OPERA IN BALET R E P E R T O A R 2 0 1 9 / 2 0 2 0 OPERA AND BALLET R E P E R T O I R E 2 0 1 9 / 2 0 2 0
Danilo Rošker Že sto let z vami DRAGI LJUBITELJI IN LJUBITELJICE opere in baleta ter gledališke umetnosti! Počasi bomo začeli z odštevanjem dni, ko bomo jeseni 2019 praznovali stoletnico, odkar je bilo leta 1919 ustanovljeno slovensko gledališče v Mariboru, kjer so se pod eno streho in različnimi imeni v toku zgodovine združili Drama, Opera ter pozneje še Balet v celovit prostor gledališke umetnosti. Prav v tem prostoru so se v času tega vznemirljivega stoletja srečevali ljudje in se uprizarjale predstave, ki so nenehno širila meje življenjskih spoznanj, zajete v umetniških resnicah in podobah. Ne glede na številne kulturne, estetske, idejne in mentalitetne razlike je mariborsko gledališče bilo vselej svetli zgled sobivanja različnih naziranj, ki so se oplajala v kontekstu lastne tradicije in so ujeta v preštevilnih podobah in umetniških artefaktih neprecenljive kulturno-umetniške dediščine. Stoletnica mariborskega gledališča pa je več kot izvrstna priložnost, da se ne zazremo zgolj v 2
samovšečno preteklost, ampak predvsem v prihodnost, še posebej s perspektive lastnega poslanstva in izzivov, ki so pred nami. Sto let obstoja gledališča, ki so prav gotovo rdeča nit sezone 2019/2020, pa naj ne dajejo vtis postaranosti ali zaprašenosti, ampak prav nasprotno mladostnega preporajanja in bogate repertoarne ponudbe, o kateri smo prepričani, da vas bo nagovorila s svojo odličnostjo, zanimivostjo in aktualnostjo. Operno sezono opiramo z novo uprizoritvijo operete Netopir (Die Fledermaus) dunajskega kralja valčkov in operet, Johanna Straussa mlajšega, ki je prav s tem glasbenogledališkim delom dosegel trajno mednarodno slavo. Dovtipov in humorja prepolno opereto bo režiral mednarodno priznani in večkrat nagrajeni češki režiser Stanislav Moša. Naslednja operna premiera v zimskem času prihodnje sezone bo za mariborsko operno hišo pomembna repertoarna obogatitev, saj bomo v Mariboru prvič v zgodovini uprizorili Verdijevo opero Simon Boccanegra, ki spada med skladateljeva najbolj dovršena in tudi izvajalsko zahtevna odrska dela. Zgodovini mesta Maribor in njegovih ljudi se bomo poklonili s pomladno praizvedbo novitete Marpurgi, ki jo v zvrsti sodobne slovenske opere po motivih istoimenskega romana Zlate Vokač Medic soustvarjata skladateljica Nina Šenk ter libretist (in obenem tudi režiser predstave) Igor Pison. Za vse privržence velikih ljubezenskih zgodb pa smo ob koncu sezone pripravili spektakel v podobi Puccinijeve opere Madama Butterfly v režiji Piera Francesca Maestrinija. Tudi v okviru Simfoničnega cikla bomo v skladu s hišno tradicijo izvedli šest koncertov s premišljenim in privlačnim koncertnim programom. Na koncertih bo prav tako nastopilo kar nekaj mednarodno že uveljavljenih solistov, med drugimi violinist Oleksandr Semčuk in violist Dino de Palma, legenda slovenskega pianizma Dubravka Tomšič Srebotnjak, mlada nadobudna flavtistka Dorotea Senica ter godalna virtuoza, violinistka Lana Trotovšek in violončelist Milan Hudnik. Poleg tradicionalnih dveh koncertov ob koncu leta, božičnega koncerta opernega zbora in božično-novoletnega koncerta simfoničnega orkestra s solisti naše opere, boste ob koncu sezone v Mestnem parku lahko ponovno prisluhnili izboru najlepših in najvidnejših opernih vrhuncev. K bogati koncertni ponudbi spadata tudi cikel komorne glasbe Carpe artem, ki ga prireja Društvo za komorno glasbo Amadeus, ter cikel samospeva Samospevanje, ki ga izvaja pianist Nejc Lavrenčič v družbi najodličnejših slovenskih interpretov te žlahtne umetniške zvrsti. Tudi v mariborskem Baletu si ob stoletnici gledališča obetamo kar nekaj spektakularnih dosežkov, ki vas bodo nedvomno navdušili, in sicer najprej s Pepelko Sergeja Prokofjeva v koreografiji izjemnega baletnega esteta in koreografa Jean-Christopha Maillota, ki se je s svojimi glamuroznimi in obenem virtuozno izčiščenimi postavitvami proslavil na številnih baletnih podijih sveta. V pomladnem delu baletne sezone pa si boste lahko ogledali še triptih sodobnega baleta, pod katerega se podpisujejo mednarodno priznani koreografi, začenši s švedskim ustvarjalcem Alexandrom Ekmanom in njegovo koreografijo Left Right Left Right, nato pa še z baletno predstavo Handman, za katero je Edward Clug leta 2017 prejel nominacijo za prestižno nagrado»benois de la danse«, ter s kultno stvaritvijo Falling angels legendarnega koreografa Jiřija Kyliána. Upamo, da smo vas s kratkim preletom najzanimivejših trenutkov prihodnje, jubilejne sezone ob stoletnici gledališča prepričali, da nas boste večkrat obiskali ali pa postali naš zvesti spremljevalec in si izbrali katerega izmed abonmajev tako iz naše standardne kot tudi dodatne ponudbe ob stoletnici. Prav tako vas prisrčno vabimo, da si bodisi prvič ali ponovno ogledate katero izmed opernih in baletnih uspešnic iz prejšnjih sezon, ki utegnejo vnesti dobrodošlo spremembo in svežino v ustaljeno rutino vsakdanjika. Se vidimo v novi sezoni, ko bo po prvih stotih letih napočil čas za vse novo in vznemirljivo, ki bo pomenljivo začrtalo smernice prihodnosti Slovenskega narodnega gledališča Maribor! Danilo Rošker direktor SNG Maribor Simon Krečič umetniški direktor Opere SNG Maribor Edward Clug umetniški direktor Baleta SNG Maribor 3
Simon Krečič Already a hundred years together D EAR GUESTS of the Maribor Opera and Ballet! Each new day is getting us closer to the grand moment of the first centennial since the establishment of the Slovene National Theatre Maribor in 1919. Under the very same roof, various artistic ensembles of Drama, Opera and Ballet, which was the latest to join the company, have coexisted on a united front through open dialogue and exchange of ideas. In turn, even during the turbulent times of a whole century, extensive teamwork of various artists was a prerequisite for creating memorable performances that have truly expanded horizons of life in all its forms, and introduced important artistic truths through diverse aesthetics and imagery. Even though the centennial of the Maribor theatre poses an excellent opportunity to look back into history, it may give us also the chance to try and see what the future holds for us all, especially from the perspective of our mission, as well as all those challenges that lie ahead