MTSM
Carmina Buruna
28 & 29 februari 2020
Voorstelling
CARMINA BURANA
Data
28-02-2020
29-02-2020
Theater
Odessa
Oekräine
Tickets
Op 28 februari 2019, werd de première van de podiumcantate “Carmina Burana” van Karl Orff gehouden op het podium van het Odessa Opera House. De deelnemers aan de voorstelling waren de operasolisten Alina Vorokh (sopraan), Oleksandr Prokopovych (tenor), Bohdan Panchenko (bariton); ballet dansers Liliia Ivanova, Polina Kalina, Yelizaveta Matvieieva, Anastasiia Rudnieva, Maryna Stryzhakova, Yuliia Temchenko, Roman Kalin, Kostiantyn Leshchynskyi, Kristian Nikulytsia, Viktor Pelykh, Serhii Tkachuk; koor, theaterorkest, kinderkoor “Pearls of Odessa” (Larysa Harbuz) evenals. Dirigent – de chef-dirigent van het theater Viacheslav Chernukho-Volich.
Op 29 februari 2019, vond de tweede première plaats. De sopraanpartij werd uitgevoerd door Alina Druhak, de rest van de deelnemers bleven hetzelfde. De voorstelling werd gedirigeerd door Ihor Chernetskyi.
Gefeliciteerd met de première!
Opera Odessa
Informatie
Music: Carl Orff
Concept / Direction / Choreography / Dramaturgy / Scenography: Gerard Mosterd
Orchestra, choir, ballet and solo singers (150 employees): National Opera & Ballet of Ukraine, Odessa
Alina Vorokh / Alina Druhak (soprano), Oleksandr Prokopovych (tenor), Bohdan Panchenko (baritone)
Dance: Liliia Ivanova, Polina Kalina, Yelizaveta Matvieieva, Anastasiia Rudnieva, Maryna Stryzhakova, Yuliia Temchenko, Roman Kalin, Kostiantyn Leshchynskyi, Kristian Nikulytsia, Viktor Pelykh, Serhii Tkachuk
Conductor: Igor Chernetski / Vyacheslav Chernuho-Volich
Choral Conductor: Valerii Regrut
Children’s choir: Pearls of Odessa – Larissa Garbuz
Assistant choreographer / Repetiteur / Additional co-choreography: Julia Mitomi
Video: Sibe Kokke
Costumes: Nancy Avondts
Light: Vasko Lisic
Decor: Steven Demedts
Co-production: National Opera & Ballet of Ukraine, Odessa, MTSM BV Netherlands, Prima Donna Events Belgium
Trailer
Undoubtedly, “Carmina Burana” will be one of the best performances of the theater’s repertoire.
Gerard Mosterd took on the production and choreography and even from the fragment of the rehearsal it became clear: finally, on stage in Odessa, Orff’s music will be adequately reflected in modern, rather complex and expressive choreography.
The second production, dedicated to the composer’s 125th anniversary, is not a renewed, but a completely new version. And admittedly, this is more successful than the previous one. Not least, of course, because the director (choreographer and director) Gerard Mosterd did not try to come up with some sort of his own story, but followed the author’s plan, the music, and created a hymn for the ever-changing Lot. Modern choreography, incredible plasticity continue to fascinate the viewer. The director managed to make practical jewels from the performance of the soloists and the corps de ballet.