{"id":1359,"date":"2026-02-19T05:27:15","date_gmt":"2026-02-19T05:27:15","guid":{"rendered":"https:\/\/www.europesays.com\/cz\/1359\/"},"modified":"2026-02-19T05:27:15","modified_gmt":"2026-02-19T05:27:15","slug":"recenze-louceni-stefana-margity-v-novem-prazskem-provedeni-wagnera-exceluje","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/cz\/1359\/","title":{"rendered":"Recenze: Lou\u010den\u00ed \u0160tefana Margity. V\u00a0nov\u00e9m pra\u017esk\u00e9m proveden\u00ed Wagnera exceluje"},"content":{"rendered":"

Recenzi si tak\u00e9 m\u016f\u017eete poslechnout v\u00a0audioverzi.<\/p>\n

Zlato R\u00fdna rozehr\u00e1v\u00e1 epick\u00fd p\u0159\u00edb\u011bh o\u00a0moci, touze a\u00a0osudov\u00e9 kletb\u011b prstenu, kter\u00fd ovlivn\u00ed osudy lid\u00ed i\u00a0boh\u016f. A\u00a0tak\u00e9 Valk\u00fdr, Nibelung\u016f \u010di dal\u0161\u00edch fantastick\u00fdch bytost\u00ed, jim\u017e n\u011bmeck\u00fd skladatel v\u00a0tomto pangerm\u00e1nsk\u00e9m opern\u00edm m\u00fdtu vdechl \u017eivot.<\/p>\n

Wagner \u010derpal ze seversk\u00e9 mytologie, n\u011bmeck\u00fdch nebo islandsk\u00fdch st\u0159edov\u011bk\u00fdch epos\u016f. Zlato R\u00fdna je p\u0159itom pouze dvouap\u016flhodinov\u00fdm prologem k\u00a0patn\u00e1ctihodinov\u00e9mu megalomansk\u00e9mu projektu, kter\u00fd v\u00a0d\u011bjin\u00e1ch hudby nem\u00e1 obdoby. Jedna z\u00a0hlavn\u00edch postav Prstenu Nibelungova, hrdinn\u00fd Siegfried, nap\u0159\u00edklad ve Zlatu R\u00fdna v\u016fbec nevystupuje. Je\u0161t\u011b se nesta\u010dili narodit ani jeho rodi\u010de, hrdinov\u00e9 druh\u00e9ho d\u00edlu, opery Valk\u00fdra.<\/p>\n

Spousta motiv\u016f, dialog\u016f a\u00a0ud\u00e1lost\u00ed se tak d\u00edv\u00e1 do budoucnosti. Jednotliv\u00e9 postavy se teprve rozmis\u0165uj\u00ed na \u0161achovnici, pomalu pozn\u00e1v\u00e1me zdej\u0161\u00ed sv\u011bt a\u00a0mnoh\u00e9 n\u00e1m po zhl\u00e9dnut\u00ed prvn\u00ed \u010d\u00e1sti z\u016fstane ukryto. P\u0159i\u010dem\u017e div\u00e1ci nov\u00e9 pra\u017esk\u00e9 inscenace se pokra\u010dov\u00e1n\u00ed nedo\u010dkaj\u00ed. N\u00e1rodn\u00ed divadlo sice p\u0159edloni ozn\u00e1milo, \u017ee postupn\u011b uvede celou tetralogii, nakonec od z\u00e1m\u011bru ale ustoupilo. Slovensk\u00e1 re\u017eis\u00e9rka Sl\u00e1va Daubnerov\u00e1 musela se sv\u00fdm t\u00fdmem p\u0159ehodnotit koncepci a\u00a0Zlato R\u00fdna, kter\u00e9 zde m\u011blo premi\u00e9ru minul\u00fd t\u00fdden, p\u0159edstavuje samostatn\u00fd kus.<\/p>\n

Tv\u016frci jej pojali jako podobenstv\u00ed o\u00a0moci, touze, manipulaci \u010di pusto\u0161en\u00ed p\u0159\u00edrody. Novinka vynik\u00e1 nastudov\u00e1n\u00edm dirigenta Roberta Jindry. Wagner se d\u00e1 hr\u00e1t bombasticky a\u00a0pomp\u00e9zn\u011b, hudebn\u00ed \u0159editel pra\u017esk\u00e9 opery Jindra v\u0161ak vol\u00ed soust\u0159ed\u011bn\u011bj\u0161\u00ed, jemn\u011bj\u0161\u00ed p\u0159\u00edstup, ve kter\u00e9m monumentalitu opatrn\u011b d\u00e1vkuje. Jeho hlavn\u00edm c\u00edlem bylo podpo\u0159it drama na jevi\u0161ti, aby m\u011bli p\u011bvci mo\u017enost vyj\u00e1d\u0159it pestrou \u0161k\u00e1lu emoc\u00ed.<\/p>\n

