Karmen e programėlė

Vaidmenys ir atlikëjai | Cast

Karmen | Carmen

Don Chozė | Don José

Eskamiljas | Escamillo

Mikaela | Micaëla

Dankairas | Dancaïro

Remendadas | Remendado

Fraskita | Frasquita

Mersedes | Mercédès

Cuniga | Zuniga

Moralesas | Moralès

IEVA PRUDNIKOVAITĖ

EDGARAS MONTVIDAS

STEPONAS ZONYS

VIKTORIJA MIŠKŪNAITĖ

ARŪNAS MALIKĖNAS

RAFAILAS KARPIS

UGNĖ MATUKAITYTĖ

AURELIJA STASIULYTĖ

EGIDIJUS DAUSKURDIS

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)

POPULIARIAUSIA PASAULYJE OPERA

Karmen

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

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 Fran çois Marmontelis (fortepijonas), Fran çois 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 Pertograþuolë (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 Geneviè ve’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.

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.

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

– 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).

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.

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

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

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...

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 Prancûzijos–Prûsijos karo. Friedrichas Nietzsche savo veikale Wagneriobyla 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 Wagneriobyla 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.

1880 m. Èaikovskis savo mecenatei Nadeþdai von Meck raðë: „Manau, kad po kokiø deðimties metø Karmen bus pati populiariausia pasaulyje opera.“ Deja, Bizet gyveno per trumpai, kad pamatytø, kaip su kaupu iðsipildë ðie þodþiai. Bizet karjera – klasikinë frazës „pristigo laiko“ iliustracija.

KARMEN TRIUMFAS

Karmen triumfo þygis prasidëjo Vienoje 1875 m. rudená. Naujàja Bizet 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.

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 sukurtas baletas su Maja Pliseckaja), miuziklai, sukurta begalë populiariosios muzikos adaptacijø ir kino siuþetø – keliasdeðimt nebyliøjø, garsiniø ir netgi animaciniø filmø, o kur dar melodijos skambesys reklaminiuose klipuose ar mobiliuosiuose telefonuose. Susiþavëjimas XIX a. prancûzø operos ðedevru neslûgsta.

1880 m. Èaikovskis savo 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 Genevi ève 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

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.

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

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 Fran ç ois Marmontel (piano), Fran ç ois 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

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.

In June 1869 Bizet married Genevi è ve 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 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

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

CARMEN. WHAT DO YOU EXPECT?

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.

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 IMPRISONED INSIDE A LOVE TRIANGLE

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,

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

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.

After a few years, having won Vienna, Brussels, London and New York, Carmen returned to Paris. Ironically, even here it was rewarded with fantastic success. In 1883 Bizet’s masterpiece returned to Paris’ Opéra-Comique.

In 1904 in Paris Carmen was played for 1000 times already. In 1959, during the premiere at the Paris Opera, the

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.

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”.

The character of Carmen keeps returning: sometimes surrounded by the original spirit of the work, or put in today‘s context, ascetic or decorated with lush stage designs. Every time she achieves new incarnations, remaining true to her essence - she intrigues, rouses wonder, fear and admiration.

Eglë

Ulienë

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 kostiumø dailininkë | costume designer Virginija Idzelytë

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

Vladislava Grigaitienë Kipras Petrauskas

Lietuvos opera

KARMEN:

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

DON CHOSË:

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

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 Gulbiøeþeras, Mieganèiojigraþuolë, Raudonoji Þizel, RomeoirDþuljeta

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 Concertgebouw, Berlyno Konzerthaus, Frankfurto Alte

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 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 SleepingBeauty,SwanLake,RomeoandJuliet and The Red Giselle

Since 2008, he has been regularly invited to the podium of the Munich State Opera. Šervenikas has conducted in almost all European countries, Japan, the Republic of South Africa, Israel and Russia appearing in such concert venues as the Great Hall of the Moscow Conservatory, Amsterdam’s Concertgebau, Madrid’s Auditorium de nationale, Frankfurt’s Alte Oper, London’s Cadogan Hall, Berlin’s Konzerthaus, Osaka Festival Hall, Osaka Symphony Hall, Tokyo Metropolitan Art Space, as well as philharmonic halls in Cologne, Hamburg and Sankt Petersburg.

