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[title] => Zasluženi devetominutni aplauz premijernom 'Rigolettu' u HNK Split, predvođenom solistima Ljubomirom Puškarićem, sopranisticom Marijom Kuhar Šoša, Maxom Jotom, Terezijom Kusanović i Ivicom Čikešom
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Devet minuta trajao trajao je aplauz nakon premijernog Verdijevog “Rigoletta” pod ravnanjem mo. Ive Lipanovića u subotu navečer, u splitskom HNK. Izvedba, već viđena na Splitskom ljetu, izoštrila se, osnažila i u svakom pogledu dobila na kvaliteti u zatvorenom prostoru.
Koliko god Peristil bio nenadmašna i jedinstvena ljetna operna pozornica, pogotovo za opere poput “Aide” i “Nabucca”, za “Rigoletta”, koji je redatelj Dražen Sirišćević smjestio u današnje vrijeme, i nije najsretniji izbor. Velika pozornica svakako je bolje mjesto.
Uobičajilo se već godinama da se ljetne premijerne izvedbe, koje nastavljaju igrati u sezoni, ponovno nazivaju premijerama. Prenošenje predstava u zgradu i produljivanje njihova života na taj način logičan je postupak. U vrijeme kada se to nije radilo, mnogo je sjajnih - i skupih - predstava odigrano dva-tri puta pa su ugašene jer za njih nije bilo mjesta u koncepciji festivala iduće godine.
Ali naziv “premijera” do danas je ostao pomalo diskutabilan jer je djelo već režirano, viđeno, odjeveno, obuveno, otpjevano i valorizirano. Katkad se koristio i izraz “obnova s karakterom premijere” ili “premijerna obnova”. Nisu se zadržali, pa ostajemo kod premijere koja je umnogome to i bila.
Pjevačka postava je dobrim dijelom izmijenjena. U naslovnoj ulozi dvorske lude Rigoletta nastupio je bariton Ljubomir Puškarić, a u ulozi njegove kćeri Gilde sopranistica Marija Kuhar Šoša. Oboje su već gostovali u Splitu, a interesantno je da su se u ulogama Rioletta i Gilde našli prvi put. Debitirali su - za svaku pohvalu. Pridružio im se još jedan gost, brazilski tenor nastanjen u Italiji, Max Jota, dok je siguran i iskusan dvojac, Terezija Kusanović i Ivica Čikeš (kao Maddalena i njen brat Sparafucile) bio u postavi i ovoga ljeta.
Veliki interes na Splitskom ljetu izazvali su kostimi Jurja Zigmana. Prvi je čin zamišljen kao party visokog društva gdje se svatko nastoji istaknuti originalnom toaletom, kao na modnoj reviji. Dok se to šarenilo na Peristilu ponešto “rasulo”, na pozornici čitava kostimografija daje kompaktniju sliku.
Scenograf Slaven Raos odlučio se za dva dominantna scenska elementa, dva golema lustera položena na pod. Jedan sugerira dvor, drugi Rigolettovu kuću, a oba su nakrivljena ili napukla, sugerirajući urušavanje obaju svjetova. Ti lusteri, dakako, sada izgledaju mnogo veći i zapasali su dobar dio scene, a problem s Rigolettovim lusterom jest da i on izgleda isuviše raskošno i monumentalno. Dvorski pak luster sada na pozornici neodoljivo podsjeća na božićnu jelku, što i nije loše za izvedbe u doba adventa.
“Rigoletto” je u zgradi puno dobio, a ništa nije izgubio.
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Devet minuta trajao trajao je aplauz nakon premijernog Verdijevog “Rigoletta” pod ravnanjem mo. Ive Lipanovića u subotu navečer, u splitskom HNK. Izvedba, već viđena na Splitskom ljetu, izoštrila se, osnažila i u svakom pogledu dobila na kvaliteti u zatvorenom prostoru.
Koliko god Peristil bio nenadmašna i jedinstvena ljetna operna pozornica, pogotovo za opere poput “Aide” i “Nabucca”, za “Rigoletta”, koji je redatelj Dražen Sirišćević smjestio u današnje vrijeme, i nije najsretniji izbor. Velika pozornica svakako je bolje mjesto.
Uobičajilo se već godinama da se ljetne premijerne izvedbe, koje nastavljaju igrati u sezoni, ponovno nazivaju premijerama. Prenošenje predstava u zgradu i produljivanje njihova života na taj način logičan je postupak. U vrijeme kada se to nije radilo, mnogo je sjajnih - i skupih - predstava odigrano dva-tri puta pa su ugašene jer za njih nije bilo mjesta u koncepciji festivala iduće godine.
Ali naziv “premijera” do danas je ostao pomalo diskutabilan jer je djelo već režirano, viđeno, odjeveno, obuveno, otpjevano i valorizirano. Katkad se koristio i izraz “obnova s karakterom premijere” ili “premijerna obnova”. Nisu se zadržali, pa ostajemo kod premijere koja je umnogome to i bila.
Pjevačka postava je dobrim dijelom izmijenjena. U naslovnoj ulozi dvorske lude Rigoletta nastupio je bariton Ljubomir Puškarić, a u ulozi njegove kćeri Gilde sopranistica Marija Kuhar Šoša. Oboje su već gostovali u Splitu, a interesantno je da su se u ulogama Rioletta i Gilde našli prvi put. Debitirali su - za svaku pohvalu. Pridružio im se još jedan gost, brazilski tenor nastanjen u Italiji, Max Jota, dok je siguran i iskusan dvojac, Terezija Kusanović i Ivica Čikeš (kao Maddalena i njen brat Sparafucile) bio u postavi i ovoga ljeta.
Veliki interes na Splitskom ljetu izazvali su kostimi Jurja Zigmana. Prvi je čin zamišljen kao party visokog društva gdje se svatko nastoji istaknuti originalnom toaletom, kao na modnoj reviji. Dok se to šarenilo na Peristilu ponešto “rasulo”, na pozornici čitava kostimografija daje kompaktniju sliku.
Scenograf Slaven Raos odlučio se za dva dominantna scenska elementa, dva golema lustera položena na pod. Jedan sugerira dvor, drugi Rigolettovu kuću, a oba su nakrivljena ili napukla, sugerirajući urušavanje obaju svjetova. Ti lusteri, dakako, sada izgledaju mnogo veći i zapasali su dobar dio scene, a problem s Rigolettovim lusterom jest da i on izgleda isuviše raskošno i monumentalno. Dvorski pak luster sada na pozornici neodoljivo podsjeća na božićnu jelku, što i nije loše za izvedbe u doba adventa.
“Rigoletto” je u zgradi puno dobio, a ništa nije izgubio.
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16. svibanj 2024 03:15