Umo\u017e\u0148uje to orchestr N\u00e1rodn\u00edho divadla, kter\u00fd na\u00a0obou premi\u00e9r\u00e1ch p\u0159edvedl skv\u011bl\u00fd v\u00fdkon. Jednotliv\u00e9 Wagnerovy leitmotivy, tedy opakuj\u00edc\u00ed se v\u00fdrazn\u00e9 prvky souvisej\u00edc\u00ed s\u00a0ur\u010ditou postavou, v\u011bc\u00ed, emoc\u00ed nebo ud\u00e1lost\u00ed, vystihl a\u017e na p\u00e1r v\u00fdjimek p\u0159esn\u011b a\u00a0\u010dist\u011b. Zejm\u00e9na potm\u011b\u0161il\u00fd, vt\u00edrav\u00fd motiv vychytral\u00e9ho poloboha Logeho byla radost znovu a\u00a0znovu poslouchat. A\u00a0kdy\u017e partitura dovolila bl\u00fdsknout se skupin\u011b syt\u011b zn\u011bj\u00edc\u00edch violoncell, hudebn\u00edci tuto mo\u017enost ani jednou nepromarnili.<\/p>\n

Foto: Petr Neubert<\/p>\n

Zlato R\u00fdna mohli Pra\u017ean\u00e9 naposledy vid\u011bt v\u00a0roce 2005.\u00a0Novou inscenaci re\u017e\u00edrovala Sl\u00e1va Daubnerov\u00e1.<\/p>\n

Hr\u00e1\u010di na dechov\u00e9 n\u00e1stroje, zvl\u00e1\u0161t\u011b na lesn\u00ed rohy a\u00a0speci\u00e1ln\u00ed, skladatelem vytvo\u0159en\u00e9 Wagnerovy tuby<\/a>, se vyznamenali hned n\u011bkolikr\u00e1t. Neoby\u010dejn\u011b kr\u00e1sn\u00fd byl jejich vstup p\u0159i prvn\u00ed \u010dtvrte\u010dn\u00ed premi\u00e9\u0159e, kdy se slunce poprv\u00e9 op\u0159e do vln R\u00fdna a\u00a0odhal\u00ed t\u0159pyt v\u00a0jeho hlubin\u00e1ch ukryt\u00e9ho pokladu. Z\u00a0n\u011bj pozd\u011bji zhrzen\u00fd, mocichtiv\u00fd Nibelung Alberich ukov\u00e1 prsten moci, s\u00a0jeho\u017e pomoc\u00ed si zotro\u010d\u00ed ostatn\u00ed p\u0159\u00edslu\u0161n\u00edky sv\u00e9ho pl\u00e9m\u011b a\u00a0z\u00edsk\u00e1 nep\u0159ebern\u00e9 bohatstv\u00ed.<\/p>\n

P\u0159\u00edli\u0161 lid\u0161t\u00ed bohov\u00e9<\/p>\n

Antagonistu v\u00a0N\u00e1rodn\u00edm divadle zp\u00edv\u00e1 hostuj\u00edc\u00ed Joachim Goltz. N\u011bmeck\u00fd barytonista je vyhled\u00e1van\u00fdm interpretem wagnerovsk\u00fdch rol\u00ed a\u00a0n\u00e1zorn\u011b p\u0159edv\u00e1d\u00ed pro\u010d. \u00dalisn\u00e9ho horlivce Albericha, kter\u00fd se nedok\u00e1\u017ee p\u0159en\u00e9st p\u0159es to, \u017ee se mu vysm\u00e1ly t\u0159i dcery R\u00fdna, hraje suver\u00e9nn\u011b. Obratn\u00fdmi prom\u011bnami v\u00a0barv\u011b sv\u00e9ho hlasu p\u0159esv\u011bd\u010div\u011b vyjad\u0159uje ambice, dychtivost i\u00a0nevyhnutelnou potupu a\u00a0zoufalstv\u00ed.<\/p>\n