ARNAUD BERNARD, reþisierius

Arnaud Bernard’as Strasbûro nacionalinëje konservatorijoje studijavo ávairius muzikinius dalykus – smuikà, orkestrà, muzikos analizæ ir t. t. 1986–1987 m. sezonà jis grieþë smuiku Strasbûro filharmonijos orkestre. 1988 m. tapo þymaus reþisieriaus N. Jo ëlio asistentu, tuo pat metu buvo ir reþisieriaus J. C. Auvray asistentas Prancûzijoje ir Vokietijoje.

1989 m. A. Bernard’as tapo Kapitolijaus teatro (Tulûza) reþisieriaus padëjëju ir asistentu. Ðiuo laikotarpiu jis taip pat dirbo asistentu ávairiuose Prancûzijos miestuose (Nansi, Lione, Strasbûre, Nicoje, Paryþiuje, Monpeljë, Bordo) ir prestiþiðkiausiuose uþsienio (Anglijos, Argentinos, Belgijos, Ispanijos, Italijos, Japonijos, JAV, Vokietijos) operos teatruose: Covent Garden, Metropolitan Opera, La Scala, Opéra Bastille, Teatro Colon ir t. t.

A. Bernard’as daugiau kaip 35 kartus buvo N. Jo ëlio spektakliø reþisierius statytojas ne tik Prancûzijoje, bet ir uþsienyje. Tarp ryðkiausiø darbø – Romeo ir Dþuljeta (Covent Garden) ir Liuèija di Lamermur (Metropolitan Opera). 1996 m. jis paskirtas Kapitolijaus teatro reþisieriaus pavaduotoju ir spektakliø vadybininku, o netrukus ávyko ir jo paties reþisûrinis debiutas: bûdamas dvideðimt devyneriø, Spoleto festivalyje (Èarlstonas) A. Bernard’as pristatë

kritikø ðiltai sutiktà operà Falstafas, vëliau statë Trubadûrà ir Sevilijos kirpëjà

1999–2003 m. jis reþisavo C. Gounod Romeo ir Dþuljetà (Èikagos lyrinë opera), kurioje pagrindinius vaidmenis atliko R. Alagna ir A. Gheorghiu, statë Meilës eliksyrà (Kapitolijaus teatras), G. Meyerbeero Hugenotus (Martina Frankos vasaros festivalis), L. Delibes’o Lakmæ (Palermo Massimo teatras, taip pat rodyta Tokijuje ir Filadelfijoje), J. Massenet Verterá (Martina Frankos vasaros festivalis), Romeo ir Dþuljetà (Tokijas), Vindzoro ðmaikðtuoles (Nantas ir Anþë).

Tarp 2004–2005 m. sezono darbø – naujas Luizos Miler pastatymas Olandijos Nationale Reiseopera teatre, Meilës eliksyras Sent Etjene, Romeo ir Dþuljeta Pekino muzikos festivalyje, Lahoro karalius atnaujintame Venecijos La Fenice teatre, didþiulës sëkmës sulaukusi Bohema Veronos Arena di Verona ir Lozanoje pastatytas Rigoletas

Pastarøjø metø A. Bernard’o darbai: Luiza Miler (La Fenice teatras), Traviata (Praha, Lozana, Tokijas), Falstafas (Neapolio San Carlo ir Buenos Airiø Colon teatrai), Rigoletas (Marselis, Nantas), Meilës eliksyras (Tulûza), Kaimo garbë (Sankt Galenas), Karmen (Helsinkis, Lozana, Tokijas, Bilbao), Pikø dama (Tulûza), Bohema (Verona), Falstafas ir Bohema (Zagrebas).

Tarp menininko ateities planø – Þydë ir Kaukiø balius (Sankt Peterburgas), Penelopë (Atënai), Falstafas (Bilbao), Hofmano pasakos (Atënai), Romeo ir Dþuljeta (Lozana, Marselis, Ljeþas), Likimo galia (Bolonija) ir Otelas (Maskvos didysis teatras).

Arnaud BERNARD, Director

Arnaud Bernard, born in 1966, began playing the violin at the age of 6. He entered the ConservatoireNationaldeStrasbourg at the age of 17, where he completed a wide range of musical studies including violin, orchestra and analysis. Subsequently, he was engaged as violinist with the Philharmonic Orchestra of Strasbourg for the 1986 and 1987 seasons.

