Sezona / Season

2012/2013

Sadr

žaj/

Con

tent

s

BALET / BALLET

82 Irena Pasarić, Živjeti kazalište / Living the Theatre

OBNOVA / REVIVAL86 Hugo Viera VARIJACIJE U F.ADO MOLU / VARIATIONS IN F.ADO MINOR

PREMIJERE / PREMIERES

88 Igor Stravinski / Igor Stravinsky POSVEĆENJE PROLJEĆA / THE RITE OF SPRING

90 Jules Massenet � Kenneth MacMillan MANON

REPRIZE / REPEAT PERFORMANCES92 VEČER NJEMAČKIH AUTORA / AN EVENING OF GERMAN AUTHORS

Marco Goecke � Johann Sebastian Bach SUITA SUITA SUITA / SUITE SUITE SUITEUwe Scholz � Robert Schumann DRUGA SIMFONIJA / SECOND SYMPHONY

94 Léo Delibes � Youri Vàmos COPPÉLIA NA MONTMARTREU / COPPÉLIA ON MONTMARTRE

96 Petar Iljič Čajkovski / Pyotr Ilyich Tchaikovsky ORAŠAR/ THE NUTCRACKER

98 VEČER TRI BALETA / TRIPLE BILL BALLET EVENINGJ. S. Bach � G. Balanchine CONCERTO BAROCCOÁstor Piazzolla � Hans van Manen PET TANGA / FIVE TANGOSLudwig Minkus � Derek Deane PAQUITA

100 Ludwig Minkus DON QUIXOTE

102 Sergej Sergejevič Prokofjev / Sergey Sergeyevich ProkofievPEPELJUGA / CINDERELLA

104 Petar Iljič Čajkovski / Pyotr Ilyich TchaikovskyLABU�E JEZERO / SWAN LAKE

OPERA

46 Branko Mihanović, Tosca još nije umrla, a kada će, ne znamo/ Tosca Has Not Died Yet, And When She Is Due To, No-one Knows

PREMIJERE / PREMIERES

50 Blagoje Bersa POSTOLAR OD DELFTA / THE SHOEMAKER FROM DELFT

52 Giuseppe Verdi AIDA

54 Richard Wagner LOHENGRIN

OBNOVE / REVIVALS56 Wolfgang Amadeus Mozart DON GIOVANNI

58 Gioachino Rossini SEVILJSKI BRIJAČ / THE BARBER OF SEVILLE

REPRIZE / REPEAT PERFORMANCES60 Leoš Janáček JENUFA

62 Gaetano Donizetti LJUBAVNI NAPITAK / L’ELISIR D’AMORE

64 Ambroise Thomas HAMLET

66 Giuseppe Verdi TRUBADUR / IL TROVATORE

68 Richard Wagner PARSIFAL

70 Johann Strauss ml. / Johann Strauss Jr.ŠIŠMIŠ / THE BAT

72 Ivan pl. Zajc NIKOLA ŠUBIĆ ZRINJSKI

74 Jakov Gotovac ERO S ONOGA SVIJETA / ERO THE JOKER

76 Peter Lund VJEŠTICA HILLARY IDE U OPERU/ HILLARY THE WITCH GOES TO THE OPERA

78 NEDJELJNE MATINEJE UZ KAVU / SUNDAY MATINEES WITH COFFEE

DRAMA

16 Sanja Ivić, Suvremen pogled na literaturu/ A Contemporary View of Literature

PREMIJERE / PREMIERES

20 Euripid / Euripides MEDEJA / MEDEA

22 William Shakespeare NA TRI KRALJA ILI KAKO HOĆETE / TWELFTH NIGHT; OR, WHAT YOU WILL

24 Ranko Marinković U ZNAKU VAGE / IN THE SIGN OF LIBRA

26 Anton Pavlovič Čehov / Anton Pavlovich ChekhovVIŠNJIK / THE CHERRY ORCHARD

REPRIZE / REPEAT PERFORMANCES28 George Bernard Shaw PIGMALION / PYGMALION

30 Ivo Vojnović MAŠKARATE ISPOD KUPLJA / MASQUERADES UNDER THE ROOFING TILES

32 Carlo Goldoni GOSTIONIČARKA MIRANDOLINA / THE MISTRESS OF THE INN

34 Lav Nikolajevič Tolstoj / Leo Nikolayevich Tolstoy RAT I MIR / WAR AND PEACE

36 Miroslav Krleža GOSPODA GLEMBAJEVI / THE GLEMBAYS

38 Ivica Boban ZAGORKA

40 Jean-Baptiste Poquelin Molière � Jean-Baptiste Lully GRA�ANIN PLEMIĆ / THE BURGEOIS GENTLEMAN

42 Oscar Wilde VAŽNO JE ZVATI SE ERNEST / THE IMPORTANCE OF BEING EARNEST

107 PLAN GLEDALIŠTA / GROUND PLAN OF THE AUDITORIUM

108 PRETPLATA / SUBSCRIPTION112 KONTAKTI / CONTACTS118 SPONZORI / SPONSORS

INFO

4 Ana Lederer, Riječi, riječi, riječi... / Words, Words, Words...10 Stela Telebuh Stazić, U partnerstvu s publikom / In Partnership With The Audience