V\u011bt\u0161inu rol\u00ed nicm\u00e9n\u011b obsadili dom\u00e1c\u00ed p\u011bvci, ve Zlat\u011b R\u00fdna mnoz\u00ed \u00fa\u010dinkuj\u00ed poprv\u00e9. Zdej\u0161\u00edmu publiku dob\u0159e zn\u00e1m\u00fd Adam Plachetka poprv\u00e9 ztv\u00e1rnil vrtkav\u00e9ho a\u00a0trochu znud\u011bn\u00e9ho boha Wotana. Jde mu v\u00fdte\u010dn\u011b, m\u00e1 k\u00a0takov\u00e9 roli hlasov\u00e9 i\u00a0hereck\u00e9 p\u0159edpoklady. Sv\u00fdm mocn\u00fdm hlasem navozuje atmosf\u00e9ru bezpodm\u00edne\u010dn\u00e9 autority, kterou coby vrchn\u00ed b\u016fh a\u00a0tv\u016frce z\u00e1kon\u016f disponuje. Plachetk\u016fv sou\u010dasn\u00fd Wotan je nicm\u00e9n\u011b teprve prvn\u00edm krokem k\u00a0vytvo\u0159en\u00ed opravdu impozantn\u00edho wagnerovsk\u00e9ho boha. Snad \u010dty\u0159icetilet\u00fd s\u00f3lista dostane dal\u0161\u00ed p\u0159\u00edle\u017eitosti tuto roli prohloubit.<\/p>\n

Foto: Petr Neubert<\/p>\n

Adam Plachetka zp\u00edv\u00e1 vrtkav\u00e9ho a\u00a0trochu znud\u011bn\u00e9ho boha Wotana. Jde mu v\u00fdte\u010dn\u011b, k\u00a0roli m\u00e1 hlasov\u00e9 i\u00a0hereck\u00e9 p\u0159edpoklady.<\/p>\n

V\u00a0po\u010detn\u00e9m obsazen\u00ed se da\u0159\u00ed i\u00a0men\u0161\u00edm rol\u00edm, \u017e\u00e1dn\u00fd p\u011bvec nepod\u00e1v\u00e1 \u0161patn\u00fd v\u00fdkon. Zm\u00ednit zaslou\u017e\u00ed Jana Sibera jako nejstar\u0161\u00ed a\u00a0nejzodpov\u011bdn\u011bj\u0161\u00ed dcera R\u00fdna, kter\u00e1 v\u00a0prvn\u00ed sc\u00e9n\u011b s\u00a0hravost\u00ed v\u00a0hlase \u0161k\u00e1dl\u00ed la\u010dn\u00e9ho Albericha. V\u00a0epizodn\u00ed roli druh\u00e9ho Nibelunga, vystra\u0161en\u00e9ho Mima, boduje Jaroslav B\u0159ezina. Bolestn\u011b na\u0159\u00edk\u00e1, kdy\u017e ho Alberich tah\u00e1 za u\u0161i, a\u00a0v\u00e1\u0161niv\u011b si o\u00a0sv\u00e9m utrpen\u00ed st\u011b\u017euje Wotanovi.<\/p>\n

Tak\u00e9 hostuj\u00edc\u00ed p\u011bvkyn\u011b Tone Kummervold coby Wotanova man\u017eelka Fricka i\u00a0Rose Naggar-Tremblay jako prabohyn\u011b-matka Erda skv\u011ble vystihuj\u00ed \u017e\u00e1dan\u00e9 emoce. Erda jako tajupln\u00e1 prorock\u00e1 bytost, Fricka zase coby skl\u00ed\u010den\u00e1 i\u00a0na\u0161tvan\u00e1 man\u017eelka boha, jen\u017e se ne\u0161t\u00edtil nab\u00eddnout jej\u00ed sestru Freiu dv\u011bma obr\u016fm jako odm\u011bnu za vybudov\u00e1n\u00ed nov\u00e9ho p\u0159\u00edbytku, mytick\u00e9 Valhally.<\/p>\n