In 1988, he became an assistant to the renowned director Nicolas Joël. At the same time he served as assistant to Jean-Claude Auvray throughout France and Germany. In 1989, he was hired by the ThéâtreduCapitole in Toulouse as a stage manager and since that time has worked as an assistant director for all major productions. During this period, he continued his activities as an assistant throughout France (Nancy, Lyon, Strasbourg,

Nice, Paris, Montpellier, Monte-Carlo, Bordeaux) as well as abroad (Germany, Belgium, England, Argentina and the United States, Japan, Italy, Spain) and particularly in the world’s most prestigious operahouses, such as Covent Garden, Metropolitan Opera, La Scala di Milano, Opéra Bastille, Teatro Colon in Buenos Aires and others.

Since 1993, Mr. Bernard has had the occasion to stage more than 35 revivals of Mr Joël’s productions in France and abroad, notably Romeo et Juliette at the Royal Opera House Covent Garden and Lucia di Lamermoor at the Metropolitan Opera.

After having been appointed as Associate Stage Director and Production Manager at the Théâtre du Capitole in 1996, he made his personal debut, at the age of 29, staging Falstaff for the Spoleto Festival in Charleston, SC. to great critical acclaim, followed by Il Trovatore in Toulouse and by a new production of Il Barbiere di Siviglia (1998), also at the Théâtre duCapitole.

Between 1999 and 2003, he produced Gounod’s RoméoetJuliette for the Chicago Lyric Opera with Roberto Alagna and Angela Gheorghiu in the leading roles. He presented a new production of L’Elisir d’amore at the ThéâtreduCapitole in Toulouse for the debut of Marcelo Alvarez in the role of Nemorino, a new production of Meyerbeer’s Les Huguenots for the summer Festival in Martina Franca, Italy. He also produced a new production of Lakmé (revival in Tokyo and Philadelphia) for the Teatro Massimo in Palermo, Werther for Martina Franca, Roméo et Juliette in Tokyo, DieLustigen Weiber von Windsor in Nantes and Angers. In 2004-2005 he worked on a new production of Luisa Miller for the National Reiseopera in The Netherlands, L’Elisir d’amore in SaintEtienne, Roméo et Juliette at the Beijing Music festival, Le Roi de Lahore for the re-opening of La Fenice in Venice. La Bohème at the Arena of Verona to great critical acclaim, Rigoletto in Lausanne .

More recently, he has staged Luisa Miller at the Fenice, La Traviata in Prag (PSO), a new Falstaff at the Teatro San Carlo in Napoli for the opening of the season 2006, Rigoletto in Marseille and Nantes, L’Elisir d’amore in Toulouse, a new production of Cavalleria Rusticana in St. Gallen, a new production of Carmen in Helsinki in coproduction with Lausanne and Tokyo, a new production of The Queen of Spades in Toulouse, Falstaff at the

Teatro Colon, revival of la Bohème in Verona, Carmen and La Traviata in Lausanne and in Tokyo, Carmen in Bilbao, Falstaff and La Boh è me in Zagreb. In preparation : La Juive and Un Ballo in Maschera in Saint-Petersburg, Pénélope by Fauré in Athens (Greek National Opera), Falstaff in Bilbao, Les Contes d’Hoffmann in Athens (Megaron), Romeo and Juliet by Gounod in Lausanne, Marseille and Li è ge, La Forza del Destino in Bologna, Otello at the Bolshoï Theatre.

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 Fëjosbuèiná (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

ir S. Prokofjevo Meilæ trims apelsinams (abiejø reþ. G. Deflo), o vëliau abu bendradarbiavo kurdami C. Monteverdi Orfëjo, P. Èaikovskio Pikø damos (Barselonos Gran Teatre del Liceu), P. Mascagni Kaimo garbës, J. Massenet Teresës, A. Ponchielli Dþokondos (Ciuricho Opernhaus), G. Rossini Semiramidës (Rossini operos festivalis Pezare), G. Meyerbeero Hugenotø, J. Massenet Lahoro karaliaus (reþ. A. Bernard’as, La Fenice teatras), G. Verdi Luizos Miler (Enschedës Nationale Reisopera ir Venecijos La Fenice teatras) ir Rigoleto (Lozanos operos teatras) scenografijà. Tarp artimiausiø A. Cameros darbø – G. Verdi Nabukas ir G. Puccini 150-osioms gimimo metinëms skirtas Triptikas (Palermo Teatro Massimo). Kartu su G. Lavia jis kurs R. Strausso Salomëjà (Bolonijos Comunale teatras), G. Verdi Þanà d’Ark (Verdi festivalis Parmoje), W. A. Mozarto Figaro vedybas, Don Þuanà ir Visosjostokios(Suntorysalë Tokijuje). Ðiuo metu menininkas kartu su G. Lavia kuria A. Strindbergo Mirties ðokio scenografijà. 2007 m. A. Camera pelnë Gassmano apdovanojimà kaip geriausias scenografas.