54 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13UVOD

ima više no mi � i kako je drugdje bolje no kod nas (Dvostruko lice govora: 237): jer trebamo sami uvjeriti “faktore” koliko zaista trebamo za ispunjenje naših konkretno postavljenih i jasno provjerivih zadataka. Kako vidimo, od tadašnjih Gavellinihzagrebačkih kazališnih perspektiva iz 1953. do danas mnogi su problemi jednaki, ali činjenica jest i da se od tada do danas,a posebice posljednjih dvadeset godina, upravo za središnju matičnu kuću Hrvatskoga narodnog kazališta u Zagrebu nije ri-ješio ni jedan vitalni problem (druga scena, razdvajanje grana, restrukturiranje) prije svega zato jer se nije precizno definiraoni temeljni strateški cilj � njegovo pozicioniranje na našoj kulturnoj mapi, odnosno što se njime uopće danas želi. Jedno je si -gur no � za kompleksan dijalog o kazalištu danas nemamo dovoljno ozbiljnih partnera. Posebice kad je o estetskom vrednovanjuriječ, ni danas kao ni u vremenu Gavelline umjetničke aktivnosti okolnosti nisu bile sretnije, primjerice s kazališnom kritikomkoja bi mogla preuzeti važnu funkciju koja joj je namijenjena u kompleksu kazališnog rada kad se ne bi pisalo o teatru isključivoizmeđu dviju kategorija naših kritičara � između opuknul sam ga ili nemuštoga nagomilavanja beznačajnih superlativa. A ima još i jedna treća, mješovita kategorija: to je ona zakukuljena i zamumuljena, to je ono trpanje praznih visoko učenihfraza oko jedne apsolutne šupljine (Teorija glume: 27).I dok se oko nas na sve strane množe takve fraze, a na obzoru još nema šanse da se provedu kvalitetno osmišljene promjenekoje bismo željeli, kazalište živi svoj neprekinut kreativan život � svaku večer na sceni pred publikom, kao i u prostorima gdjesu probe za nove premijere. Napokon, pamte se samo predstave i umjetnici, a ne zakoni o kazalištima ili administrativno organizirane forme, pa tako � dokse na pravi način i ozbiljno ne restrukturiramo u svim aspektima kazališne organizacije � pitanje umjetničkoga stvaranjakojim se napokon i naš veliki mislilac teatra Gavella i bavio, jedino je pravo pitanje u osmišljavanju našega kazališnog reper-toara. Shvaćajući teatar kao proces, repertoar je komplicirana mreža ne samo premijera nego i repriza na kojima predstave sazri-jevaju, žive ili ne žive u suigri s publikom, ostavljaju ili ne ostavljaju umjetničke tragove... Na produkcijskim i umjetničko-estetskim dostignućima naših ansambala 150. obljetničke sezone, sljedeću sezonu 2011./2012.osmišljavali smo kroz pitanje kako i u kojem smjeru moramo pomaknuti repertoar, kako odabirom djela/naslova povezatiansambl i redatelja/koreografa/dirigenta u proces rada s nepredvidivim rezultatom na kraju. Ušavši i u tu proteklu sezonuDrame s iznimnim potencijalom glumačkoga ansambla, otvorili smo je umjetnički i produkcijski do sada najzahtjevnijim pro-jektom posljednjega desetljeća, Tolstojevim Ratom i mirom u režiji Tomaža Pandura, predstavom koja je svojom snagom uzne-mirila naš kulturni prostor. U protekloj dramskoj sezoni zanimljiva su bila i druga vrlo različita redateljska čitanja � VojnovićevihMaškarata ispod kuplja (I. Kunčević), Goldonijeve Gostioničarke Mirandoline (S. Broz) i Shawova Pigmaliona (H. Petković). Zapredstojeću dramsku sezonu 2012./2013. okrenuli smo se posve drukčijim literarnim svjetovima odnosno dramskim materi-jalima: ponovno u koprodukciji s Dubrovačkim ljetnim igrama sezonu ćemo otvoriti zagrebačkom inačicom Euripidove Medejeu redateljskoj viziji Tomaža Pandura, a koja na našoj sceni nije izvedena od 1965. godine. U prosincu, po prvi put surađujući

Riječi, riječi, riječi...