Mezi ob\u0159\u00edmi bratry Fasoltem a\u00a0Fafnerem zaujme bezohledn\u011bj\u0161\u00ed, hrub\u00fd Fafner v\u00a0pod\u00e1n\u00ed Zde\u0148ka Plecha. Jednozna\u010dnou hv\u011bzdou ve\u010dera je ale Loge, inspirovan\u00fd seversk\u00fdm Lokim, z\u00e1ludn\u00fd a\u00a0lstiv\u00fd polob\u016fh ohn\u011b, tak trochu anarchista, tak trochu cynik. V\u00a0N\u00e1rodn\u00edm divadle ho hraje \u0160tefan Margita, kter\u00fd m\u00e1 s\u00a0touto rol\u00ed bohat\u00e9 zku\u0161enosti. Ztv\u00e1rnil ji v\u00a0newyorsk\u00e9\u00a0Met, amsterodamsk\u00e9 Nizozemsk\u00e9 ope\u0159e, mnichovsk\u00e9 Bavorsk\u00e9 st\u00e1tn\u00ed ope\u0159e nebo na pra\u017esk\u00e9m koncertn\u00edm proveden\u00ed, kter\u00e9 se roku 2019\u00a0uskute\u010dnilo ve Foru Karl\u00edn. Jeho sou\u010dasn\u00fd Loge je posledn\u00ed, t\u00edmto p\u0159edstaven\u00edm se Margita v\u00a0necel\u00fdch sedmdes\u00e1ti letech lou\u010d\u00ed s\u00a0bohatou opern\u00ed kari\u00e9rou.<\/p>\n

Navzdory d\u016fstojn\u00e9mu v\u011bku Margita pod\u00e1v\u00e1 v\u00fdborn\u00fd v\u00fdkon. Jeho \u0161t\u00edhl\u00fd tenor je pln\u00fd lehkosti, humoru, posm\u011bchu i\u00a0v\u00e1\u017enosti v\u00a0momentech, kter\u00e9 si o\u00a0to \u0159\u00edkaj\u00ed. Jako jedin\u00e1 postava tak\u00e9 Loge p\u0159\u00edmo komunikuje s\u00a0publikem, je sv\u00e9ho druhu vyprav\u011b\u010dem, kter\u00fd n\u00e1m nasv\u011bcuje chov\u00e1n\u00ed arogantn\u00edch boh\u016f, uboh\u00fdch Nibelung\u016f i\u00a0chamtiv\u00fdch obr\u016f. Charismatick\u00fd tenorista p\u011bvecky i\u00a0herecky exceluje.<\/p>\n

<\/a><\/p>\n

V\u0161echny postavy p\u016fsob\u00ed na jevi\u0161ti p\u0159irozen\u011b, d\u016fv\u011bryhodn\u011b. A\u0165 u\u017e jde o\u00a0trochu neohraban\u00e9, natvrdl\u00e9 obry, netrp\u011bliv\u00e9ho a\u00a0snad mali\u010dko vyho\u0159el\u00e9ho Wotana se sv\u00fdmi zpohodln\u011bl\u00fdmi p\u0159\u00edbuzn\u00fdmi, nebo dov\u00e1div\u00e9 dcery R\u00fdna.<\/p>\n

P\u0159\u00edli\u0161 mnoho podobenstv\u00ed<\/p>\n

Pra\u017esk\u00e1 inscenace zaujme p\u0159edev\u0161\u00edm jako p\u0159\u00edb\u011bh o\u00a0nezodpov\u011bdnosti mocn\u00fdch a\u00a0jejich mor\u00e1ln\u00edm selh\u00e1n\u00ed. Do mytologick\u00e9ho p\u0159\u00edb\u011bhu re\u017eis\u00e9rka vm\u011bstn\u00e1v\u00e1 sou\u010dasn\u00e1 t\u00e9mata. Nejv\u00edc z\u00a0nich vystupuje ekofeministick\u00e9 poselstv\u00ed o\u00a0tom, jak bezohledn\u00e1 spole\u010dnost \u0159\u00edzen\u00e1 mu\u017ei demoluje p\u0159\u00edrodu pro sv\u00e9 zi\u0161tn\u00e9 c\u00edle.<\/p>\n

B\u011bhem slavn\u00e9 p\u0159edehry, cel\u00e9 postaven\u00e9 na statick\u00e9m akordu Es dur, se v\u00a0p\u016fvodn\u00ed verzi sb\u00edhaj\u00ed \u0159\u00ed\u010dn\u00ed proudy do jednoho majest\u00e1tn\u00edho toku, ze kter\u00e9ho se vyjev\u00ed dcery R\u00fdna. V\u00a0Praze se uprost\u0159ed jevi\u0161t\u011b objev\u00ed velk\u00e1 videoprojekce, na n\u00ed\u017e v\u00e1\u0161niv\u011b soulo\u017e\u00ed Wotan s\u00a0Erdou. \u201eHudba tu evokuje p\u0159\u00edval postupn\u011b kulminuj\u00edc\u00ed energie, co\u017e m\u011b vedlo k\u00a0my\u0161lenk\u00e1m o\u00a0prap\u016fvodn\u00ed genesis, aktu stvo\u0159en\u00ed,\u201c komentuje to Daubnerov\u00e1. <\/p>\n