ALESSANDRO CAMERA, Set Designer Alessandro Camera came to be active in the field of opera while still studying at the Accademia di Belle Arti di Brera, when he worked with Luciano Damiani. During the early stage of his career, he was involved in the making of productions of Igor Stravinsky’s The Fairy’sKiss (La Scala, Milan), Verdi’s La traviata (The Arena in Verona and the Salzburg Festival), and Berlioz’s La Damnation de Faust (StaatstheaterStuttgart). 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 Schiller’s Mary Stuart (both at Rome’s Teatro Eliseo, directed by Giancarlo Sepe). Working with the director Glauco Mauri, he designed sets for productions of E. E. Schmitt’s Enigma Variations; Ben Jonson’s Volpone; Goldoni’s The Liar; and Dostoevsky’s Crime and

Punishment. In cinema, he worked with Ezio Frigerio on the film Le Hussard sur le toît, directed by Jean-Paul Rappeneau (1995). The year 1997 marked the beginning of his intensive collaboration with William Orlandi. At Paris’ Opéra Bastille the two worked together on Massenet’s Don Quichotte and Prokofiev’s Love for Three Oranges, both directed by Gilbert Deflo. Also in tandem with Orlandi, there followed set designs for Monteverdi’s Orfeo and Tchaikovsky’s TheQueenofSpades, both for Barcelona’s Gran Teatre del Liceu; Mascagni’s Cavalleria rusticana, Massenet’s Thérese, and Ponchielli’s La Gioconda at Zurich’s Opernhaus; Rossini’s Semiramis for the Rossini Opera Festival in Pesaro, Italy; Meyerbeer’s Les Huguenots; Verdi’s Luisa Miller (at the Nationale Reisopera in Enschede, and the Teatro La Fenice in Venice, respectively); Rigoletto (Lausanne Opera); and Le Roi de Lahore by Massenet ( Teatro La Fenice), directed by Arnaud Bernard. During this season at Teatro Massimo in Palermo Mr. Camera has signed for Verdi’s Nabucco and Trittico, dedicated to the 150 anniversary of G. Puccini. He will work in intense cooperation with Gabriele Lavia for such productions as Salome (R.Strauss) at Teatro Comunale di Bologna, Verdi’s Giovanna d’Arco Parma’s Verdi Festival, Mozart’s Le NozzediFigaro,DonGiovanni and Così fan tutte (Suntory Hall in Tokyo). With Gabriele Lavia he is currently working on the set of Strindberg’s Danse Macabre.

In 2007 he received the Gassman Award for the best set designer.

MARIA CARLA RICOTTI, kostiumø dailininkë

Maria Carla Ricotti 1992 m. baigë scenografijos studijas Milano Brera menø akademijoje, kurioje ðiuo metu dësto. 1990–1996 m. ji buvo kostiumø dizainerio ir scenografo L. Spinatelli asisten-

të statant ávairias dramas, operas ir baletus, bendradarbiavo su J. MacFarlane kuriant

G. Verdi Falstafo (Florencijos Comunale teatras, Liono operos teatras, Briuselio Théâtre Royal de la Monnaie) ir W. A. Mozarto Don Þuano ( Théâtre Royal de la Monnaie) kostiumus.

1997 m. kartu su J. Ivory ji kûrë pagal G. F. Händelio Apolonà ir Dafnæ statomo baleto kostiumus, po metø buvo J. P. Gaultier asistentë kuriant baletà Pinokis (abiejø choreogr. K. Armitage, Florencijos Teatro la Pergola).