Kad u posljednjoj trećini tekuće kazališne sezone pripremamo za tisak pretplatui knjižicu sljedeće, prethodnih mjeseci osmišljene sezone, publika sigurno ne znada su već započele probe za prvu dramsku premijeru, a pjevači rade na svojimulogama za prvu opernu premijeru. Upis pretplate započinjemo 1. lipnja, a knjižicusljedeće nove sezone tradicionalno predstavljamo u podne na dan posljednjepredstave tekuće sezone, kad dodjeljujemo i godišnje nagrade za najbolja ostva -renja u sve tri umjetničke grane. Početak je svibnja i pišem uvodnu riječ za knjižicu sezone 2012./2013. što vam je u rukama, pišem uobičajenu intendantskuuvertiru za prezentaciju složeno projektirane predstojeće sezone � na kojoj, dakle, radimo dok prethodna još traje. Sve je, naime,u dnevnom kazališnom životu i paralelno i intenzivno, naš teatar živi poput velikog zasebnog organizma svoj neprekinut kreati-van (i svakovrsni drugi) život, u kojemu stvaramo i svoj zaseban svijet, ali svijet itekako kapilarno prožet i društvenom atmo -sferom vremena. Zaustavljam se u toj intenzivnoj kazališnoj svakodnevici samo kako bih napisala taj uvod što kratko ikomunikativno mora interpretirati cjelinu zamišljene sezone odnosno repertoar koji je, kako kaže Mejerholjd, duša svakogakazališta. U općem ozračju apatije i istodobnoj kakofoniji ispraznoga govorenja na svakom koraku, a pogotovo površnih fraza jednih teistih (ne)znalaca koji govore o kazalištu danas, ponovno čitanje pisanoga opusa Branka Gavelle (iako s drugom namjerom, zaznanstveni simpozij Dana Hvarskog kazališta, posvećen nedavnoj 50. obljetnici njegove smrti) vratilo mi je nadu u mogućnostintelektualnog i misaonog “užitka u tekstu” o fenomenu kazališta. Čitati Gavellu iz iskustva kazališne prakse u današnjem kul-turnom kontekstu zanimljivo je i zbog prepoznavanja brojnih jednakih, do danas nažalost neriješenih (i tek naoko izvanestet-skih) problemskih pitanja � primjerice, kad razmišlja o drugom kazalištu u Zagrebu 1918., o ideji Nationaltheatera (nepre uzimajmo gotove formule, nego se udubimo u samo načelo stvaranja), o Dubrovačkim ljetnim igrama ili Zagrebačkom dram-skom kazalištu. Danas, kad “na temu teatra” nekoliko jednih te istih popularnih riječi i sintagmi (strategija, evaluacija, in-terkulturalni dijalog, produkcija, fondovi) najviše i najglasnije upotrebljavaju oni koji o teatru odveć malo znaju da bi ga moglimijenjati, i koji sigurno ne bi mogli razumjeti ni smisao ni dubinu Gavelline misli kako administrativne mjere nikad nisu u vezis umjetničkim ciljevima kazališta. Što se, pak, tiče našega vječnog žaljenja na nedostatnu brigu naših upravnih faktora za kaza-lišni život, Gavella drži kako nikad nećemo ispraviti tu situaciju ako stalno budemo dokazivali kako netko drugi, negdje drugdje