of us. Nevertheless, a century since the establishment of Maribor Theatre, which is obviously the main theme of the new season 2019/2020, should not give the impression of obscurity and trivialness that should stay in the past, but rather that of a much desired youthful renaissance, which is reflected also in the featured programme, for which we are certain it will provide a unique source of inspiration, wit and entertainment for all our guests. Our first production of the new season will be Die Fledermaus (The Bat) by a Viennese king of waltz, Johann Strauss Jr., who has become worldwide famous also on account of this spirited and overall melodic work. This beloved Strauss s operetta that was staged many times over will once again emerge in a reworked and fresh version under direction of an internationally renowned Czech director Stanislav Moša. Yet another important milestone for the Maribor opera house will take place next winter due to an ever first staging of Verdi s opera Simon Boccanegra, which is still acknowledged today as one of the composer s most accomplished, yet underappreciated work. In order to defy stereotypes regarding Slovene opera, and above all, to make an apt artistic tribute to the history of Maribor and its people, the Maribor Opera will present, for the first time in history, a novelty The Marpurgs after eponymous novel by Zlata Vokač Medic. The work is being composed by Nina Šenk to a reworked libretto by Igor Pison (who is also the director of this world premiere production). And finally, for all fans of spectacular love narratives, we 4
Edward Clug have decided to put on stage one of Puccini s greatest achievements his Japanese tragedy Madama Butterfly, directed by Pier Francesco Maestrini. In addition to our abundant opera repertoire from previous seasons, we invite you to join us in listening to the Symphony Cycle that comprises six concerts with interesting and stylistically diverse music of Slovene and international composers. The Symphony Cycle will also feature some critically acclaimed soloists, among them being the legendary Slovene pianist Dubravka Tomšič Srebotnjak, a young talented flutist Dorotea Senica and string virtuosos, such as Oleksandr Semchuk, Dino de Palma, Lana Trotovšek and Milan Hudnik. You can also enjoy our two traditional Christmas and New Year s Eve concerts in December, as well as our final and entrance-free concert in the Maribor City Park that will feature all season highlights as well as some of the most beloved opera melodies. Furthermore, an important pillar of our music programme is also the Carpe artem Cycle, produced by the Chamber Music Society Amadeus from Maribor, as well as the Samospevanje Cycle, which is dedicated to the tradition of Lied (art song) and interpreted by the pianist Nejc Lavrenčič and his distinguished guests acclaimed Slovene interpreters of this highly esteemed music genre. At the threshold of the Maribor theatre s centennial, we are looking forward to a unique opportunity to stage a few ballet spectacles that will undoubtedly leave you wanting more, starting with Sergei Prokofiev s Cinderella, choreographed by a staggering French auteur Jean-Christophe Maillot, who enjoys a worldwide reputation for his glamorous ballet productions full of virtuoso dancing. Next spring, we will also feature a contemporary ballet triptych Falling Angels, comprised of Alexander Ekman s unique human movement study named Left Right Left Right, followed by Edward Clug s Handman that has won the author a nomination for a prestigious Benois de la danse award in 2017, and the triptych s final act the title choreography Falling Angels by a legendary maître of contemporary ballet, Jiři Kylián. Hoping that we succeeded in rousing your interest just a little, we also invite you to become our regular visitor or maybe even a subscriber to our regular Opera and Ballet program, as well as to check out our special centennial offer that include many discounts. Do not hesitate to come around and see at least some opera and ballet revivals from previous seasons that could just make worth your while and cast away the monotony of your everyday routine. Looking forward to seeing you in the next jubilee season, and join us on our joint centennial path of variety of events and exciting new discoveries on the grand Maribor stage! Danilo Rošker Managing director Simon Krečič Opera artistic director Edward Clug Ballet artistic director 5
P R E M 6
OPERNE PREMIERE OPERA PREMIERES Netopir Die Fledermaus Simon Boccanegra Simon Boccanegra Marpurgi The Marpurgs Madama Butterfly Madama Butterfly I E R E BALETNE PREMIERE BALLET PREMIERES Pepelka Cinderella Falling Angels Falling Angels 7
JOHANN STRAUSS ML. Netopir JOHANN STRAUSS JR. Die Fledermaus
dirigent Simon Robinson režiser Stanislav Moša premiera 4. oktober 2019, Velika dvorana K OMPLEKSNA IN ZATO TOLIKO BOLJ ZANIMIVA zgodba intrig, prešuštva, visokoletečih ambicij in na videz brezskrbne zabave v razkošnih kostumih, poimenovana Netopir (Die Fledermaus), je nedvomno eden izmed najžlahtnejših operetnih biserov dunajskega»kralja valčkov«johanna Straussa ml., ki je do danes po vsem svetu dosegla že na tisoče uprizoritev. In prav tako skoraj gotovo ni odra, na katerem ta opereta ne bi v vsem svojem sijaju prikazala dvoličnosti dunajskega meščanstva, razpete med lahkoživim hedonizmom in lažno meščansko moralo. K nastanku operete naj bi Straussa mlajšega spodbudil francoski»kralj operet«jacques Offenbach, ki je bil prepričan, da je Straussu lahkotnejši odrski žanr pisan tako rekoč na kožo. Preštevilne žgečkljive odrske situacije, ki sta jih po motivih Benedixove farse spisala libretista Karl Haffner in Richard Genée, tako»zakrivijo«eisensteinova nestanovitnost, posledično razočaranje njegove žene Rosalinde, igralske ambicije njune sobarice Adele in Alfredovo dvorjenje Rosalindi. Toda vse to je zgolj uvertura k plesni zabavi v vili kneza Orlovskega, kjer se dogodki nepričakovano razmahnejo v pravi vratolomni omnibus zabave in odstiranja mask, ko vsak dobi natanko to, kar si zasluži pa čeprav je to zgolj»streznitev«v realnost v eni izmed dunajskih zaporniških celic, na katere»budno«pazi ječar Frosch, ki se ne more upreti žlahtni kapljici rujnega. conductor Simon Robinson director Stanislav Moša opening night October 4 th 