1995 m. M. C. Ricotti pradëjo savarankiðkà scenografës ir kostiumø dizainerës karjerà dramos spektakliuose – P. Calderóno de la Barcos Didþiajame pasaulio teatre ir M. de Cervanteso Stebuklø teatre (abiejø reþ. G. De Monticelli), o vëliau – N. Gogolio Mirusiose sielose (Milano Teatro Franco Parenti). 1997 m. menininkë pradëjo aktyviai bendradarbiauti su S. De Luca, sukurdama C. Collodi Pinokio ir A. de Saint-Exupéry Maþojoprinco (abu Milano maþajame teatre), A. Jarry’o Karaliaus Ûbo (Timišoaros nacionalinis teatras, Rumunija), V. Alfieri’o Oresto (Vièencos Teatro Olimpico) ir A. Christie Pelëkautø (Turino Spettacoli teatras) scenografijà ir kostiumus. Vëliau dirbo Makbetø klane (reþ. A. Longoni, Milano Teatro Studio), W. Shakespeare’o Romeo ir Dþuljetoje (reþ. L. Muscato) ir Skrydyje pagal A. Èechovo Þuvëdrà (Teatro Ventidio Basso).

Dizainerë sukûrë L. Pirandello Skrybëlës ir varpeliø ir Tu teisus (jei taip manai) (abiejø reþ. G. Bosetti, Milano Teatro Carcano) kostiumus, o vëliau dirbo kartu su tuo paèiu reþisieriumi jo pagal C. Goldoni Ponà Toderà burbeklá statomame spektaklyje (Venecijos teatro bienalë). Italø operos þanre C. Ricotti debiutavo sukurdama N. Piccinni Amerikieèio (Martina Frankos Festival della Valle D’Itria), G. Verdi Simono Bokanegros (reþ. G. Maresta, Mesinos Viktoro Emanuelio teatras) ir N. Rotos Dviejø drovuoliø (reþ. Gragoretti, Bario Arena della Vittoria) kostiumus.

Nuo 2001 m. scenografë bendradarbiavo su reþisieriumi A. Bernard’u statant G. Meyerbeero Hugenotus (Martina Frankos Festival della Valle d’Itria), J. Massenet Lahoro karaliø (Venecijos La Fenice teatras) ir Tais (Atënø megarono operos teatras), G. Verdi Luizà Miler (Enschedës Nationale Reisopera), Traviatà (Prahos valstybinis teatras), Falstafà (Neapolio San Carlo teatras) ir Kaimo garbæ (Sankt Galenas, Šveicarija), G. Bizet Karmen(Suomijos nacionalinë opera), P. Èaikovskio Pikø damà (Tulûzos Kapitolijaus teatras) ir G. Puccini Triptikà(Zagrebo opera).

Šiuo metu C. Ricotti kuria spektaklio Triptikas, kuris bus rodomas Palermo Teatro di Massimo (reþ. G. Scandella, G. Ciabatti ir F. Micheli), kostiumus. Tarp artimiausiø dizainerës planø –G. Verdi Otelo (Maskvos didysis teatras) ir G. Fauré Penelopës (Graikijos nacionalinë opera, reþ. A. Bernard’as) kostiumai.

MARIA CARLA RICOTTI, Costume Designer

Maria Carla Ricotti achieved her diploma degree in 1992 as a stage designer at the Brera Academy of Fine Arts in Milano where she’s currently working as a teacher. From 1990 to 1996 she was an assistant to L.Spinatelli for costumes in numerous dramas, operas and ballets. She also collaborated with J.MacFarlane for the costumes of Verdi’s Falstaff (Teatro Comunale in Florence, Opera de Lyon, and Theatre Royal de la Monnaie Bruxelles) and W. A. Mozart’s Don Giovanni (Theatre Royal de la Monnaye). In 1997 she worked with J.Ivory for the costumes of ballet ApolloandDaphne by Handel and the following year she was an assistant to J. Paul Gaultier for the costumes of ballet Pinocchio, both choreographed by Karole Armitage (Teatro La Pergola, Florence).