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s našim glumačkim ansamblom, redatelj Aleksandar Popovski “zaigrat” će Na Tri kralja, izvrsnu Shakespeareovu komedijukoja također nije izvođena od 1951. godine! Obljetnicu hrvatskoga književnog velikana 20. stoljeća Ranka Marinkovića, izvedbečijih su djela � i dramskih tekstova (od Glorije do Pustinje) i adaptacije proza (legendarni Spaićev Kiklop, Zajednička kupka)� umjetnički važna mjesta naše kazališne memorije, zamislili smo kao otvoren prostor igre s njegovom literaturom: pod zajedničkim naslovom U znaku vage tri mlada redatelja � Helena Petković, Ivan Plazibat i Olja Lozica � zaokružit će u ovomautorskom triptihu na temu Marinkovića svoje teatarsko viđenje njegove literature, potpuno otvoreno u odabiru i pristupu.Nakon režije Krležinih Glembajevih Vito Taufer zatvorit će sezonu dramskih premijera drukčijim pristupom u interpretaciji Čehovljevog Višnjika. Repertoar protekle operne sezone bio je postavljen vrlo ekskluzivno, pa stoga i rizično: osim omiljenoga naslova željeznog reper-toara u sredini sezone, Donizettijevog Ljubavnoga napitka, izveli smo prvi put u Hrvatskoj Thomasova Hamleta na početku i ri-jetko izvođenu Janáčekovu Jenufu na njezinu kraju, i uspjeli smo oduševiti publiku zahvaljujući izvanrednim umjetničkimdometima dominatne mlađe i srednje generacije naših solista, zbora i orkestra pod vodstvom nadahnutih gostujućih diri-genata. Potpuno drukčije osmislili smo premijernu opernu sezonu 2012./2013.: trideset godina od posljednje izvedbe otvorit ćemosezonu komičnom operom Postolar od Delfta hrvatskoga skladatelja Blagoja Berse, a u režiji Krešimira Dolenčića i pod ravnanjemIvana Skendera. U 2013. godini, kad se obilježavaju obljetnice dvojice genija � Verdija i Wagnera � Opera će premijerno izvestidva djela kojih dugo nije bilo na našem repertoaru: u koprodukciji s HNK-om Ivana pl. Zajca u Rijeci Verdijevu Aidu u režiji Balásza Kovalika i pod vodstvom maestra Antonella Allemandija, te Wagnerova Lohengrina ponovno u koprodukciji s Franačkimteatrom u Würzburgu, u režiji Kurta Josefa Schildknechta (redatelja našega Parsifala). Nakon sezone raznolikih baletnih stilova i interpretacija � novoga bajkovitog Orašara, obnovljene Coppélije na Montmartreui Večeri njemačkih autora suvremenih koreografa Uwe Scholza i Martina Goeckea, za novu sezonu odlučili smo se opet za razno-likost: nakon obnove Varijacija u f.ado molu Huga Viere, ponovno u koprodukciji s Muzičkim biennalom u Zagrebu izvest ćemoPosvećenje proljeća Igora Stravinskog, o stotoj obljetnici nastanka toga djela. Na kraju baletne sezone naša će publika imatiprigodu susresti se prvi put s djelom velikoga neoklasičnog engleskog koreografa Kennetha Macmillana, njegovom Manonprema glazbi Julesa Masseneta. Na kraju, sigurni smo da pravi živi teatar nema i ne daje nikakva jamstva za svoje uspjehe, pa stoga završimo s Gavellom kojikaže: Nažalost pravo umjetničko “znanje” “zna” samo ono u čemu je pogriješilo kod prijašnjih pokušaja i samo to znanje vlasti-tih iskreno doživljenih neuspjeha može se i mora se prenositi na buduće stvaranje. Svako novo stvaranje rađa se iz potrebe zasaznanjem nečega što se do sada nije “znalo” i takovo stvaranje angažira u nama posve drugačije psihičke rezerve no što surutina i samodopadni autoritet (Dvostruko lice govora: 234).Upravo s takvom novom stvaralačkom strašću, i ne znajući kakva je umjetnička plovidba pred nama, na pragu smo nove sezone i očekujemo da će se naša publika ponovno otisnuti s nama.

dr. sc. Ana Lederer, intendantica HNK u Zagrebu

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13UVOD

Words, Words, Words...

When in the last third of our current theatre season we are preparing for print the subscription and the next season’s brochure,which has been thought through during the previous months, the audience most probably does not know that the rehearsalsfor the first drama opening night have already started and that the singers are studying their roles for the first opera premiere.We start the subscription registration on June 1, 2012 and the season brochure of the next season we traditionally present atnoon on the day of the last performance of the current season, when we also give annual awards for the best performances inall the three artistic ensembles. It is the beginning of May and I am writing the introduction for the 2012/2013 season brochurewhich is in your hands. I am writing the usual general manager‘s ouverture for the presentation of a comprehensively designedfollowing season � the one that we therefore work on, whilst the previous one still lasts. Namely, everything in the daily the-atre life is both parallel and intense; like a huge separate organism our theatre lives its unbroken creative (and omnifarious)life in which we create our own peculiar world, but a world deeply saturated with the social atmosphere of the time we live in.I stop in this intensive theatre routine only so to write this introduction that in a short and communicative way has to interpretthe entirety of the planned season, namely the repertoire, which, as Meyerhold put it, is the soul of every theatre. In the general atmosphere of apathy and simultaneous cacophony of empty talk at every step of the way, especially the super-ficial phrases of always the very same (non) experts who speak of theatre nowadays, the re-reading of the written opus ofBranko Gavella (although with another intention, for a scientific symposium of the Days of the Hvar Theatre dedicated to therecent 50th anniversary of his death) gave me hope of a possible intellectual and philosophical ‘Pleasure of the Text‘ on the phe-nomenon of the theatre. It is also interesting to read Gavella from the experience of theatre practice in today‘s cultural con-text, because of the recognition of numerous identical, until today, unfortunately, unsolved (and only seemingly non-aesthetical)issues: for instance, when he is deliberating about the second theatre in Zagreb in 1918, on the idea of the National theatre(let us not take over the ready formulas, but let us ponder deeply into the very concept of creation), about the Dubrovnik Sum-mer Festival or the Zagreb Drama Theatre. Nowadays, on the ‘subject of the theatre‘ those who know too little about the the-atre in order to be able to change it, are most often, and in their loudest voices, using several same and popular words andsyntagmas (strategy, evaluation, intercultural dialogue, production, funds), and they definitely would not be able to compre-hend neither the sense nor the depth of Gavella’s thoughts that the administrative measures are never related to the artisticgoals of the theatre. And as far as our everlasting regret for insufficient care of our factors that are in charge of theatre life isconcerned, Gavella believes that we shall never correct that situation if we constantly keep on claiming that someone else, some-where else is better off than ourselves � and that elsewhere is better than here (Double Face of Speech:237): because we our-selves have to convince the ‘factors‘ how much we really need for fulfilling our firmly set and clearly verifiable tasks. As we cansee, from Gavella‘s Zagreb theatre perspectives of that time, ever since 1953 till today, many problems have remained the same,but the fact is that since then, up till now, and especially during the last twenty years, particularly for the central Croatian

7CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 INTRO

98 CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13INTRO

adaptations of prose (the legendary Cyclops directed by Spaić, Common Bath) - are artistically significant points of our the-atrical memory, as an open space for playing with his literature under the common title In the Sign of Libra. Three young stagedirectors/authors will round up in this original triptych on the theme of Marinković their theatrical view of his literature, com-pletely free in the selection and approach. After directing Krleža’s The Glembays, Vito Taufer will close the season of drama pre-mieres with a different approach to the interpretation of The Cherry Orchard by Chekhov. The repertoire of the last opera season was very exclusive, therefore included risks: besides the favourite title of the iron reper-toire in the middle of the season, Donizetti’s L‘elisir d’amore, for the first time in Croatia we have performed Hamlet by Thomasat the beginning, and the rarely performed Jenufa by Janaček at its end. We have managed to delight the audience due to theoutstanding artistic achievements of the dominant younger and middle-aged generation of our soloists, choir and orchestraunder the leadership of our inspired guest conductors. Our concept of the premiere Opera season 2012/2013 is utterly differ-ent: thirty years after the last production we are going to open the season with the comic opera The Shoemaker from Delft bythe Croatian composer Blagoje Bersa, directed by Krešimir Dolenčić and conducted by Ivan Skender. In the year 2013, when ju-bilees of two geniuses Verdi and Wagner are being marked, the Opera will give premieres of two works that have not been onour repertoire for a long time: in co-production with the Croatian National Theatre in Rijeka Ivan noble Zajc Verdi’s Aida directedby Balász Kovalik and conducted by maestro Antonello Allemandi and Wagner’s Lohengrin again in a co-production with theMainfranken Theatre Würzburg, directed by Kurt Josef Schildknecht (director of our Parsifal). After a season of various ballet styles and interpretations � the new fairytale � like The Nutcracker, the revived Coppélia onMontmartre and An Evening of German Authors of contemporary choreographers Uwe Scholz and Marco Goecke � for the newseason we have decided, once again, in favour of diversity: after the revival of Variations in F.ado Minor by Hugo Viera, againin co-production with the Music Biennale Zagreb we are going to perform The Rite of Spring by Igor Stravinsky on the occasionof its 100th anniversary. At the end of the ballet season our audience will get a chance to see for the first time Manon basedon the music by Jules Massenet, a ballet choreographed by the great neoclassical British choreographer Kenneth Macmillan. Finally we are sure that the real live theatre does not possess and does not give any guarantees for its successes, therefore letus finish with Gavella who says: Unfortunately, the real artistic ‘knowledge‘ ‘knows‘ only the thing that went wrong with theprevious attempts and only that knowledge of one’s own truthfully experienced failures can be and has to be carried over tofuture creations. Every new creation is being born out of the need to comprehend something that has not been ‘known‘ untilthen and such creation motivates in ourselves utterly different psychological reserves than what are routine and self-sufficientauthority (Double Face of Speech:234).Precisely with such new creative passion, unaware of the kind of artistic journey that lies ahead of us, we are on the verge ofthe new season and we expect that our audience will once again accompany us on this journey.