2019, Grand Hall D IE FLEDERMAUS (OR, THE BAT), an intriguingly complex and alluring story of adultery, ambition and seemingly carefree fun, is arguably one of the shiniest operetta jewels, conceived by the Vienna waltz king, Johann Strauss Jr. Since its world premiere, the operetta has been staged countless times all over the world and it still enjoys great popularity among opera goers. Although the operetta narrative displays the glitter as well the gutter (superficial morale) of the Viennese bourgeois society, the critical aspect of the work remains in the background of a bon vivant hedonism. Jacques Offenbach, who had supposedly played a significant role in Strauss s decision to take on the material, was quite convinced that Strauss s creativity reflected operetta s true spirit. Countless alluring and arousing scenes that were envisioned by the librettists Karl Haffner and Richard Genée vividly illustrate various real life situations, from flirting, adultery, ambition for success, to disappointment in love. And yet, all these events are nothing but a prelude to Prince Orlowsky s garden party, which will become a place of reckoning for all characters until the aftermath, when all passions will eventually cool off, or rather sober up in one of Viennese jails under vigilant supervision by the jailer Frosch, who is unable to resist a glass of a fine wine or any beverage, for that matter. 9
GIUSEPPE VERDI Simon Boccanegra
dirigent Francesco Rosa režiser Arnaud Bernard premiera 7. februar 2020, Velika dvorana conductor Francesco Rosa director Arnaud Bernard opening night February 7 th 2020, Grand Hall G LASBENOGLEDALIŠKI GENIJ Giuseppeja Verdija se je v razponu kar šestih desetletij njegovega aktivnega skladateljevanja udejanjil v številnih opernih mojstrovinah, izmed katerih je bilo ustvarjenih kar nekaj del, s pomočjo katerih so skozi Verdijevo ekspresivno in obenem docela človeško sočutno glasbeno pero na novo zaživeli fragmenti italijanske zgodovine. Prav te nove zgodbe, prežete z mojstrsko dognano glasbeno dramo, so tisti primer umetniške resnice, s katero je Verdi ohranil trajno mesto v svetovnem opernem panteonu. Mednje sodi tudi zgodba o junaškem, toda plebejskem pomorščaku Simonu Boccanegri, ki je po volji ljudstva postal dož Genove sredi 14. stoletja. Razklan med bremenom lastne zgodovine izgubo hčerke, ki jo po spletu okoliščin pod imenom Amelia Grimaldi najde šele po 25 letih in političnimi ambicijami svojih nasprotnikov se Boccanegra odloči poiskati novega zaveznika v podobi svojega bodočega zeta Gabrieleja Adorna, ki mu je Amelijina roka obljubljena v zameno za pomoč pri porazu uzurpatorjev Boccanegrove vladavine. Velikopotezna dramatičnost opere, ki je širši mednarodni uspeh doživela šele po Verdijevem angažmaju pesnika in skladatelja Arriga Boita, ki je revidiral izvirni Piavejev libreto, in praizvedbi v milanski Scali leta 1881, bo tokrat prvič v zgodovini uprizorjena na velikem odru mariborske opere. T HE GENIUS OF GIUSEPPE VERDI that has been reshaping the landscape of music theatre long after his active years as a composer has manifested in many opera masterpieces. Many of them reflected not only Verdi s compassionate and above all human handling of his characters, but also his genuine interest for the Italian history. Many of these stories were inspired either by true historic events or works of fiction by his contemporaries. They have become a pillar of Verdi s artistic truth that has kept him permanently in the world opera pantheon. Such narrative, inspired by true events, is also the legend of a corsair, named Simon Boccanegra, who has become the doge of Genoa in the middle of 14th century despite his plebeian origin. Torn between the burden of his own life, especially the loss of his baby girl, who has re-emerged in his life after 25 years under different name (Amelia Grimaldi), as well as his political ambition to thwart plans of his rivals, Simon Boccanegra finds a new ally, embodied in his future son-inlaw Gabriele Adorno, whom he promises the hand of his daughter should he succeed in defeating Boccanegra s enemies. The opera that has enjoyed a great success since Boito s reworking of Piave s libretto and its premiere in Teatro di Scala in Milan, will experience yet another historic venture, as it will be staged for the first time in the Maribor Opera under direction of Arnaud Bernard and under baton of Francesco Rosa. 11
NINA ŠENK, IGOR PISON PO MOTIVIH ISTOIMENSKEGA ROMANA ZLATE VOKAČ MEDIC Marpurgi NINA ŠENK, IGOR PISON AFTER EPONYMOUS NOVEL BY ZLATA VOKAČ MEDIC The Marpurgs
dirigent Simon Krečič režiser Igor Pison praizvedba 3. april 2020, Velika dvorana M ED ZANIMIVIMI GLASBENOSCENSKIMI novitetami, ki so ugledale luč sveta na odru mariborske Opere in s svojo interpretacijo individualnih človeških resnic odstirajo številne z mahom nevednosti obrasle plasti spomina iz naše bližnje ali daljne preteklosti, si lahko prihodnjo pomlad obetamo celovito umetniško izkušnjo ob praizvedbi nove slovenske opere Marpurgi, ki jo po motivih istoimenskega esejističnega romana Zlate Vokač Medic soustvarjata večkrat nagrajena skladateljica Nina Šenk ter libretist in režiser predstave Igor Pison. Skozi dualistično pripovedno prizmo dveh ključnih protagonistov, doktorja Hannesa in Mathiasa, ki na iste dogodke velikokrat gledata iz povsem drugačne perspektive, s čimer avtorica romana parafrazira etični kontrast med plemenitim Don Kihotom in njegovim pragmatičnim oprodo Sančem Panso, se z nizanjem dnevniških utrinkov postopoma izrisuje zgodovina nekega prostora predvsem skupnosti Marpurgov, mariborskih Judov, ki so v mestu ob Dravi, po katerem so dobili svoje ime, živeli vse do konca 15. stoletja. Oba protagonista, Hannes in Mathias, ki bosta dobila priložnost izpovedati svoji zgodbi skozi ekspresivnost sodobnega opernega medija, po avtoričinih besedah predstavljata usodo slehernika, ki se prebija skozi nepretrgan splet nasilja in vse do usodnega trenutka živi v varljivem upanju, da sam usmerja svoje življenje. conductor Simon Krečič director Igor Pison world premiere April 3 rd 2020, Grand Hall O NE OF MANY NOVELTIES that have been staged at the Maribor Opera and have unveiled many truths in regards to history of our common heritage is also a new opera named The Marpurgs. The opera is being created by an award-winning Slovene composer Nina Šenk and librettist (and also director) Igor Pison after eponymous novel by Zlata Vokač Medic. The novel is written as a series of diary entries of two protagonists, Doctor Hannes and Mathias, who quite often harbour similarly as Don Quixote and his squire Sancho Panza opposite notions of the same events. Protagonists reflections on everyday phenomena gradually sketch out the history of a now long forgotten Jewish community of Marpurgs that were an important demographic element of Maribor until the late 15th century and their eventual decline under the pressure of the Inquisition. Both protagonists, Hannes and Mathias, who will come to life through music of this contemporary opera, represent (in author s opinion) one s fate, who is constantly working his way through and lives in illusion until that fatal turning point of having control over one s own life. 13
