Bratislava 4. marca (TASR) – Slovensk\u00e9 n\u00e1rodn\u00e9 divadlo (SND) uvedie 6. marca premi\u00e9ru opernej klasiky Eugen Onegin. Dielo Piotra I\u013eji\u010da \u010cajkovsk\u00e9ho, ktor\u00fd sa spracovan\u00edm Pu\u0161kinovho ver\u0161ovan\u00e9ho rom\u00e1nu postaral v roku 1879 o prelom v dejin\u00e1ch opery. Ide o dvan\u00e1stu inscen\u00e1ciu \u201epr\u00edbehu t\u00fa\u017eby, p\u00fdchy a stratenej l\u00e1sky\u201c, ktor\u00fd na\u0161a prv\u00e1 n\u00e1rodn\u00e1 sc\u00e9na prv\u00fdkr\u00e1t inscenovala u\u017e v roku kon\u0161tituovania (1920).<\/p>\n
\u201eDlh\u0161\u00ed \u010das absentoval v reperto\u00e1ri Opery SND titul z ruskej opernej literat\u00fary,\u201c povedal na stredaj\u0161ej tla\u010dovej konferencii dramaturg Jozef \u010cervenka k motiv\u00e1ci\u00e1m uvies\u0165 \u010cajkovsk\u00e9ho Eugena Onegina. \u201eSiahli sme po nesmierne kultivovanom diele, ktor\u00e9 sa postaralo o zlom v dejin\u00e1ch opery,\u201c dodal s t\u00fdm, \u017ee druhou motiv\u00e1ciou bola siln\u00e1 spev\u00e1cka gener\u00e1cia na Slovensku, ktor\u00e1 je vok\u00e1lne i typovo absol\u00fatne ide\u00e1lna na obsadenie hlavn\u00fdch post\u00e1v.<\/p>\n
\u010cervenka pripomenul, \u017ee mnoh\u00ed z aktu\u00e1lnych interpretov \u00fa\u010dinkovali aj v predch\u00e1dzaj\u00facej inscen\u00e1cii Eugen Onegin, ktor\u00fa v roku 2005 re\u017e\u00edroval Peter Konwitschny, a v inscen\u00e1cii re\u017eis\u00e9ra Pavla Smol\u00edka z roku 1993. \u201eNiektor\u00ed pre\u0161li z jedn\u00e9ho typu post\u00e1v do in\u00e9ho, m\u00e1me tu aj debuty,\u201c poznamenal.<\/p>\n
V hlavn\u00fdch \u00faloh\u00e1ch sa na sc\u00e9ne, ktor\u00fa navrhol Marek Holl\u00fd, a v kost\u00fdmoch \u013dudmily V\u00e1rossovej, predstav\u00ed opern\u00e1 \u0161pi\u010dka s\u00f3listov dom\u00e1cich i t\u00fdch slovensk\u00fdch, ktor\u00ed p\u00f4sobia na zahrani\u010dn\u00fdch sc\u00e9nach: Pavol Br\u0161l\u00edk, Peter Berger, Tom\u00e1\u0161 Juh\u00e1s, Ale\u0161 Jenis, Pavol Remen\u00e1r, Daniel \u010capkovi\u010d, Linda Ballov\u00e1, Jolana Foga\u0161ov\u00e1, Eva Horny\u00e1kov\u00e1, Monika Fabianov\u00e1, Ter\u00e9zia Kru\u017eliakov\u00e1, Jozef Benci a \u010fal\u0161\u00ed.<\/p>\n
Dielo v troch obsadeniach hudobne na\u0161tudoval \u0161\u00e9fdirigent Opery SND Tom\u00e1\u0161 Brauner. \u201eT\u00e1 hudba je geni\u00e1lna, \u010cajkovsk\u00fd ve\u013emi dobre vedel, ako ju komponuje. Fascinuje ma, \u017ee t\u00e1 opera je akoby komornej\u0161ieho r\u00e1zu, kde on vyu\u017e\u00edva len detaily k vyjadreniu citov, pocitov, poh\u013eadov, aj to ticho, ktor\u00e9 tam ve\u013eakr\u00e1t je, m\u00e1 svoj v\u00fdznam,\u201c povedal Brauner.<\/p>\n
R\u00e9\u017eie sa op\u00e4\u0165 ujal Pavol Smol\u00edk. \u201eJe to hudobno-dramatick\u00e9 dielo, ktor\u00e9 m\u00e1 v sebe ve\u013emi ve\u013ea lyrizmu, dokonca aj epick\u00fdch pol\u00f4h,\u201c op\u00edsal \u201evrcholne lyrick\u00e9 dielo\u201c so siln\u00fdm spolo\u010densko-kritick\u00fdm akcentom, poukazuj\u00facim na zvyklosti, ktor\u00e9 s\u00fa chor\u00e9 a ni\u010div\u00e9. \u201ePohybujeme sa v spolo\u010dnosti, ktor\u00e1 dlho zanedb\u00e1vala svoje stereotypy a nepracovala s nimi, mo\u017eno tam pr\u00edli\u0161 dlho bola tzv. ml\u010diaca v\u00e4\u010d\u0161ina, a tak sa postavy tejto opery dostali do situ\u00e1cie, ke\u010f nedok\u00e1\u017eu \u017ei\u0165 \u0161\u0165astn\u00e9 \u017eivoty, lebo sa to ned\u00e1,\u201c pod\u010diarkol Smol\u00edk.<\/p>\n
Opern\u00e1 klasika pon\u00fakne div\u00e1kom \u201eencyklop\u00e9diu rusk\u00e9ho \u017eivota\u201c 19. storo\u010dia. \u201ePod zdanlivo ban\u00e1lnym pr\u00edbehom o neop\u00e4tovanej l\u00e1ske Tatiany zachyt\u00e1va mnoho odtie\u0148ov \u017eivota i spolo\u010densk\u00fdch zvyklost\u00ed a odk\u00fdva ot\u00e1zky o \u013eudskej osamelosti, odcudzen\u00ed, h\u013eadan\u00ed a strate ide\u00e1lov, mor\u00e1lke a cti,\u201c uv\u00e1dza k nov\u00e9mu opern\u00e9mu titulu SND.<\/p>\n","protected":false},"excerpt":{"rendered":"Bratislava 4. marca (TASR) – Slovensk\u00e9 n\u00e1rodn\u00e9 divadlo (SND) uvedie 6. marca premi\u00e9ru opernej klasiky Eugen Onegin. Dielo…\n","protected":false},"author":2,"featured_media":10569,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[21],"tags":[136,5611,4312,5610,912,43,40,39,42,41,3408],"class_list":{"0":"post-10568","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-bratislava","8":"tag-bratislava","9":"tag-eugen","10":"tag-onegin","11":"tag-opera","12":"tag-premiera","13":"tag-sk","14":"tag-slovak","15":"tag-slovakia","16":"tag-slovencina","17":"tag-slovensko","18":"tag-snd"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@sk\/116175132584505587","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/posts\/10568","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/comments?post=10568"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/posts\/10568\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/media\/10569"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/media?parent=10568"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/categories?post=10568"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/sk\/wp-json\/wp\/v2\/tags?post=10568"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}