National Theatre in Zagreb, not one single problem has been solved (a second stage, separation of artistic branches, restruc-turing), primarily because the basic strategic goal has not been precisely defined � its placement on our cultural map, namely,what is to be achieved with it today. One thing is sure � today, for a complex dialogue about the theatre, we do not have ade-quate serious partners. Especially when we talk about aesthetic evaluation, neither today nor in the time of Gavella‘s artisticactivities have the circumstances been any better: for instance the theatre critique could take over the significant function thatis being assigned to it within theatre work, when the writings on the theatre would not exclusively be between the two cate-gories of our critics � between I fixed him or the unskilled overloading of meaningless superlatives. But there is also a third,mixed category: it is that cocooned and shrouded category; it is that piling of empty highly sophisticated phrases about oneabsolute emptiness (Theory of Acting: 27). As long as such phrases are multiplying around us on every step of the way and thereis yet no sight of any chance that well elaborated desired changes could go through, the theatre lives its unbroken creative life- every night on the stage before the audience, as well as in the venues designated for rehearsals for the new premieres. Finally only the performances and artists are remembered and not theatre laws or administratively organised units � so untilwe do not restructure and re-organise in the right way and seriously, in all aspects of theatre organisation � the question ofartistic creation that our great thinker Gavella had been, after all, dealing with, is the only real question relating to the cre-ation of our theatre repertoire. Understanding theatre as a process, the repertoire is a complicated net not only of premieres,but also re-runs which make the performances mature, they live or do not live in a mutual play with the audience; they leaveor do not leave behind artistic marks...Based on the production and artistically � aesthetic achievements of our ensembles in the 150th jubilee season, we have beencreating the next 2012/2013 season through the aspect of how and in which direction we have to go with the repertoire, howto connect the ensemble and the stage director / choreographer /conductor by the choice of the title, with the working processthat has unpredictable results in the end. Commencing also the previous Drama season with exceptional potential of the act-ing ensemble, we have opened it with, until today, artistically and production - like most demanding project of the last decade,Tolstoy’s War and Peace directed by Tomaž Pandur � a performance which has, with its power, stirred up our cultural envi-ronment. The previous Drama season had some other interesting, very different director’s readings � Masquerades under theRoofing Tiles by Vojnović (I. Kunčević), The Mistress of the Inn by Goldoni (S. Broz) and Shaw’s Pygmalion (H. Petković). For thenext Drama season 2012/2013 we have turned to completely different literary worlds, that is, drama materials: again in co-production with the Dubrovnik Summer Festival we are going to open the season with the Zagreb version of Medea by Euripi-des, a vision of the stage director Tomaž Pandur. This play has not been put on our stage since 1965. In December for the firsttime cooperating with our acting ensemble, the stage director Aleksandar Popovski will stage the outstanding Shakespeare’sTwelfth Night; Or, What You Will, that has also not been performed since 1951! We have planned the jubilee of the Croatianliterary legend of the 20th century Ranko Marinković whose staged works � also drama texts (from Glorija to The Desert) and Ana Lederer, PhD, General Manager of the Croatian National Theatre in Zagreb

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Stela Telebuh Stazić, poslovna ravnateljica

U vrijeme kada pišemo tekstove za knjižicu sezone koju najavljujemo, stručne službe ka-zališta analiziraju rezultate sezone koja završava, kroje financijske planove za sljedeću se-zonu, služba prodaje priprema se za upis pretplate, djelatnici tehnike za opći remont iinvesticijske zahvate koji se redovito obavljaju u ljetnim mjesecima kad nema predstava, aumjetnici koji sudjeluju u prvim jesenskom premijernim projektima duboko su u procesu po-kusa za nove predstave. Pokušat ćemo se i ove godine usredotočiti na umjetničke i poslo-v ne rezultate sezone koju privodimo kraju, odmaknuti se od medijske stvarnosti, odneprimjerenih napada na našu kuću i zahvaliti svim umjetnicima i djelatnicima Hrvat-skoga narodnog kazališta u Zagrebu na još jednoj izvrsnoj sezoni i našoj vjernoj publici koja nas iz večeri u večer prati u prepu-nom gledalištu. Uprava kazališta zahvaljuje se i brojnim našim umjetnicima i djelatnicima koji nas svakodnevno podupiru, asvaki neutemeljen javni napad doživljavaju kao napad na vlastito umjetničko djelovanje ili vlastiti posao. Hvala i svim gledate-ljima koji su nam svojim pismima iskazali potporu i pohvalili naše umjetnike i predstave. Obljetničku 150. sezonu završili smo krajem lipnja prošle godine tradicionalnom dodjelom Nagrada HNK našim umjetnicima zaiznimne kreacije u premijernom programu. Među nagrađenima bili su i Dubravka Šeparović Mušović za ulogu Kundry u operi Par-sifal i Milan Pleština za ulogu Leonea u Krležinim Glembajevima. Ovih dana isti su umjetnici za iste uloge nagrađeni i Nagradomgrada Zagreba, koju u povodu Dana grada dodjeljuje Gradska skupština, a Milan Pleština dobitnik je i godišnje nagrade “Vladi-mir Nazor” za kazališnu umjetnost, čime su nagrade ovim umjetnicima dobile širi društveni kontekst. Uz čestitke našoj Kundry iLeoneu, valja čestitati i ansamblima opere Parsifal i baleta Air koji su dobili Nagradu hrvatskog glumišta za najbolju operu i naj-bolji balet u sezoni 2010./2011. i tako se pridružili Drami koja je godinu prije za predstavu Građanin plemić nagrađena i strukovnomNagradom hrvatskoga glumišta i Nagradom žirija na Danima satire kao najbolja predstava u cjelini.Sezonu smo otvorili spektakularnim Tolstojevim Ratom i mirom u režiji Tomaža Pandura, u koprodukciji s Mariborom, europskomprijestolnicom kulture. Izniman interes javnosti za ovaj međunarodni projekt rezultirao je snažnom kampanjom i unatoč povremenimkritičarskim ekscesima, rasprodali smo deset izvedbi u prvom bloku, dvije izvedbe u Mariboru, a krajem svibnja još pet uzastop-nih izvedbi u slobodnoj prodaji, pa je tako samo u prvoj sezoni igranja Rat i mir vidjelo više od deset tisuća gledatelja, a službenipozivi pristigli su za gostovanja u Bilbao, Madrid i Buenos Aires. Rekordnoj posjećenosti u posljednjem kvartalu 2011. pridonijelesu i nove uspješnice u Operi, Thomasov Hamlet s nezaboravnom Ivanom Lazar u ulozi Ofelije, kritičarski hvalospjev u uglednommeđunarodnom časopisu Opernwelt i šest uzastopnih rasprodanih izvedbi, te novi Orašar u Baletu s trinaest rasprodanih izvedbiu prosincu i gotovo deset tisuća gledatelja. Mali jubilej doživjela je i jedina predstava za djecu, višestruko nagrađivana VješticaHilary ide u operu koja je u svibnju, u drugoj sezoni igranja, svečano obilježila 50. izvedbu. Ansambli Hrvatskoga narodnog kaza-lišta u Zagrebu izveli su tijekom sezone 2011./2012. ukupno 240 predstava, od toga 180 na sceni, 33 na gostovanjima u Hrvat-skoj, 5 na gostovanjima u inozemstvu i 22 u foyeru, s prosječnom popunjenošću od 82 %, a naše je predstave ponovno vidjelooko 106 000 gledatelja na matičnoj sceni i oko 25 000 na gostovanjima. Ovako visoka posjećenost ponavlja se već nekoliko se-zona za redom, pa se tako vlastiti prihod od prodaje ulaznica kreće između 3,7 do 4 milijuna kuna godišnje. Teško je stoga razu-