GIACOMO PUCCINI Madama Butterfly
režiser Pier Francesco Maestrini premiera 15. maj 2020, Velika dvorana K O JE NOVEMBRA 1924 umrl Giacomo Puccini, številni v tem dogodku niso videli zgolj konca življenjske poti genialnega opernega skladatelja, ampak tudi konec nekega obdobja nekateri celo dokončno»izpetje«klasične opere kot umetniške zvrsti. Z redkimi izjemami iz njegovega opusa so Puccinijeva dela, med njimi tudi»japonska tragedija«madama Butterfly, še danes nesporne uspešnice neštetih opernih gledališč po svetu. Z Madamo Butterfly, ki je Puccinijeva šesta opera po kronologiji nastanka, je avtor dosegel emfatični vrh svojega zrelega obdobja, po katerem se je začel vedno bolj nagibati k sodobnejšim tematikam in verizmu. Intrigantna, a tragična zgodba o ljubezni med ameriškim mornariškim častnikom Pinkertonom in japonskim dekletom Čočo san, je Puccinija prepričala že kot gledališka igra v adaptaciji Davida Belasca, čeprav je skladatelj tragedijo na libreto Luigija Illice in Giuseppeja Giacose v izraznem in estetskem smislu nadgradil z izredno bogatim zvočnim koloritom orkestra. Prav s težnjo po avtentičnosti je Pucciniju uspelo zajeti neminljivo, ganljivo in pretresljivo izpoved nemogoče ljubezni, v kateri se zrcali trk dveh diametralno različnih družb in kultur. Prav zaradi izredne melodične lepote, zajete v neizpolnjenem hrepenenju človeške duše, se Madama Butterfly po več kot desetletnem premoru, tokrat v novi produkciji, vrača na veliki oder mariborske opere. director Pier Francesco Maestrini opening night May 15 th 2020, Grand Hall A FTER GIACOMO PUCCINI S DEATH in November 1924, many did not just see an end of a certain opera genius s lifetime, but rather an end of an era. Furthermore, some have argued that the classical opera as an art form has finally come to the stage of its own decline, mostly due to the lack of expressivity as well as the loss of its inner potency. With only a few obscure examples, Puccini created one opera hit after another; among being also his sixth opera, a Japanese tragedy Madama Butterfly, that has enjoyed a global popularity since its fifth reworked version, made by composer in 1907. In turn, Puccini reached an emphatic peak of his middle creative period in Madama Butterfly, followed by a gradual turn to Italian verismo and contemporary narratives. An intriguing, yet utterly heart-breaking love story between a Japanese girl Cio-Cio-san and an American navy officer Pinkerton, has made a compelling effect on Puccini as a theatre play, adapted by David Belasco. Puccini then decided to rework and emphatically upgrade the story plot by Luigi Illica and Giuseppe Giacosa through dramatic orchestra and expressive melodic lines, incorporating authentic Japanese elements that have greatly contributed to an overall triumphant and heart-rendering character of Madama Butterfly that has maintained its status as one of the most frequently performed operas up to this date. 15
SERGEJ PROKOFJEV Pepelka SERGEI PROKOFIEV Cinderella
koreograf Jean-Christophe Maillot dirigent Simon Robinson premiera 8. november 2019, Velika dvorana Č E BI PROKOFJEVOVO USTVARJANJE glasbene podlage baleta Pepelka na libreto Nikolaja Volkova v času druge svetovne vojne lahko razumeli kot svojevrstni beg iz realnosti, pa je glasbena podoba baleta daleč od neproblematične»sladkobnosti«in plehke sentimentalnosti. Iskanje dramaturško učinkovitih plesnih preobratov, pogojenih z napetim lokom glasbene dramaturgije, je Prokofjeva vodilo v tesno prepletanje sodobnih prvin z že»preverjenimi«simetričnimi formami, ki jih je uvedla tradicija klasičnega (romantičnega) baleta. Rezultat tako nikakor ni bila lahkotna glasba, ki bi otroke in tudi odrasle pospremila v sladki sen, ampak s temačnimi podtoni razbrazdana glasbena podoba, ki gledalcu nesramežljivo naslika tudi mračne plati zgodbo o siroti Pepelki, ki ji po življenju strežejo zlobna mačeha in nagajivi sestri. Z novo produkcijo baleta Pepelka pod vodstvom mednarodno priznanega koreografa Jean-Christopha Maillota si tako že naslednjo jesen obetamo pravcati baletni spektakel. Maillot se kot veliki poznavalec klasičnega baleta opira na samo srž baletne konvencije, ki pa jo prepleta in nadgrajuje s sodobnejšimi in obenem tudi virtuoznimi plesnimi figurami. Mailloteva Pepelka tako pleše bosa, kajti njen simbol ni kristalni čeveljček, temveč naravno svobodno stopalo, ki je posuto z zlatim prahom sanj ter za sabo pušča sijočo sled domišljije in srečnih pravljičnih koncev. choreographer Jean-Christophe Maillot conductor Simon Robinson opening night November 8 th 2019, Grand Hall D ESPITE THE FACT that one might consider Prokofiev s composing of ballet music to a scenario by Nikolai Volkov as an act of escapism from the harsh reality during the wartime, the music itself evokes images that are far from unproblematic pleasantness and superficial sentimentality. In search for effective music narrative that would provide a backbone to expressive ballet choreography, Prokofiev conceived the score, keeping in mind the symmetric forms introduced by the classical ballet. As a result, the ballet thus compels us to witness all aspects of Cinderella s life, not just the beauty, but also her conflict with the wicked stepmother and two stepsisters. This fall, Jean-Christophe Maillot, an internationally renowned French choreographer, will take us on an exciting and spectacular journey of conflicting personal values, aspirations and, ultimately, finding one s love. Interesting enough, in Maillot s interpretation, Cinderella dances barefoot, i.e. on natural feet that represent the key element of magic, as they leave the golden trail of imagination, which leads us towards the much desired happy end. 17
