. Oparta jest na opowiadaniu Johna Luthera Longa, kt\u00f3re zosta\u0142o zainspirowane prawdziw\u0105 histori\u0105.<\/p>\n

Zaczn\u0119 od wi\u0119kszego obrazu. Scenografia (autorstwa Williama Orlandiego) jest ciemna, szara, jakby rdzawa i zakurzona, co doskonale oddaje charakter czarno-bia\u0142ego filmu. Kostiumy (zaprojektowane r\u00f3wnie\u017c przez Orlandiego) s\u0105 r\u00f3wnie\u017c ciemnoszare, a ogl\u0105danie bezbarwnych obraz\u00f3w daje now\u0105 perspektyw\u0119. Dodano jeden kolor – czerwone kwiaty – kt\u00f3ry nadaje im jeszcze wi\u0119ksz\u0105 moc, symbolizuj\u0105c si\u0142\u0119 emocji.<\/p>\n

Pokochasz t\u0119 muzyk\u0119 – jest dynamiczna, \u017cywa, od\u015bwi\u0119tna i orze\u017awiaj\u0105ca. Jest w niej co\u015b bardzo lekkiego i naturalnego. Orkiestra pod wspania\u0142\u0105 dyrekcj\u0105 Bassema Akiki zapewnia niezapomnian\u0105 podr\u00f3\u017c do muzycznego raju.<\/p>\n

W pierwszym akcie jest wiele pi\u0119knych pie\u015bni mi\u0142osnych (w ko\u0144cu chodzi o mi\u0142o\u015b\u0107), jest w nich delikatno\u015b\u0107 i wra\u017cliwo\u015b\u0107. Madame Butterfly (\u015bwietna Kristine Opolais) pozostawia nas bez s\u0142\u00f3w. Jej kreacja w pierwszym akcie jest delikatna jak p\u0142atki kwiat\u00f3w. Jest krucha i naiwna, przepe\u0142niona mi\u0142o\u015bci\u0105 i wiar\u0105. Chcesz j\u0105 przytuli\u0107, bo wiesz, \u017ce ta historia sko\u0144czy si\u0119 tragicznie, bo jest tak niezaprzeczalnie s\u0142odka i niewinna (no c\u00f3\u017c, w ko\u0144cu ma 15 lat).<\/p>\n

\u00a0<\/span>Akt drugi jest inny, trzy lata p\u00f3\u017aniej, niegdy\u015b pi\u0119kna panna m\u0142oda jest teraz chwiejna, jej delikatno\u015b\u0107 zamieni\u0142a si\u0119 w bezbronno\u015b\u0107 pe\u0142n\u0105 smutku i bezgranicznej nadziei. Jest nieszcz\u0119\u015bliwa, ale skromna i niewiarygodnie cierpliwa. Kristine doskonale wciela si\u0119 w t\u0119 posta\u0107, jest “Madame Butterfly” i ma niesko\u0144czon\u0105 w\u0142adz\u0119 nad jej osobowo\u015bci\u0105. Odczytywanie jej emocji jest tak proste, \u017ce s\u0105 one doskonale widoczne i wydaj\u0105 si\u0119 p\u0142yn\u0105\u0107 przez ni\u0105. Jest naturalna. Jej interpretacja jest niesamowita, kolorowa\u0142a przestrze\u0144 nutami i tonami i pozwala\u0142a im p\u0142yn\u0105\u0107. W bardzo niezwyk\u0142y spos\u00f3b sprawia, \u017ce czujemy jej emocje, a s\u0105 one silne. To bardzo poruszaj\u0105ce.<\/p>\n

W spektaklu s\u0105 jeszcze inne wspania\u0142e role, jak Suzuki (efektowna Monika Ledzion-Porczy\u0144ska), energiczny Goro (Aleksander Zuchowicz), elegancki Sharpless (Marcin Bronikowski) i ksi\u0105\u017c\u0119 Yamadori (szykowny \u0141ukasz Rosiak), a na koniec Pinkerton grany przez Tadeusza Szlenkiera. On te\u017c jest niesamowity. Jego \u015bpiew jest jak pra\u017cony orzech laskowy, g\u0119sty, orzechowy, chrupi\u0105cy na zewn\u0105trz, troch\u0119 dymny i oleisty w \u015brodku. Przekona\u0142 mnie do siebie ca\u0142kowicie i uwielbia\u0142am ka\u017cd\u0105 chwil\u0119 jego wyst\u0119pu.<\/p>\n