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13UVOD

mjeti tezu, koja se kroz neke medije učestalo pokušava nametnuti hrvatskoj javnosti, kako je Hrvatsko narodno kazalište u Zagrebu kuća koja “dobro posluje”, ali je upitna njena umjetnička relevantnost. Ne postoji na svijetu kazalište koje može “dobroposlovati” bez osmišljenog repertoara, dobrih predstava, izvrsnih umjetnika i punog gledališta iz večeri u večer � uz odgovornoupravljanje to su, naime, pretpostavke stabilnog poslovanja. Naše kazalište u proteklih sedam sezona ima više od 100 000 stal-nih posjetitelja i tridesetak stalnih partnera i odavno je prestalo biti “slučaj” s milijunskim dugovima i praznim gledalištem.Ukupan vlastiti prihod, koji osim prodaje ulaznica uključuje i prihode od sponzorstava i donacija, najmova prostora, gostovanja,iznajmljivanja kostima i scenske opreme, te prihod od prodaje suvenira, iznosio je 2011. gotovo 9 milijuna kuna, što u teškim uvje-tima recesije hrvatskoga gospodarstva nije nimalo lako postići. U segmentu investicijskog održavanja nakon dugo godina uspjeli smo izboriti sredstva za klimatizaciju baletne dvorane, a iz vla-stitih prihoda osigurali smo sredstva kojima smo uredili ženske baletne garderobe, a predstoji nam uređenje muških garderoba.Služba marketinga osmislila je niz novih oblika prodaje ulaznica kao što su darovni bonovi za svaku umjetničku granu, VIP večeri mladence. Proizašli su iz sličnih oblika prodaje u velikim svjetskim kazališnim kućama, a potaknuti su učestalim upitima i pri-jedlozima naših gledatelja. Pretplatnicima smo za sljedeću sezonu ponudili dvije nove mogućnosti: pretplatu 15 (obiteljski petak)i pretplatu 16 (kazališna galerija), namijenjenu populaciji od 18 do 30 godina, a tiskanjem pretplatničkih kartica, koje će zami-jeniti nekadašnje ulaznice, modernizirali smo sustav pretplate i time kompletno informatizirali prodaju. Od ove sezone prisutnismo na društvenim mrežama Facebook i Twitter, instalirali smo virtualnu šetnju kazalištem na internetskoj stranici, izradili mo-bilnu verziju stranice, uspostavili suradnju s internetskom trgovinom daruj me, a suvenirnicu smo obogatili novim baletnim iopernim artiklima, te nizom suvenira vezanih uz premijerne predstave.Predstoji nam zadnja faza informatizacije kazališta (Win GPS sustav, odnosno gospodarenje proračunskim sredstvima) koju smolani započeli radi uspostave sustava kontrole i upravljanja financijama. Ovaj sustav omogućava neposredno svim organizacij-skim cjelinama (Opera, Drama, Balet, Tehnika i Uprava) jednostavan i siguran način planiranja i izvršavanja financijskih tokova.Objedinjeni sustav financija (ERP) omogućava nam kontrolu prihoda i rashoda po vrsti, na razini događaja (predstave), a time i financijske i vremenske uštede. Redovno poslovanje, posebno posljednjih nekoliko mjeseci, opterećeno je općim gospodarskim uvjetima, ali smo uz velik trud i pomoć stalnih partnera uspjeli u potpunosti realizirati preuzete programske obveze. Posebno zahvaljujemo uspješnim i društveno odgovornim hrvatskim kompanijama koje i u ovako teškim uvjetima poslovanja su-djeluju kao partneri u našim programima, a bez kojih ne bi bilo moguće održati stabilnost poslovanja. Za potporu u prošloj se-zoni ovom prigodom posebno zahvaljujemo generalnom sponzoru Privrednoj banci Zagreb, Plivi, Ini, Siemensu i Croatia osiguranju,kao i nizu većih i manjih hrvatskih i međunarodnih kompanija koje su donacijama, kompenzacijama, pokroviteljstvima i drugimoblicima partnerstva pomogli realizaciji naših programa, a to su Comping, Metronet, Westin, H2 komunikacije, Illuminata, Zra-čna luka Zagreb, Istrabenz plini, HEP, Turistička zajednica grada Zagreba, Hrvatska pošta, Max factor, Neva, Labud d.o.o., Jadrančarape, Estare culto, Oktal pharma, Badel, Mercator, Restaurant VIP, Zagrebačka pivovara, Moj bor, Axis-design i Centar za stranejezike. Hvala i stalnim medijskim pokroviteljima, Europlakatu i Aktualu.Pred vama je, dragi gledatelji, premijerna ponuda sezone 2012./2013. Nadamo se da će svatko od vas pronaći za sebe neki uzbudljiv kazališni doživljaj i da ćete nas u velikom broju pratiti i dalje.