ALEXANDER EKMAN, EDWARD CLUG, JIŘI KYLIÁN Falling Angels
FALLING ANGELS koreografija Alexander Ekman Edward Clug Jiři Kylián glasba Mikael Karlsson Milko Lazar Steve Reich premiera 6. marec 2020, Velika dvorana FALLING ANGELS choreography Alexander Ekman Edward Clug Jiři Kylián music Mikael Karlsson Milko Lazar Steve Reich opening night March 6 th 2020, Grand Hall Š VEDSKI KOREOGRAF Alexander Ekman je nedvomno eden izmed najzanimivejših koreografov svoje generacije, ki se z globoko kontemplacijo posveča predvsem bivanjskim simptomom današnjega človeka. S svojim neobičajnim smislom za humor in s številnimi elementi presenečenja se je v koreografiji Left Right Left Right osredotočil na koncentracijo ter pomen pravočasnosti in ritma, pri tem pa je z menjavanjem zvočnih pejsažev ustvaril unikatno študijo človeškega gibanja. Podoben vtis ustvarja koreografija Handman, ki jo je Edward Clug ustvaril za podmladek Nizozemskega plesnega gledališča. Lazarjeva repetitivna glasba evocira dinamično platformo, na kateri Clug izvede reinvencijo nekaterih figur in jih reaktivira skozi intenzivno delo rok. Humorna inovativnost in detajlna prečiščenost celotne gibalne konstelacije predstave sta Clugu prinesli nominacijo za prestižno koreografsko nagrado Benois de la danse v letu 2017. V koreografiji Falling Angels, ki jo je Jiři Kylián leta 1989 ustvaril za Nizozemsko plesno gledališče, je avtor uporabil minimalistično glasbo Steva Reicha, ki jo je ta ustvaril po lastnih vtisih ritualne glasbe iz Gane. Gibalne linije provokativne koreografije za osem plesalk so na več mestih»nalomljene«z ostrimi tolkalnimi gestami in zasuki, ki dajejo gibanju nepredvidljivo dinamiko, celotna fizična struktura nastopajočih pa tako kulminira v mogočno in dih jemajočo lepoto. A SWEDISH CHOREOGRAPHER Alexander Ekman is undoubtedly one of the most intriguing authors of his generation. His thought-provoking imagination centres mainly on contemporary symptoms of a modern human. Through unusual sense of humour and frequent employment of the element of surprise, Ekman conceived his ballet Left Right Left Right essentially as a study of movement that concentrates on accurateness, time and rhythm. Similarly, at least in terms of a final effect, Edward Clug has staged his ballet Handman for the NDT 2 to a music of repetitive structures by Milko Lazar. A dynamic music platform, gives Clug an appropriate canvas, where he can reinvent all series of various dance elements, reactivating them through intense handwork. Furthermore, a sparkling humour and a profound sense for detail have undeniably contributed to Edward Clug s nomination for the prestigious Benois de la danse award in 2017. In 1989, Jiři Kylián used Steve Reich s minimalist music score for his choreography Falling Angels. This thought-provoking choreographic constellation, conceived for eight female dancers, stems from tribal African impulses and depicts sacrifice every woman has to make in order to become a ballet dancer. Through extensive use of percussion effects, unpredictable turns and rise of physical power, a majestic, yet almost cruel and breath-taking vision of beauty emerges and captivates the soul of the viewer. 19
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OPERE IZ PREJŠNJIH SEZON OPERAS FROM PREVIOUS SAISONS Turandot Turandot La traviata La traviata Glorious! Glorious! Peter in Volk Peter and the Wolf Nabucco Nabucco Andrea Chénier Andrea Chénier Faust Faust I T V E BALETI IZ PREJŠNJIH SEZON BALLETS FROM PREVIOUS SAISONS Hrestač The Nutcracker Kekec Kekec Left right left right Left right left right Smrt v Benetkah Death in Venice Tango Tango Hora Hora Cantata Cantata Giselle Giselle Posvetitev pomladi Le sacre du printemps Peer Gynt Peer Gynt 21
TURANDOT glasba Giacomo Puccini režija Filippo Tonon TURANDOT music Giacomo Puccini director Filippo Tonon
LA TRAVIATA glasba Giuseppe Verdi režija Hugo de Ana LA TRAVIATA music Giuseppe Verdi director Hugo de Ana
GLORIOUS! avtor Peter Quilter režija Krešimir Dolenčić GLORIOUS! author Peter Quilter director Krešimir Dolenčić
PETER IN VOLK glasba Sergej Prokofjev režija Katja Pegan PETER AND THE WOLF music Sergei Prokofiev director Katja Pegan
NABUCCO glasba Giuseppe Verdi režija Filippo Tonon NABUCCO music Giuseppe Verdi director Filippo Tonon
ANDREA CHÉNIER glasba Umberto Giordano režija Sarah Schinasi ANDREA CHÉNIER music Umberto Giordano director Sarah Schinasi
FAUST glasba Charles Gounod režija Pier Francesco Maestrini FAUST music Charles Gounod director Pier Francesco Maestrini
HRESTAČ glasba Peter Iljič Čajkovski koreografija David Nixon THE NUTCRACKER music Pyotr Ilyich Tchaikovsky choreography David Nixon
KEKEC glasba Katalena koreografija Edward Clug KEKEC music Katalena choreography Edward Clug
LEFT RIGHT LEFT RIGHT glasba Mikael Karlsson koreografija Alexander Ekman LEFT RIGHT LEFT RIGHT music Mikael Karlsson choreography Alexander Ekman
SMRT V BENETKAH glasba Gustav Mahler koreografija Valentina Turcu DEATH IN VENICE music Gustav Mahler choreography Valentina Turcu
TANGO glasba Astor Piazzolla idr. koreografija Edward Clug TANGO music Astor Piazzolla, et al. choreography Edward Clug
HORA glasba Kvartet Balanescu koreografija Edward Clug HORA music Balanescu Quartet choreography Edward Clug
CANTATA glasba Assurd koreografija Mauro Bigonzetti CANTATA music Assurd choreography Mauro Bigonzetti
GISELLE glasba Adolphe Adam koreografija Rafael Avnikjan GISELLE music Adolphe Adam choreography Rafael Avnikjan
POSVETITEV POMLADI glasba Igor Stravinski koreografija Edward Clug LE SACRE DU PRINTEMPS music Igor Stravinsky choreography Edward Clug
PEER GYNT glasba Edvard Grieg koreografija Edward Clug PEER GYNT music Edvard Grieg choreography Edward Clug
