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DTSTART;TZID=Europe/Warsaw:20230702T180000
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SUMMARY:Closing Gala of the 32. Mozart Festival in Warsaw - Tribute to Maria Callas
DESCRIPTION:BUY TICKET\n \n  \nMozart Night – Tribute to Maria Callas\nClosing Gala of the 32. Mozart Festival in Warsaw \nArnold Szyfman Polish Theatre\nTomasz Cyz – director\nAlicja Węgorzewska – artistic concept\nKatarzyna Łuszczyk – lighting director\nMonika Stolarska – video\nAgata Koschmieder – costumes\nKatarzyna Gabrat-Szymańska – scenographic cooperation\nAgata Ślósarska-Bastgen – production\n \nCAST: \nJoanna Moskowicz – Konstanze\nKatarzyna Drelich – Queen of the Night\nAna Naqe – Elettra\, Medea\nNatalia Rubiś – Donna Elvira\nGabriela Legun – Donna Anna\nDorota Szczepańska – Zerlina\, Susanna\nEwa Tracz – The Countess \nActors:\nTomasz Nosiński \nwith the special participation of Maria Dębska \nThe event will be hosted by:\nAlicja Węgorzewska\, Jerzy Snakowski \nMusicians of Ancient Instruments Ensemble of Warsaw Chamber Opera\nMusicae Antique Collegium Varsoviense \nConductor\nNikol Kraft \n*** \nIn programme: \nWolfgang Amadeusz Mozart \nThe Abduction from the seraglio\nOuverture\nSingt dem grossen Bassa Lieder\nAch ich liebte\n \nThe Marriage of Figaro\nRicevete\, o padroncina\nPorgi amor  \nDon Giovanni\nAh! chi mi dice mai\nVedrai\, carino \nIdomeneo\, Re di Creta\nPlacido è il mar\, andiamo\nD’Oreste\, d’Ajace \nDon Giovanni\nNon mi dir\nAh\, fugi il traditor \nThe Abduction from the seraglio\nTraurigkeit ward mir zum Lose \nPAUSE \nThe Marriage of Figaro\nOuverture\nChe soave zeffiretto\n \nDon Giovanni\nOr sai chi l’onore \nThe Marriage of Figaro\nDeh\, vieni non tardar\nDove sono i biei momenti \nDon Giovanni\nMi tradì quell’alma ingrata \nThe Magic Flute\nDer Hölle Rache kocht in meinem Herzen\nO Isis und Osiris \nLuigi Cherubini\nMedea\nTaci Giason? De tuoi figli la madre \nWolfgang Amadeusz Mozart\n \nThe Abduction from the seraglio\nFINALE: Martern aller Arten \n\nUnusually rough love \nMaria Callas\, originally Maria Anna Cecilia Sophie Kalogeropoulos\, was born in New York on 2 December 1923 and died on September 16th 1977 in Paris. She owes her surname to her father\, who\, for practical reasons\, initially changed it to Kalos and finally to Callas. It was her mother who encouraged Maria to sing and tried to develop her vocal talent. Her first opera role was the part of Santuzza in Pietro Mascagni’s Cavalleria Rusticana\, but it was the title role in Giacomo Puccini Tosca which made her a star. \nIn Italy\, where she achieved spectacular success in the title role in A. Ponchielli’s Gioconda\, she met the conductor Tullio Serafin\, whom she revealed in one of her interviews: working with Serafin was the really lucky opportunity. He taught me that there must be an expression; there must be a justification. He taught me the depth of music\, the searching for the essence in character portrayal. Her dramatic soprano quickly paved the way to the most important stages. Many critics praised her bel canto technique\, wide vocal range\, and dramatic interpretations. Her repertoire included both classical opera seria and the bel canto operas of Donizetti\, Bellini\, and Rossini\, as well as works by Verdi and Puccini\, and in her early career\, she did not shy away from Wagner’s music dramas. \nAnd how was it with Mozart? One could say that it was perhaps\, as she herself said\, the most unsuccessful musical marriage in her history. She recorded only four arias and the aforementioned stage portrayal. And that was basically it. She revealed:  \nMozart is undoubtedly an extraordinary genius and I cannot imagine the world without him\, but generally speaking his operatic music does not really take me out of this world. It is the Mozart of the piano concertos that I love passionately.  \nMaria Callas recorded four Mozart arias: Porgi\, amor from The Marriage of Figaro\,  two arias of Donna Anna and Mi tradì quell’alma ingrata of Donna Elvira from Don Giovanni. Paradoxically\, although she spoke about these portrayals with restraint\, the opinions of her fans who admired her talent speak volumes. Tullio Serafin said about Callas that this woman can sing anything written for the female voice\, and Leonard Bernstein\, seeking analogies between her Countess and Mozart’s Andante from the Bassoon Concerto in B-flat major\, K. 191\, called Callas the Bible of opera.  \nAnd what connects the Warszawska Opera Kameralna with Maria Callas?  \nAlicja Węgorzewska-Whiskerd\, the director of the Warszawska Opera Kameralna\, received the prestigious Maria Callas Tribute Prize in December 2019\, which she accepted during a gala in New York. This is not the only thread connecting WOK with Callas. Jean-Claude Malgoire – conductor\, chamber musician\, virtuoso of the oboe and English horn\, and a close friend of Maria Callas – has worked multiple times with the Warszawska Opera Kameralna\, appreciating\, among other things\, the artistry of Warszawska Opera Kameralna. This was evident when he invited the Warszawska Opera Kameralna musicians to his theatre Atelier Lyrique de Turcoing in France\, and also when he conducted performances in Warsaw – Jean-Baptiste Lully’s Alceste in 1997 and André Campry’s Tancrède in 2008.  \nPiotr Iwicki
URL:https://operakameralna.pl/en/event/closing-gala-of-the-32st-mozart-festival-in-warsaw-tribute-to-maria-callas/
LOCATION:Arnold Szyfman Polish Theatre\, ul. Karasia 2\, Warsaw
CATEGORIES:32. Mozart Festival in Warsaw,Concert,Repertoire
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