Opéra national de Paris (2009) Kazushi Ono (Director musical) Mariusz Kwiecien (King Roger) Olga Pasichnyk (Roksana) Stefan Margita (Edrisi) Krzysztof Warlikowski (Director de escena)
I like how the composer (Szymanowski) uses his instrument to the fullest, using all the forces available, soloists, chorus and orchestra to their capacities, pushing the Art forward. D. Alexandr D'Maddalena
I like how the first act ends, Amen sung the Latin way and Amin sung the Greek Orthodox way. Very interesting, perhaps symbolizing the dual nature of King Roger's affection. Alexandr D'Maddalena
Mariusz Kwiecien, baritone: King Roger Olga Pasichnyk, soprano: Roksana Stefan Margita, tenor: Edrisi Eric Cutler, tenor: The Shepherd Wojtek Smilek, bass:The Archbishop Jadwiga Rappe, contralto: An Abbess Act 1 Often known as the "Byzantine" act The Shepherd is introduced to King Roger and his court during mass at the Palermo Cathedral. Despite calls by the Archbishop as well as the crowd for his punishment as a heretic, Roxana, Roger's wife, convinces the King not to kill him. She implores him to pass a fair judgment on the Shepherd. Roger orders the young man to appear at the palace that night, where he will explain himself and submit to the King's judgement. Act 2 The "Oriental" act, representing India and the Middle East As instructed, the Shepherd appears at the palace gates. Roxana sings a seductive song which is clearly a response to the visitor, causing Roger to grow increasingly agitated. As the Shepherd is led in, he describes his faith in detail and soon almost the entire court joins him in an ecstatic dance. Roger attempts to chain him, but the Shepherd easily breaks free, and leaves the palace with almost all of those assembled following him. At first the King and his Arab advisor, Edrisi are left alone, but soon it is decided that Roger will join the Shepherd. Act 3 The "Greco-Roman" act In an ancient Greek theater, King Roger and Edrisi rejoin Roxana, who informs her husband that only the Shepherd can free him of his fear and jealousy. A fire is lit, and the Shepherd's followers commence another dance, while the Shepherd is transformed into Dionysus. As the dance ends and the participants leave the stage, Roger is left transformed by the experience, and sings a joyous hymn at the arrival of the morning sun.
Very beautiful what voices! The tenor and baritone are fantastic. King Roger is very handsome. Alexandr D'Maddalena
I like how the composer (Szymanowski) uses his instrument to the fullest, using all the forces available, soloists, chorus and orchestra to their capacities, pushing the Art forward. D. Alexandr D'Maddalena
I like how the first act ends, Amen sung the Latin way and Amin sung the Greek Orthodox way. Very interesting, perhaps symbolizing the dual nature of King Roger's affection. Alexandr D'Maddalena
The Tenor I mean is the Boy Freind and Baritone King Roger.
Mariusz Kwiecien, baritone: King Roger
Olga Pasichnyk, soprano: Roksana
Stefan Margita, tenor: Edrisi
Eric Cutler, tenor: The Shepherd
Wojtek Smilek, bass:The Archbishop
Jadwiga Rappe, contralto: An Abbess
Act 1
Often known as the "Byzantine" act
The Shepherd is introduced to King Roger and his court during mass at the Palermo Cathedral. Despite calls by the Archbishop as well as the crowd for his punishment as a heretic, Roxana, Roger's wife, convinces the King not to kill him. She implores him to pass a fair judgment on the Shepherd. Roger orders the young man to appear at the palace that night, where he will explain himself and submit to the King's judgement.
Act 2
The "Oriental" act, representing India and the Middle East
As instructed, the Shepherd appears at the palace gates. Roxana sings a seductive song which is clearly a response to the visitor, causing Roger to grow increasingly agitated. As the Shepherd is led in, he describes his faith in detail and soon almost the entire court joins him in an ecstatic dance. Roger attempts to chain him, but the Shepherd easily breaks free, and leaves the palace with almost all of those assembled following him. At first the King and his Arab advisor, Edrisi are left alone, but soon it is decided that Roger will join the Shepherd.
Act 3
The "Greco-Roman" act
In an ancient Greek theater, King Roger and Edrisi rejoin Roxana, who informs her husband that only the Shepherd can free him of his fear and jealousy. A fire is lit, and the Shepherd's followers commence another dance, while the Shepherd is transformed into Dionysus. As the dance ends and the participants leave the stage, Roger is left transformed by the experience, and sings a joyous hymn at the arrival of the morning sun.
Wystawienie okropne, idiotyczne, natomiast muzycznie wspaniale.