SIMFONIČNI CIKEL 1. KONCERT 25. september 2019, Dvorana Union Gostovanje Tržaške filharmonije PROGRAM * Program koncerta bo objavljen naknadno. 2. KONCERT 16. oktober 2019, Velika dvorana dirigent Dominique Roggen solista Oleksandr Semčuk, violina, Dino de Palma, viola Koncerti Concerts PROGRAM Alojz Ajdič: Fantazija Wolfgang Amadeus Mozart: Sinfonia concertante za violino, violo in orkester, K. 364 Wolfgang Amadeus Mozart: Simfonija št. 41 v C-duru, K. 551,»Jupiter«3. KONCERT 9. januar 2020, Dvorana Union dirigent: Robert Houlihan solist: Milan Hudnik, violončelo PROGRAM Vito Žuraj: Hors d oeuvre za kuharja in orkester Igor Štuhec: Koncert za violončelo in orkester Ludwig van Beethoven: Simfonija št. 5 v c-molu, op. 67 4. KONCERT 20. februar 2020, Dvorana Union dirigent Simon Krečič solistka Dubravka Tomšič Srebotnjak, klavir PROGRAM Lucijan Marija Škerjanc: Simfonietta za godala Frédéric Chopin: Koncert za klavir in orkester št. 1 v e-molu, op. 11 Sergej Rahmaninov: Simfonija št. 2 v e-molu, op. 27 5. KONCERT 23. april 2020, Dvorana Union dirigent Johannes Wildner solistka Lana Trotovšek, violina
PROGRAM Iztok Kocen: To those torn away from an embrace, za sopran in orkester Ludwig van Beethoven: Koncert za violino in orkester v D-duru, op. 61 Franz Schubert: Simfonija št. 6 v C-duru, D. 589 6. KONCERT 4. junij 2020, Dvorana Union dirigent Simon Robinson solistka Dorotea Senica, flavta PROGRAM Ralph Vaughan Williams: Fantazija na temo Thomasa Tallisa Jacques Ibert: Koncert za flavto in orkester Maksimiljan Feguš: Simfonija SYMPHONY CYCLE CONCERT 1 September 25 th 2019, Union Hall Guest performance of the Trieste Philharmonic Orchestra PROGRAMME * To be announced. CONCERT 2 October 16 th 2019, Grand Hall conductor Dominique Roggen soloists Oleksandr Semchuk, violin, Dino de Palma, viola PROGRAMME Alojz Ajdič: Fantasy Wolfgang Amadeus Mozart: Sinfonia concertante for violin, viola and orchestra, K. 364 Wolfgang Amadeus Mozart: Symphony No. 41 in C major, K. 551, Jupiter CONCERT 3 January 9 th 2020, Union Hall conductor Robert Houlihan soloist Milan Hudnik, cello PROGRAMME Vito Žuraj: Hors d oeuvre for a cook and orchestra Igor Štuhec: Cello Concerto Ludwig van Beethoven: Symphony No. 5 in C minor, Op. 67 CONCERT 4 February 20 th 2020, Union Hall conductor Simon Krečič soloist Dubravka Tomšič Srebotnjak, piano PROGRAMME Lucijan Marija Škerjanc: Simfonietta for strings Frédéric Chopin: Piano Concerto No. 1 in E minor, Op. 11 Sergei Rachmaninov Symphony No. 2 in E minor, Op. 27 CONCERT 5 April 23 rd 2020, Union Hall conductor Johannes Wildner soloist Lana Trotovšek, violin PROGRAMME Iztok Kocen: To those torn away from an embrace, for soprano and orchestra Ludwig van Beethoven: Violin Concerto in D major, Op. 61 Franz Schubert: Symphony No. 6 in C major, D. 589 CONCERT 6 June 4 th 2020, Union Hall conductor Simon Robinson soloist Dorotea Senica, flute PROGRAMME Ralph Vaughan Williams: Fantasia on a Theme by Thomas Tallis Jacques Ibert: Flute Concerto Maksimiljan Feguš: Symphony 57
DRUGI KONCERTI OTHER CONCERTS BOŽIČNI KONCERT ZBORA OPERE SNG MARIBOR 18. in 19. december 2019, Stolna cerkev sv. Janeza Krstnika v Mariboru Zbor Opere SNG Maribor zborovodkinja Zsuzsa Budavari Novak PROGRAM * Program koncerta bo objavljen naknadno. BOŽIČNO-NOVOLETNI KONCERT SIMFONIČNEGA ORKESTRA 20. december 2019, Velika dvorana Simfonični orkester SNG Maribor dirigent Simon Krečič solisti Opere SNG Maribor PROGRAM * Program koncerta bo objavljen naknadno. OPERNA NOČ V MESTNEM PARKU 29. maj 2020, Mestni park v Mariboru Simfonični orkester SNG Maribor solisti in Zbor Opere SNG Maribor dirigent Simon Krečič PROGRAM * Program koncerta bo objavljen naknadno. Prost vstop! OPERA CHOIR CHRISTMAS CONCERT December 18 th and 19 th 2010, Cathedral of St. John the Baptist in Maribor Maribor Opera Choir Chorus-master Zsuzsa Budavari Novak PROGRAMME * To be announced. NEW YEAR S CONCERT OF THE SYMPHONY ORCHESTRA December 20 th 2019, Grand Hall SNG Maribor Symphony Orchestra conductor Simon Krečič soloists of the Maribor Opera PROGRAMME * To be announced. OPERA NIGHT IN THE CITY PARK May 29 th 2020, Maribor City Park SNG Maribor Symphony Orchestra soloists and Choir of the Maribor Opera conductor Simon Krečič PROGRAMME * To be announced. Admission free! 58
CIKEL CARPE ARTEM Odsevanja 1. KONCERT: RAZKRITJE VEČNOSTI 3. oktober 2019, Kazinska dvorana Nastopajo Eszter Haffner, Miladin Batalović, violini, Nejc Mikolič, viola, Gorazd Strlič, Nikolaj Sajko, violončela PROGRAM Tomaž Svete: Novo glasbeno delo po naročilu Društva za komorno glasbo Amadeus Franz Schubert: Godalni kvintet v C-duru za violini, violo in violončela, D. 956 2. KONCERT: BREZČASNA UJEMANJA 20. november 2019, Kazinska dvorana Nastopajo Tadej Kenig, klarinet, Matej Haas, violina, N. N., viola, Gorazd Strlič, violončelo, Domen Marn, klarinet PROGRAM Krzysztof Penderecki: Kvartet za klarinet, violino, violo in violončelo Carl Stamitz: Kvartet Bohuslav Martinů: Serenada IV za violino, violo, klarineta in violončelo 3. KONCERT: CLARA, DRAGA CLARA 11. december 2019, Kazinska dvorana Nastopajo Maja Gombač, klavir, Miladin Batalović, violina, Neža Papler, viola, Nikolaj Sajko, violončelo PROGRAM Clara Schumann: Klavirski trio v g-molu, op. 17 Risto Savin: Klavirski trio št. 2 v g-molu Johannes Brahms: Klavirski kvartet št. 3 v c-molu, op. 60 4. KONCERT: ODMEV SE POJAVI 30. januar 2020, Kazinska dvorana dirigent Vito Žuraj Nastopajo Nika Gorič, sopran, Aljaž Beguš, klarinet, Stefan Hussong, akordeon, Simon Klavžar, tolkala, Ferdinando Mussutto, klavir PROGRAM Franz Schubert: Rastlose Liebe za sopran in klavir, D. 138 Franz Schubert: An die Musik za sopran in klavir, D. 547 Franz Schubert: Der Hirt auf dem Felsen za sopran, klarinet in klavir, D. 965 Vito Žuraj: Schub rdy G rdy za sopran, akordeon, tolkala in klavir 5. KONCERT: SLAVNI BOTER, NEMINLJIVI PRIJATELJ 5. marec 2020, Kazinska dvorana Nastopajo Boris Bizjak, flavta, Mateja Kremljak Hotko, flavta, Maja Peternel, violina, Levente Gidró, viola, Nikolaj Sajko, violončelo, Tomaž Sevšek, čembalo PROGRAM Carl Stamitz: Kvintet št. 3 v Es-duru za flavto, rog, violi, violončelo in čembalo, op. 11 Johann Christian Bach: Kvartet v C-duru za flavti, violo in violončelo, op. 19, št. 1 Aldo Kumar: Jutra za flavto in čembalo Georg Philipp Telemann: Kvartet v d-molu za flavti, violončelo in čembalo,»tafelmusik«, TWV 43:d1 Georg Philipp Telemann: Kvartet v g-molu za flavto, violin, violo in čembalo,»tafelmusik«, TWV 43:g4 6. KONCERT: OGENJ, ESPRI, ŽIVLJENJE 14. maj 2020, Kazinska dvorana Nastopajo Matej Šarc, Monika Babič, oboi, Lovro Turin, Evgen Celcer, klarineta, Borut Pahič, N. N., rogova, Miha Petkovšek, Anzhelika Chernykh, fagota PROGRAM Josef Mysliveček: Oktet št. 1 v Es-duru za oboi, klarineta, rogova in fagota Wolfgang Amadeus Mozart: Serenada št. 11 v Esduru za oboi, klarineta, rogova in fagota, K. 375 Koncertni cikel»carpe artem«prireja Društvo za komorno glasbo Amadeus v koprodukciji s Slovenskim narodnim gledališčem Maribor. 59