Ten spektakl jest jak oldschoolowy czarno-bia\u0142y film ze wspania\u0142\u0105, \u017cyw\u0105 muzyk\u0105 i naprawd\u0119 nie wiem, co jest w nim najlepsze – niesamowite g\u0142osy, muzyka czy scenografia. To wszystko tworzy idealne po\u0142\u0105czenie spektaklu, kt\u00f3ry na d\u0142ugo pozostanie w pami\u0119ci.<\/p>\n

 <\/p>\n

Review: MADAME BUTTERFLY at Opera Wroclaw<\/strong><\/p>\n

It was just amazing<\/span><\/strong><\/p>\n

by\u00a0Natalia Jarczynska<\/strong><\/p>\n

If you want to witness the materialization of the word\u00a0beauty<\/i>, see this show. With thrilling voices, amazing Puccini music, and vital presentation this opera will lead you straight to musical heaven.<\/p>\n

This 118-year-old masterpiece being part of verismo tradition portrays the world with greater realism. As a part of the movement, this opera is not based on kings, queens, or gods, but the average man and woman with their problems. It is based on a short story written by\u00a0John Luther Long, which is inspired by a real story.<\/p>\n

I will start with the greater picture. The scenography (by William Orlandi) is dark, grey, kind of rust, and dusty, which is a perfect way to make the scene a black and white movie. Costumes (designed also by Orlandi) are as well dark\/grey and looking at colorless pictures gives a new perspective. There is one color added – red flowers – and it gives them even more power symbolizing the power of emotions.\u00a0<\/span><\/p>\n

You will love the music, it’s dynamic, lively, bright, festive, and refreshing. There is something very light and natural in it. The orchestra conducted greatly by Bassem Akiki gives an unforgettable trip to a musical paradise.<\/p>\n

The first act has a lot of beautiful love songs (it’s all about love after all), and there is a delicacy and vulnerability. Madame Butterfly (great Kristine Opolais) leaves us speechless. Her creation in the first act is tender as petals of flowers. She’s fragile and naive, filled with love and faith. You want to hug her because you know that the story will end tragically as she’s so undeniably sweet and innocent (well, after all, she’s 15 years old). Act two is different, three years later, the once beautiful bride is now shaky, her delicacy turned into vulnerability filled with sadness and infinite hope. She’s miserable but humble and incredibly patient. Kristine leads the character with perfection, she is THE Madame Butterfly, and she has endless power over the personality. She makes reading her emotions so easy, it’s perfectly clear and seems like they are flowing through her. She’s a natural. Her interpretation is incredible, she was coloring the space with notes and tones et let them go. In a very unusual way, she makes us feel her emotions, and they are strong. It’s highly moving.<\/p>\n

The play has other magnificent parts like Suzuki (striking Monika Ledzion-Porczynska), energetic Goro (Aleksander Zuchowicz), elegant Sharpless (Marcin Bronikowski) and Prince Yamadori (chic Lukasz Rosiak) and last but not least the Pinkerton played by Tadeusz Szlenkier. He’s also incredible. His singing is like roasted hazelnut, thick, nutty, crunchy on the outside, a little smoky and oily on the inside. He convinced me totally and I loved every single moment of his performance.<\/p>\n

This play is like old-school black and white movie with great, vibrant music and I really don’t know what the best part is – amazing voices, music, or scenography. It makes a perfect combination of a show that will stay with you for a long time.<\/p>\n","protected":false},"excerpt":{"rendered":"

MADAME BUTTERFLY w Operze Wroc\u0142awskiej To by\u0142o po prostu niesamowite Natalia Jarczy\u0144ska Je\u015bli chcesz by\u0107 \u015bwiadkiem materializacji s\u0142owa pi\u0119kno, zobacz ten spektakl. Dzi\u0119ki porywaj\u0105cym g\u0142osom, wspania\u0142ej muzyce Pucciniego i \u017cywej prezentacji ta opera zaprowadzi Ci\u0119 prosto do muzycznego nieba. To 118-letnie arcydzie\u0142o nale\u017c\u0105ce do tradycji weryzmu przedstawia \u015bwiat z wi\u0119kszym realizmem. W ramach tego nurtu […]<\/p>\n","protected":false},"author":10,"featured_media":1862,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-1858","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\/1858","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=1858"}],"version-history":[{"count":5,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1858\/revisions"}],"predecessor-version":[{"id":1871,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/posts\/1858\/revisions\/1871"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=\/wp\/v2\/media\/1862"}],"wp:attachment":[{"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1858"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1858"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/newsletter.opera.wroclaw.pl\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1858"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}