She launched her own stage designs and costumes in 1995 with the dramas Il Gran Teatro del Mondo (Calderon de la Barca ), Il Teatro delle meraviglie (Cervantes ) directed by G. De Monticelli and afterwards with Le Anime Morte by Gogol (Teatro Franco Parenti, Milano). In 1997 she began a close collaboration with S. De Luca and produced stage designs and costumes for the following dramas: Pinocchio by Collodi (Piccolo Teatro di Milano), The Little Prince by Saint-Exupery (Piccolo Teatro di Milano), Ubu Roi by Jarry (Teatro Nazionale Timisoara), Oreste by Alfieri (Teatro Olimpico di Vicenza), Mouse Trap by A. Christie (Torino Spettacoli). She was also stage and costume designer of Macbeth Clan directed by A. Longoni (Teatro Studio, Milano), director Leo Muscato’s Romeo and Juliet by Shakespeare, and The Flight from The Seagull by Chekov ( Teatro Ventidio Basso, Ascoli Piceno).

Carla Ricotti created costumes for Il berretto a sonagli and Così e se vi pare by Pirandello, directed by G. Bosetti ( Teatro Carcano, Milano). She continued her collaboration with Mr. Bosetti by creating costumes for Goldoni’s Sior Todero brontolon (The Biennale of Theatre in Venice). She made her debut in Italian Opera

in 1996, creating costumes for L’Americano by Piccinni (Festival Della Valle D’Itria, Martina Franca). Her following project was Simon Boccanegra by Verdi, directed by G. Maresta (Teatro Vittorio Emanuele, Messina) and I due timidi by N. Rota, directed by Gragoretti (Arena della Vittoria, Bari).

In 2001 she began her collaboration with Arnaud Bernard and created costumes for the following productions: Les Huguenots by Mayerbeer (Festival della valle d’Itria), Luisa Miller by Verdi ( Nationale Reisopera, Enschede), Le Roi de Lahore by Massenet (Teatro La Fenice, Venice), La Traviata by Verdi (State Theatre, Prague), Falstaff by Verdi (Teatro San Carlo, Naples), Cavalleria Rusticana (St. Gallen, Switzerland), Carmen by Bizet (Finnish National Opera, Helsinki), Queen of Spades by Tchaikovski (Theatre du Capitole, Toulouse), Trittico by Puccini (Zagreb Opera) and Thais by Massenet (Megaron Opera House in Athens).

She is currently creating costumes of Trittico for Teatro Massimo, Palermo, with the direction of Scandella, Ciabatti and Micheli.

Her future engagements include creating costumes for the opening of the new Teatro Massimo di Palermo season (director Saverio Marconi), opera Otello (Bolshoi Opera House) and Penelope by Faure for the Greek National Opera, with the direction by Arnaud Bernard.

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).

G. Santucci – ávairialypis menininkas. 1984–1992 m. jis ðoko ávairiuose Romos, Neapolio, Taorminos, Urbino ir Triesto teatruose bei keliuose Niujorko ðokio kolektyvuose. Vëliau jis dirbo Rubë nacionaliniame choreografijos centre, buvo Bellini teatro (Katanija) baletmeisteris, mokë klasikinio ir moderniojo ðokio keliose Italijos, Prancûzijos ir kitø ðaliø mokyklose. Jis taip pat mokytojavo daugelyje dramos ir muzikos mokyklø, Romoje ir Trieste kurá laikà dirbo muzikinio teatro reþisieriaus padëjëju, o netrukus ir pats tapo pripaþintu reþisieriumi.

G. Santucci kûrybinëje sàskaitoje – áspûdingas darbø sàraðas. Jis yra kino filmø (Nuotakos kelionë, reþ. S. Rubini, 1997 (Venecijos festivalio Auksinio liûto apdovanojimas); Balandis, reþ. N. Moretti, 1998; Matilda, reþ. L. Manfredi; Pinokis, reþ. R. Benigni, 2005; Moana, reþ. A. Peyretti), dramø (Satyrikonas, reþ. R. Giordano; Paukðèiai(pagalAristofanà), reþ. R. Giordano, 2001), literatûros kûriniø adaptacijø (Pragaras (pagal Dante’s Dieviðkàjàkomedijà), 1990; Þmonës ir dievai (pagal C. Pavese’à), 2005; Atminties sapnai, 2008), operø (Karmen Helsinkyje, Lozanoje ir Japonijoje; Traviata Prahoje, Lozanoje ir Ankonoje; Hugenotai Martina Frankoje, 2002; Lahoro karalius Venecijos La Fenice teatre, 2004; Pikø dama Tulûzos Kapitolijaus teatre, 2007), opereèiø, miuziklø, televizijos serialø, komerciniø reklamos klipø ir televizijos ðou choreografas. G. Santucci nuolat bendradarbiauja ne vien su Italijos teatro, kino ir televizijos kompanijomis. Jam yra tekæ dirbti ir Graikijoje, Ispanijoje, Jungtinëse Amerikos Valstijose, Prancûzijoje, Rusijoje, Ðveicarijoje ir Vokietijoje.