Erda se m\u00e1 pozd\u011bji objevit coby prorock\u00e1 bytost ve \u010dtvrt\u00e9 sc\u00e9n\u011b, av\u0161ak v\u00a0Praze se s\u00a0n\u00ed setk\u00e1v\u00e1me, u\u017e kdy\u017e Alberich vylov\u00ed z\u00a0R\u00fdna \u00fast\u0159edn\u00ed poklad\u00a0\u2013 p\u0159ekvapiv\u011b v\u00a0podob\u011b tan\u010d\u00edc\u00ed Erdy. Poklad, z\u00a0n\u011bho\u017e Alberich n\u00e1sledn\u011b vykov\u00e1 prsten s\u00a0maskou, na\u010de\u017e ty mu sebere Wotan a\u00a0nakonec si je p\u0159ivlastn\u00ed obr Fafner, doslova zosob\u0148uje mu\u017ei zneu\u017eit\u00e1 \u017eena, pramatka nedot\u010den\u00e9 p\u0159\u00edrody a\u00a0v\u0161eho \u017eivota. Cel\u00e9 p\u0159edstaven\u00ed na jevi\u0161ti dominuje obrovsk\u00fd strom \u017eivota, b\u00e1jn\u00fd Yggdrasil.<\/p>\n

Environment\u00e1ln\u00ed motivy ve Zlat\u011b R\u00fdna nejsou nic nov\u00e9ho, u\u017e v\u00a070.\u00a0letech vznikla slavn\u00e1 inscenace zn\u00e1zor\u0148uj\u00edc\u00ed R\u00fdn v\u00a0podob\u011b obrovsk\u00e9 vodn\u00ed elektr\u00e1rny. Dal\u0161\u00edm \u010dast\u00fdm motivem b\u00fdv\u00e1 mocensk\u00e1 hierarchie. V\u00a0N\u00e1rodn\u00edm divadle \u017eij\u00ed bozi v\u00a0nov\u011b vybudovan\u00e9m mrakodrapu. Valhalla tu p\u0159ipom\u00edn\u00e1 monument vlastn\u00edmu p\u0159ebujel\u00e9mu egu, pro kter\u00e9 je Wotan schopn\u00fd ob\u011btovat p\u0159\u00edbuznou i\u00a0d\u016fv\u011bru jemu pod\u0159\u00edzen\u00fdch bytost\u00ed. Ob\u0159i v\u00a0pracovn\u00edch \u00faborech jsou horliv\u00ed zlep\u0161it sv\u00e9 stavovsk\u00e9 podm\u00ednky a\u00a0nejubo\u017eej\u0161\u00ed Nibelungov\u00e9 ve \u0161pinav\u00e9m dystopick\u00e9m podzem\u00ed slou\u017e\u00ed Alberichovi, oble\u010den\u00e9mu ve fa\u0161istick\u00e9m stejnokroji.<\/p>\n

Foto: Petr Neubert<\/p>\n

Mocichtiv\u00fd Alberich zp\u00edvan\u00fd Joachimem Goltzem (vpravo) ukradne dcer\u00e1m R\u00fdna poklad a\u00a0ukov\u00e1 z\u00a0n\u011bj prsten moci. Vlevo je Jana Sibera v\u00a0roli nejzodpov\u011bdn\u011bj\u0161\u00ed dcery R\u00fdna.<\/p>\n

