Sigismondo Portal Presto


"..Director Krystian Lada brilliantly and humorously interprets the somewhat difficult libretto of Maria Foppy. Although the wings of Rossini's music add lightness to the work, it is the director's solutions that put the work on the verge of opera buffa and series.

At the beginning of the performance, viewers at the Słowacki Theater were invited to another journey in their imagination through the museum story of "Prussian Homage" by Jan Matejko. Seeing the fragment of the walls of the Cloth Hall and the tower of St. Mary's Church, almost unchanged to this day, we understood the relevance of the message."

FULL REVIEW

Another extremely current opera. Director Krystian Lada brilliantly and humorously interprets the somewhat difficult libretto of Maria Foppy. Although the wings of Rossini's music add lightness to the work, it is the director's solutions that put the work on the verge of opera buffa and series.

A kind of typical opera story - love, power, intrigue, plot and happy ending. The libretto's theme is an event taking place in Poland that is not on the map in the year of its premiere - 1814. Sigismondo is the Polish king Zygmunt, who does not match any of the three Zygmunts who ruled our country. After 1320, the kings were in Krakow, not in Gniezno, and the first king Zygmunt (the Old) sat on the throne in 1520. However, this has no effect on the libretto, and the story of the mysterious Slavic king certainly inspired the imagination.

At the beginning of the performance, viewers at the Słowacki Theater were invited to another journey in their imagination through the museum story of "Prussian Homage" by Jan Matejko. Seeing the fragment of the walls of the Cloth Hall and the tower of St. Mary's Church, almost unchanged to this day, we understood the relevance of the message.

Costumes were also a journey in time - once modern, once ancient, sometimes only with a Krakow element, such as the great Anagilda (Marzena Lubaszka) costume - only a Krakow heart that illuminates the gray of the outfit.

And the Ziemowit costume (Kenneth Kellogg - bass) - a fashionable gray suit and a red Kraków hat with a peacock feather. When he changes into Ulderica, the princess's father, like a festivity, he comes on a perfectly plastically dirty, torn horse with papier maché. Because the actor has his torso exposed, he immediately reminds us of Centaur (and squinting, we see an advertisement of Old Spice, because the actor is black!). In a simple way, the director shows us the character of Sigismond - a narcissist, a prince who misuses the country. In pale pink clothes, paper (yellow, not gold!) Crown and in sneakers. On a pink, high throne, reminiscent of a child seat! An additional highlight of the king's weakness is his one-armed wooden puppet, which in the initial scene is presented to us by Ladislao (Pablo Bemsch - tenor). And of course we have a jester here - Matejko's alter ego and probably someone else. A comely actor dell'arte with a white face. Applause for the scenery and costume designer Natalia Kitamikado!

 

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