GIANNI SANTUCCI, Choreographer

Choreographer and stage director Gianni Santucci studied classical dance in Arezzo, Italy (with Giovanna Papi), in Rome (with Michelle Ellis and Hélene Diolot), and in New York (with David Howard and Lisa Danias). He trained modern dance styles, also in New York (with Michael Owens, Michelle Assaf and Rick Atwell), and in Rome (with Silvie Moujolle), to 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–

1992, with various Italian companies in Rome, Naples, Taormina, Urbino and Trieste, and with several dance ensembles in New York); professor of modern dance at the Centre Choréographique National de Roubaix-NordPas de Calais; ballet master of the Bellini Theatre in Catania; teacher of classical and modern dance at a number of schools in Italy France and elsewhere; drama-school teacher; musical-school teacher; and stage manager, chiefly of musical theatre productions in Rome and Trieste.

Following an early period as an assistant director, he has evolved into a distinguished stage director, having to his credit an impressive list of productions and choreographies for films (among others, Il Viaggio della Sposa, dir. Sergio Rubini, 1997, awarded the Golden Lion at the Venice Festival; Aprile, dir. Nanni Moretti, 1998; Matilde, dir. Luca Manfredi, Pinocchio, dir. Roberto Benigni 2005, Moana, dir. A. Peyretti 2009), drama (Satyricon, dir. Renato Giordano, Aristophanes’ Gli Uccelli, dir. Renato Giordano, 2001), adaptations of literary works (Suoni della Memoria, 2008, Uomini e Dei, based on Cesare Pavese’s Dialogues with Leuco, Rome 2005; Inferno, two cantos from Dante’s Divina Commedia, Lecce 1990), operas (Carmen, in Helsinky, Lausanne and Japan, La Traviata, in Prague, Lausanne, Ancona, The Queen of Spades, Capitole de Toulouse, 2007; Le Roi de Lahore, Teatro La Fenice, Venice 2004; Les Huguénots, Martina Franca 2002), operettas (Trieste Operetta Seasons 1997–1998); Operetta Festival 1988), musicals ( Musical – TSF, Rome 2004; Cancan, 1998/ 1999), and Serial TV (Rome, produced from the HBO, Los Angeles, awarded the Golden Globe), as well as commercial promotional films and presentations (Peroni beer; car industry: Ferrari Marlboro Tour; Fiat), and television shows (Domenica in; Fantastico). Apart from numerous Italian theatre, film and television companies, he has worked in the USA, France, Switzerland, Russia, Germany, Greece, and Spain.

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 Titogailestingumas (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(LukrecijaBordþija, 1998; Likimogalia, 1999 (abiejø reþ. H. de Ana); Manon, 1999; Karmen, 2004 (abiejø reþ. N. Joëlis); Fidelijus, rež. W. Herzogas, 1999), Niujorko Metropolitan Opera (LiuèijadiLamermur, reþ. N. Joëlis, 1998), Paryþiaus Eliziejaus laukø teatre (Vilius Telis, reþ. P. L. Pizzi, 1989; spektaklis pelnë prancûzø kritikø premijà), Châ 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.

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 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’ Théâtre des Champs Elysées (William Tell, dir. P. L. Pizzi, 1989; this production was awarded the French Critics’ Prize), Théâ tre du Châ telet ( Fidelio, dir. G. Strehler, 1989, Don Carlos, dir. L. Bondy, 1996), Teatro Real in Madrid (Aida, dir. H. de Ana, 1998; MadamButterfly, 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),ThéâtreduCapitole 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 ThéâtreduCapitole, 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, choro meno vadovas