Ani tady re\u017eis\u00e9rka nekon\u010d\u00ed. Do sv\u00e9 vize vkl\u00e1d\u00e1 t\u00e9mata jako manosf\u00e9ru, ozna\u010duj\u00edc\u00ed radikalizaci mlad\u00fdch mu\u017e\u016f v\u00a0online prost\u0159ed\u00ed, \u010di nebezpe\u010dnou s\u00edlu soci\u00e1ln\u00edch s\u00edt\u00ed. To m\u00e1 zn\u00e1zor\u0148ovat podivuhodn\u00e9 \u0159\u00edd\u00edc\u00ed st\u0159edisko pln\u00e9 kamer, kde moc\u00ed opil\u00fd Alberich \u00fa\u0159aduje ve\u00a0t\u0159et\u00ed sc\u00e9n\u011b. V\u00a0jednu chv\u00edli na p\u00f3dium vyjedou t\u0159i t\u011bhotn\u00e9 \u017eeny, kter\u00e9 jsme p\u0159ed chv\u00edl\u00ed vid\u011bli jako dcery R\u00fdna, a\u00a0na obrazovk\u00e1ch se uk\u00e1\u017eou z\u00e1stupy dal\u0161\u00edch takov\u00fdch \u017een. Tady u\u017e div\u00e1k\u016fm opravdu nemus\u00ed b\u00fdt jasn\u00e9, co se d\u011bje.<\/p>\n

\u201eD\u00edky dne\u0161n\u00edm mo\u017enostem um\u011bl\u00e9 inteligence vznikaj\u00ed robotky, kter\u00e9 budou brzy schopn\u00e9 donosit lidsk\u00e9 d\u00edt\u011b,\u201c objas\u0148uje Sl\u00e1va Daubnerov\u00e1. \u201eTak\u017ee d\u00edky tomu, \u017ee si Alberich m\u016f\u017ee koupit v\u00a0podstat\u011b cokoliv, m\u016f\u017ee si po\u0159\u00eddit i\u00a0takovou um\u011blou \u017eenu, kter\u00e1 by mu mohla poskytnout d\u011bdice, nap\u0159\u00edklad. Cel\u00e9 je to nar\u00e1\u017eka na krizi sexuality a\u00a0v\u016fbec dne\u0161n\u00ed porno pr\u016fmysl,\u201c dod\u00e1v\u00e1.<\/p>\n

Znalci Prstenu Nibelungova v\u011bd\u00ed, \u017ee d\u011bdic se v\u00a0pozd\u011bj\u0161\u00edch d\u00edlech skute\u010dn\u011b objev\u00ed. Kdyby re\u017eis\u00e9rka pracovala na cel\u00e9 tetralogii, mo\u017en\u00e1 by tyto nazna\u010den\u00e9, ale moment\u00e1ln\u011b prakticky nerozlu\u0161titeln\u00e9 n\u00e1pady za\u010daly pozd\u011bji d\u00e1vat smysl. V\u00a0sou\u010dasn\u00e9 podob\u011b je v\u0161ak Zlato R\u00fdna \u010dasto matouc\u00ed a\u00a0zahlcen\u00e9 p\u0159\u00edli\u0161 mnoha odli\u0161n\u00fdmi re\u017eijn\u00edmi prvky. Pozornost vzbuzuje i\u00a0fakt, \u017ee m\u00edsto doslovn\u00e9ho prstenu Alberich v\u00a0Praze ukove zlat\u00fd boxer, tedy zbra\u0148 tvo\u0159enou spojen\u00fdmi ocelov\u00fdmi prsteny. Z\u0159ejm\u011b m\u00e1 zn\u00e1zor\u0148ovat surovou, bezohlednou moc, to, \u017ee postavy um\u00ed dos\u00e1hnout sv\u00e9ho jen pomoc\u00ed n\u00e1sil\u00ed.<\/p>\n

Re\u017eis\u00e9rka hezky modeluje jejich vnit\u0159n\u00ed i\u00a0skryt\u00e9 motivy, v\u00a0podstat\u011b se nevzdaluje od charakteru a\u00a0emoc\u00ed obsa\u017een\u00fdch v\u00a0hudb\u011b. Jedinou v\u00fdjimkou je z\u00e1v\u011br, pracuj\u00edc\u00ed naopak s\u00a0v\u00fdrazn\u00fdm kontrastem. Zat\u00edmco v\u00a0hudb\u011b a\u00a0textu se bohov\u00e9 s\u00a0velk\u00fdm a\u00a0h\u0159motn\u011b slavnostn\u00edm uspokojen\u00edm zabydluj\u00ed v\u00a0nov\u011b vybudovan\u00e9 Valhalle, na jevi\u0161ti se p\u011bt starc\u016f doj\u00edm\u00e1 vlastn\u00ed domn\u011blou moc\u00ed.<\/p>\n