CYCLE CARPE ARTEM Reflections CONCERT 1: REVEALING OF ETERNITY October 3rd 2019, Kazina Hall Featuring Eszter Haffner, Miladin Batalović, violins, Nejc Mikolič, viola, Gorazd Strlič, Nikolaj Sajko, cellos PROGRAMME Tomaž Svete: A new work, commissioned by the Chamber Music Society Amadeus Franz Schubert: String Quintet in C major for two violins, viola and two cellos, D. 956 CONCERT 2: TIMELESS HARMONY November 20 th 2019, Kazina Hall Featuring Tadej Kenig, clarinet, Matej Haas, violin, N. N., viola, Gorazd Strlič, cello, Domen Marn, clarinet PROGRAMME Krzysztof Penderecki: Quartet for clarinet, violin, viola and cello Carl Stamitz: Quartet Bohuslav Martinů: Serenade IV for violin, viola, two clarinets and cello CONCERT 3: CLARA, DEAR CLARA December 11 th 2019, Kazina Hall Featuring Maja Gombač, piano, Miladin Batalović, violin, Neža Papler, viola, Nikolaj Sajko, cello PROGRAMME Clara Schumann: Piano Trio in G minor, Op. 17 Risto Savin: Piano Trio No. 2 in G minor Johannes Brahms: Piano Quartet No. 3 in C minor, Op. 60 CONCERT 4: AN ECHO EMERGES January 30 th 2020, Kazina Hall conductor Vito Žuraj Featuring Nika Gorič, soprano, Aljaž Beguš, clarinet, Stefan Hussong, accordion, Simon Klavžar, percussion, Ferdinando Mussutto, piano PROGRAMME Franz Schubert: Rastlose Liebe for soprano and piano, D. 138 Franz Schubert: An die Musik for soprano and piano, D. 547 Franz Schubert: Der Hirt auf dem Felsen for soprano, clarinet and piano, D. 965 Vito Žuraj: Schub rdy G rdy for soprano, accordion, percussion and piano CONCERT 5: A FAMOUS GODFATHER, AN UNDYING FRIEND March 5 th 2020, Kazina Hall Featuring Boris Bizjak, Mateja Kremljak Hotko, flutes, Maja Peternel, violin, Levente Gidró, viola, Nikolaj Sajko, cello, Tomaž Sevšek, harpsichord PROGRAMME Carl Stamitz: Quintet No. 3 in E flat major for flute, horn, two violas, cello and harpsichord, Op. 11 Johann Christian Bach: Quartet in C major for two flutes, viola and cello, Op. 19, No. 1 Aldo Kumar: Mornings for flute and harpsichord Georg Philipp Telemann: Quartet in D minor for two flutes, cello and harpsichord, Tafelmusik, TWV 43:d1 Georg Philipp Telemann: Quartet in G minor for flute, violin, viola and harpsichord, Tafelmusik, TWV 43:g4 CONCERT 6: FIRE, SPIRIT, LIFE May 14 th 2020, Kazina Hall Featuring Matej Šarc, Monika Babič, oboes, Lovro Turin, Evgen Celcer, clarinets, Borut Pahič, N. N., French horns, Miha Petkovšek, Anzhelika Chernykh, bassoons PROGRAMME Josef Mysliveček: Octet No. 1 in E flat major for two oboes, two clarinets, two horns and two bassoons Wolfgang Amadeus Mozart: Serenade No. 11 in E flat major for two oboes, two clarinets, two horns and two bassoons, K. 375 The Carpe artem concert cycle is produced by the Chamber Music Society Amadeus in collaboration with the Slovene National Theatre Maribor. 60
CIKEL SAMOSPEVANJE 2019/2020 CYCLE SINGING LIED 2019/2020 1. KONCERT: OBČUDOVANJA 1. oktober 2019, Kazinska dvorana Nastopata Theresa Plut, sopran, Nejc Lavrenčič, klavir PROGRAM Richard Strauss, Lucijan Marija Škerjanc, Sergej Rahmaninov, Amy Beach, Aaaron Copland, Charles Ives 2. KONCERT: ŽALOVANJA 29. oktober 2019, Kazinska dvorana Nastopata Nuška Drašček, mezzosopran, Nejc Lavrenčič, klavir PROGRAM Franz Schubert, Robert Schumann, Uroš Krek, Gustav Mahler 3. KONCERT: HREPENENJA 21. januar 2020, Kazinska dvorana Nastopata Andreja Zakonjšek Krt, sopran, Nejc Lavrenčič, klavir PROGRAM Hugo Wolf, Francis Poulenc, Anton Lajovic 4. KONCERT: LETENJA 21. april 2020, Kazinska dvorana Nastopata Mojca Bitenc, sopran, Nejc Lavrenčič, klavir PROGRAM Franz Liszt, Antonín Dvořák, Iztok Kocen 5. KONCERT: PREPLETANJA 2. junij 2020, Kazinska dvorana Nastopata Luka Somoza Osterc, bariton, Nejc Lavrenčič, klavir PROGRAM Charles Gounod, Robert Schumann, Pavle Merkù Koncertni cikel samospevov»samospevanje«organizira Kulturno-umetniški zavod PerArtem. Več informacij na spletni strani www.perartem.si. CONCERT 1: ADMIRATION October 1 st 2019, Kazina Hall Featuring Theresa Plut, soprano, Nejc Lavrenčič, piano PROGRAMME Richard Strauss, Lucijan Marija Škerjanc, Sergej Rahmaninov, Amy Beach, Aaaron Copland, Charles Ives CONCERT 2: MOURNING October 29 th 2019, Kazina Hall Featuring Nuška Drašček, mezzosoprano, Nejc Lavrenčič, piano PROGRAMME Franz Schubert, Robert Schumann, Uroš Krek, Gustav Mahler CONCERT 3: LONGING January 21 st 2020, Kazina Hall Featuring Andreja Zakonjšek Krt, soprano, Nejc Lavrenčič, piano PROGRAMME Hugo Wolf, Francis Poulenc, Anton Lajovic CONCERT 4: FLOATING April 21 st 2020, Kazina Hall Featuring Mojca Bitenc, soprano, Nejc Lavrenčič, piano PROGRAMME Franz Liszt, Antonín Dvořák, Iztok Kocen CONCERT 5: ENTANGLEMENT June 2 nd 2020, Kazina Hall Featuring Luka Somoza Osterc, baritone, Nejc Lavrenčič, piano PROGRAMME Charles Gounod, Robert Schumann, Pavle Merkù The Singing Lied cycle is brought to you by Cultural Association PerArtem. More information available at: www.perartem.si. 61
SIMFONIČNI ORKESTER SYMPHONY ORCHESTRA 62
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Umetniški ansambli OPERE IN BALETA SNG MARIBOR Artistic Ensembles OF THE SNG MARIBOR OPERA AND BALLET 64