Vyriausiasis chormeisteris ir dirigentas, Lietuvos nusipelnæs artistas Èeslovas Radþiûnas Lietuvos operos ir baleto teatro chorui vadovauja nuo 1989 m. (1976–1985 m. – ðio choro chormeisteris). 1977 m. Lietuvos muzikos akademijoje jis ágijo choro dirigento specialybæ. 1984 m. baigë staþuotæ-asistentûrà Maskvoje (operinis dirigavimas). Vadovavo Vilniaus savivaldybës simfoniniam orkestrui Vilnius, ávairiems mëgëjø chorams. Nuo 1985 m. – LMA docentas. 1985–1989 m. – LMA kamerinio choro vadovas. Tuo metu ðis choras tapo ávairiø tarptautiniø konkursø laimëtoju Italijoje (Didysis prizas 1988 m. Goricijoje, pirmoji vieta 1989 m. Arece), Prancûzijoje (Didysis prizas 1991 m. Ture) ir Ispanijoje (pirmoji vieta 1991 m. Tolosoje).

È. Radþiûnas su LNOBT choru paruoðë 67 operø premjeras, 15 dideliø vokalinio ir simfoninio þanro kûriniø, tarp kuriø – G. Verdi Requiem, A. Dvor á ko Requiem (pirmas atlikimas Lietuvoje), G. Puccini Messa di Gloria, J. S. Bacho Pasija pagal Morkø (pirmas atlikimas Lietuvoje), F. Schuberto Stabat Mater, C. Orffo Carmina burana, W. A. Mozarto Requiem, H. Berliozo Fausto pasmerkimas ir kt., dirigavo koncertuose. Iðleista kompaktiniø plokðteliø, per ðimtas veikalø áraðyta Lietuvos radijo ir televizijos fondams.

Su LNOBT gastroliavo Vokietijoje, Olandijoje, JAV, Taivane, tarptautiniuose operos festivaliuose Suomijoje, Italijoje, Anglijoje, Lietuvoje – Trakø, Paþaislio ir kituose festivaliuose. È. Radþiûno vadovaujamas operos choras koncertavo su LNOBT simfoniniu, Lietuvos valstybiniu ir Nacionaliniu simfoniniais orkestrais diriguojant Jonui Aleksai, Gintarui Rinkevièiui, Juozui Domarkui, kitiems Lietuvos ir uþsienio dirigentams.

Pastaruoju metu kritikai paþymi iðaugusá choro meniná lygá, neðykðti kolektyvui pagyrø premjerø ir koncertø recenzijose.

1991 m. È. Radþiûnas buvo JAV ir Kanados 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 Èeslovas Radþiûnas (b. 1955) graduated from the Lithuanian Academy of Music in 1977, and completed postgraduate course in opera conducting at the Moscow Conservatory in 1984. For a short period after returning to Lithuania, Èeslovas Radþiûnas has conducted the Symphony Orchestra of Vilnius Municipality and various amateur choirs. In 1985, he was appointed Associate Professor at the LAM. In the same year he began conducting the Chamber Choir of the LAM, with which he won several important prizes in Italy (Grand Prix in Goricia, 1988; 1st prize in Arezzo, 1989), France (Grand Prix in Tours, 1991) and Spain (1st prize in Tolosa, 1991).

From 1976 to 1985 he has also worked as an assistant chorus master at the LNOBT where he subsequently became the chief chorus master in 1989. With the Opera Chorus Èeslovas Radþiûnas has prepared the premieres of 67 operas and 15 large-scale symphonic works, including G. Verdi’s Requiem, A. Dvor á k’s Requiem (first performance in Lithuania), G. Puccini’s Messa di Gloria, J. S. Bach’s St. Mark Passion (first performance in Lithuania), F. Schubert’s Stabat Mater, C. Orff’s Carmina Burana, W. A. Mozart’s Requiem, H. Berlioz’s La damnation de Faust and others. Over 100 works were recorded for the funds of Lithuanian Radio and Television. Èeslovas Radþiûnas together with LNOBT took part in various international opera festivals (Finland, Italy, England), also performed in Germany, Taiwan, Holland, USA. In recent years the press has praised high professional standard the Lithuanian Opera Chorus achieved under the artistic leadership of Èeslovas Radþiûnas.

In 1991 Èeslovas Radþiûnas was the conductor at the National Song Festival of the Lithuanians living in Canada and USA. In 2001 he received a Kristoforas award for the production of P. Tchaikovsky’s The Queen of Spades at LNOBT, while in 2005 Èeslovas Radþiûnas attained Lithuanian order of Merit – Knight Grand Cross.

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.

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.

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

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.

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