<\/a><\/p>\n

Nov\u00fd mrakodrap je v\u00a0tomto pojet\u00ed luxusn\u00edm sanatoriem, kde u\u017e jen \u010dekaj\u00ed na sv\u016fj konec\u00a0\u2013 ten skute\u010dn\u011b p\u0159ijde ve \u010dtvrt\u00e9m d\u00edle tetralogie. I\u00a0toto vybo\u010den\u00ed od origin\u00e1lu je opodstatn\u011bn\u00e9, a\u00a0to Logem, kter\u00fd ry\u010dn\u00e9 bohy vid\u00ed stejn\u011b jako publikum a\u00a0Daubnerov\u00e1. \u201eSv\u00e9mu konci sp\u011bchaj\u00ed vst\u0159\u00edc, a\u00a0tak siln\u00ed si ve sv\u00e9m byt\u00ed p\u0159ipadaj\u00ed,\u201c zp\u00edv\u00e1. \u201eSkoro se styd\u00edm, \u017ee s\u00a0nimi n\u011bco m\u00e1m.\u201c<\/p>\n

Tv\u016frci pra\u017esk\u00e9 inscenace se za co styd\u011bt nemaj\u00ed. Hudebn\u011b skv\u011ble p\u0159ipraven\u00e1 opera ob\u010das zklame nedota\u017een\u00fdm re\u017eijn\u00edm n\u00e1padem nebo nedomy\u0161lenou sc\u00e9nou, jako je t\u0159eba vykoupen\u00ed Freiy od obr\u016f. Z\u00e1rove\u0148 ale um\u00ed strhnout a\u00a0p\u011bvci pod\u00e1vaj\u00ed siln\u00fd v\u00fdkon.<\/p>\n

Relativn\u011b strohou sc\u00e9nu Borise Kudli\u010dky a\u00a0Kate\u0159iny Huben\u00e9 vyva\u017euj\u00ed extravagantn\u00ed, a\u017e komiksov\u00e9 kost\u00fdmy, kter\u00e9 podle n\u00e1vrh\u016f Doroty Karolczak vytvo\u0159ila Huben\u00e1. V\u00edtan\u00fdm zpest\u0159en\u00edm jsou ve t\u0159et\u00ed sc\u00e9n\u011b tancuj\u00edc\u00ed Nibelungov\u00e9, ne\u0161\u0165astn\u00ed zneu\u017e\u00edvan\u00ed kop\u00e1\u010di, jejich\u017e choreografii p\u0159ipravil Ermanno Sbezzo. Hlavn\u00edmi hv\u011bzdami ve\u010dera v\u0161ak jednozna\u010dn\u011b z\u016fst\u00e1vaj\u00ed p\u011bvci Goltz, Plachetka a\u00a0lou\u010d\u00edc\u00ed se \u0160tefan Margita.<\/p>\n

Opera: Richard Wagner\u00a0\u2013 Zlato R\u00fdna<\/p>\n

Po\u0159adatel: N\u00e1rodn\u00ed divadlo <\/p>\n

Re\u017eie: Sl\u00e1va Daubnerov\u00e1<\/p>\n

N\u00e1rodn\u00ed divadlo, Praha, premi\u00e9ry 12.\u00a0a\u00a015.\u00a0\u00fanora, nejbli\u017e\u0161\u00ed repr\u00edzy 21.\u00a0\u00fanora, 1., 7., a\u00a014.\u00a0b\u0159ezna.<\/p>\n","protected":false},"excerpt":{"rendered":"Recenzi si tak\u00e9 m\u016f\u017eete poslechnout v\u00a0audioverzi. Zlato R\u00fdna rozehr\u00e1v\u00e1 epick\u00fd p\u0159\u00edb\u011bh o\u00a0moci, touze a\u00a0osudov\u00e9 kletb\u011b prstenu, kter\u00fd ovlivn\u00ed…\n","protected":false},"author":2,"featured_media":1360,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[1429,1435,1430,98,99,1431,1432,1433,1434],"class_list":{"0":"post-1359","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-praha","8":"tag-klasicka-hudba","9":"tag-opera","10":"tag-operni-recenze","11":"tag-prague","12":"tag-praha","13":"tag-richard-wagner-skladatel","14":"tag-robert-jindra","15":"tag-slava-daubnerova","16":"tag-stefan-margita"},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/1359","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/comments?post=1359"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/posts\/1359\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media\/1360"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/media?parent=1359"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/categories?post=1359"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/cz\/wp-json\/wp\/v2\/tags?post=1359"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}