OPERA Umetniški direktor Opere/ Opera artistic director Simon Krečič Operni solisti/opera soloists Sabina Cvilak Valentina Čuden Valentin Enčev Petya Ivanova Jaki Jurgec Alfonz Kodrič Rebeka Lokar Janez Lotrič Irena Petkova Valentin Pivovarov Miro Solman Martin Sušnik Dušan Topolovec Andreja Zakonjšek Krt dirigent/conductor Simon Robinson korepetitorji/vocal coaches Olga Pečeny, Robert Mraček, Natalija Radoslavova Simfonični orkester/symphony orchestra dirigent/conductor Simon Robinson GODALA/STRINGS koncertna mojstra/concertmasters Saša Olenjuk, Oksana Pečeny Dolenc prve violine/1 st violins Marko Jerbić, namestnik koncertnega mojstra/ deputy concert-master Maja Peternel Tamara Bakardzieva Kostadinova Gabor Kiš Hrvoje Šoštarić Simona Jambrović Barbara Kovačič Daša Savić Matej Haas druge violine/2 nd violins Miladin Batalović, vodja/principal Anđelko Ilčić, namestnik vodje/deputy principal Zlatka Fras Godec Muniba Busančić Darko Kordić Tina Muraus Jasmina Nanut Dora Rakar* viole/violas Rostyslav Denysyuk, vodja/principal Levente Gidro, namestnik vodje/deputy principal Rosica Petrova Ana Trnjar Pravdič Eva Koprivšek Petkovšek Nelia Cvjatkova-Atanasova Neža Papler violončela/cellos Gorazd Strlič, vodja/principal Nikolaj Sajko, namestnik vodje/deputy principal Davor Gluhak Božo Šulić Tanja Kovačič Zsofia Klacsmann kontrabasi/double-bass Božidar Kovačič, vodja/principal Žiga Trilar, namestnik vodje/deputy principal Darjan Cvetrežnik Uroš Lečnik Evgen Oparenović k. g./g. a. PIHALA/WOODWINDS flavte/flutes Alenka Goršič-Ernst, vodja/principal Eva Slana Melanija Pintar Mateja Kremljak Hotko, pikolo/piccolo oboe/oboes Tomas Žganec, vodja/principal Monika Babič Eva Turin Dušan Krnjak, angleški rog/cor anglais, k. g./g. a. klarineti/clarinets Lovro Turin, vodja/principal Domen Marn Evgen Celcer Oto Kožuh, bas klarinet/bass clarinet fagoti/bassoons Veselin Jancev Atanasov, vodja/principal Anzhelika Chernykh Vuk Radule Popović 65
TROBILA/BRASS rogovi/horns Andrej Žgank, vodja/principal Borut Pahič Sarah Akif Veronika Flammer Gidro Žan Zdovc trobente/trumpets Janez Kopše, vodja/principal Matjaž Klemenc k. g./g. a. Milan Feguš Renato Ribič pozavne/trombones Stanko Vavh, vodja/principal Jure Smej Valerij Pravdič Bogdan Vizjak, bas pozavna/bass trombone TOLKALA/PERCUSSION Robert Krček, timpani, vodja/principal Lovro Ašič Krištof Hrastnik Blaž Satler k. g./g. a. HARFA/HARP Natalija Ristić Puzigaća inšpektor orkestra/orchestra inspector Valerij Pravdič arhivarja/music archives Božo Hadler, Franc Marot postavljavec orkestra/orchestra set-up Jože Korez * Udeleženci projekta»podpora novim kariernim perspektivam 2018 2021«/Participants of the European Social Fund project Supporting New Career Prospects 2018 2021 OPERNI ZBOR/ OPERA CHOIR zborovodkinja/choir-master Zsuzsa Budavari Novak SOPRANI/SOPRANOS prvi sopran/1 st soprano Nevenka Kiseljak Lucija Krašovec Klavdija Pirnat Breznik Terezija Potočnik Tanja Vuzem Nataša Žlender drugi sopran/2 nd soprano Petra Crnjac Nina Gracej Martina Ledinek Mojca Potrč Melanija Markovič ALTI/CONTRALTOS prvi alt/1 st contralto Monika Bezjak Dada Kladenik Regina Schulz Olga Vavh Marija Zelko drugi alt/2 nd contralto Irena Ferk Saša Fidler Liubov Gnucha Helena Štajnmec TENORJI/TENORS prvi tenor/1 st tenor Bruno Konda Beno Muraus Tomaž Planinc Bogdan Stopar Danilo Vračko drugi tenor/2 nd tenor Lovro Čučko Silvester Kronaveter Gregor Mlakar Hideyuki Suzuki Marko Škofič Marko Žaler 66
BARITONI/BARITONES Maks Feguš Miran Kosi Jernej Luketič Miha Mikluš Matjaž Vezonik BASI/BASSES Sebastijan Čelofiga Bojan Hinteregger Peter Izlakar Marko Mandir Peter Skušek inšpektor opernega zbora/opera choir inspector Silvester Kronaveter BALET/BALLET Umetniški direktor Baleta/ Ballet artistic director Edward Clug Baletni solisti/ballet soloists Anton Bogov Galina Čajka Kuhar Marina Krasnova Tijuana Križman Hudernik Jelena Lečić Matjaž Marin Catarina de Meneses Sergiu Moga Asami Nakashima Yuya Omaki Alenka Ribič Tetiana Svetlična Valentina Turcu Baletni ansambel/ballet ensemble Adriana Cioata Pia Clug Mircea Golescu Olesja Hartmann Marin Filip Jurič Helena Klasič Evgenija Koškina Vadim Kurgajev Vasilij Kuzkin Sytze Jan Luske Petar Marić Gabriel Marin Tiberiu Marta Metka Masten Mihaela Matis Ema Perić Ines Petek Alexandru Pilca Cristian Popovici Branka Popovici Cleopatra Purice Hristina Stojčeva Slavčo Stoleski Aleks Šišernik Mirjana Šrot Klavdija Stanišić Ines Uroševič Gaj Žmavc inšpektor baletnega ansambla/ ballet ensemble inspector Petar Marić 67
OPERNI ZBOR OPERA CHOIR
Abonmaji VPIS ABONMAJEV od 3. junija do 29. junija 2019 od 2. do 7. septembra 2019 Dosedanjim abonentom bomo njihove sedeže ohranili do 15. junija. UGODNOST Vsakemu abonentu, ki pripelje novega abonenta, priznamo 15 % popust pri nakupu abonmaja. 70
Operne in baletne premiere Abonmaji Opere in Baleta vključujejo šest uprizoritev: Netopir, Simon Boccanegra, Marpurgi, Madama Butterfly, Pepelka, Falling Angels. OPERNE PREMIERE JOHANN STRAUSS ML. NETOPIR dirigent Simon Robinson režiser Stanislav Moša GIUSEPPE VERDI SIMON BOCCANEGRA dirigent Francesco Rosa režiser Arnaud Bernard BALETNE PREMIERE SERGEJ PROKOFJEV PEPELKA koreograf Jean-Christophe Maillot dirigent Simon Robinson FALLING ANGELS koreografi Alexander Ekman, Edward Clug, Jiři Kylián NINA ŠENK, IGOR PISON MARPURGI dirigent Simon Krečič režiser Igor Pison GIACOMO PUCCINI MADAMA BUTTERFLY režiser Pier Francesco Maestrini Abonma Opera Balet Premiera Abonmaji Opera Balet Popoldanski, Opera Balet Torek, Opera Balet Sobota, Opera in Balet redni abonenti 160 130 upokojenci, invalidi / 109 71
NOVO Abonma»Zlatih sto«najlepše uprizoritve iz zakladnice dramske, operne in baletne umetnosti ob stoletnici mariborskega gledališča. OPERNE PREDSTAVE JOHANN STRAUSS ML. NETOPIR dirigent Simon Robinson režiser Stanislav Moša GIUSEPPE VERDI LA TRAVIATA režiser Hugo de Ana BALETNE PREDSTAVE SMRT V BENETKAH koregrafinja in režiserka Valentina Turcu DRAMSKE PREDSTAVE ARTHUR MILLER LOV NA ČAROVNICE režiser Janusz Kica MILENA MIKLAVČIČ OGENJ, RIT IN KAČE NISO ZA IGRAČE režiser Daniel Day Škufca Abonma»Zlatih sto«redni abonenti 100 upokojenci, invalidi 84 72
Evropski abonma Evropski abonma ponuja premišljen izbor iz produkcije SNG Maribor in HNK Zagreb. Obe gledališči ponujata eno dramsko, operno in baletno predstavo, skupaj torej šest predstav, za katere smo prepričani, da vas bodo navdušile z odličnostjo, zanimivim konceptom, inovativnostjo in estetsko dovršenostjo. OPERA GAETANO DONIZETTI LUCIA DI LAMMERMOOR ogled opere v HNK Zagreb JOHANN STRAUSS ML. NETOPIR ogled opere v SNG Maribor BALET Evropski abonma ponuja zanimiv in pester izbor iz produkcije SNG Maribor in HNK Zagreb. JANE AUSTEN LEO MUJIĆ PREVZETNOST IN PRISTRANOST ogled baleta v HNK Zagreb SERGEJ PROKOFJEV PEPELKA ogled baleta v SNG Maribor DRAMA SLAVOJ ŽIŽEK ANTIGONA ogled drame v HNK Zagreb JEAN-BAPTISTE POQUELIN MOLIÈRE ŠOLA ZA ŽENE režiserka Ajda Valcl ogled drame v SNG Maribor Predstave bodo ob sobotah ob 18. uri. Cena abonmaja za vseh šest predstav je 135. Cena vključuje tri avtobusne prevoze na predstave v HNK Zagreb. 73