U partnerstvu s publikom

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At the time when we are preparing our texts for the brochure of the upcoming season, theatre’s departments are analysing the re-sults of the season that is at its end. They are making financial plans for the following season and the sales department is prepar-ing subscriptions. The employees of the technical department are preparing for a general overhaul and the regular investments thatare being conducted during the summer months when there are no performances. The artists who will participate in the first upcomingpremieres are far in the rehearsing process for the new productions. Again this year we shall attempt to concentrate on the artisticand business results of the season we are bringing to its end and distance ourselves from the media reality, from the inappropriateattacks on our theatre and thank all the artists and employees of the Croatian National Theatre in Zagreb for yet another excellentseason and our faithful audience that is following our work evening by evening in a full auditorium. The theatre management wouldalso like to thank our numerous artists and employees who support us daily and who experience every unfounded public assault asan assault upon their own artistic work or job. I would also like to thank our spectators who have, with their letters, expressed theirsupport and praised our artists and performances. We have rounded up the 150th jubilee season last June with the traditional granting of the CNT awards to our artists for exceptionalinterpretations in the premiere programme. Amongst the laureates were Dubravka Šeparović Mušović for the role of Kundry in Parsi-fal and Milan Pleština for the role of Leone in Krleža’s The Glembays. Only recently, the same artists were granted the Award of theCity of Zagreb for the same roles, an award that is being granted by the City Assembly on the Day of the City of Zagreb. Milan Pleštinais also the winner of the annual Vladimir Nazor Award for theatre art, whereby the awards of these artists obtained a wider social con-text. Besides congratulations to our Kundry and Leone, we must congratulate the ensembles of opera Parsifal and ballet Air who havebeen granted the Croatian Theatre Arts‘ Award for the best opera and ballet performances in the 2011/2012 season and thus havejoined the Drama ensemble that had been granted the same award for the best drama performance the year before and the Juryaward on the Days of Satire for their performance The Bourgeois Gentleman.We have opened the season with Tolstoy’s spectacular War and Peace directed by Tomaž Pandur, in a co-production with Maribor, theEuropean Capital of Culture. An exceptional public interest for this international project resulted in a strong campaign and despiteoccasional critical excesses, we sold out all the ten performances in the first performing period, two performances in Maribor, and allthe five performances at the of May, so only in the first season more than 10,000 spectators saw War and Peace and the official tourinvitations have arrived from Bilbao, Madrid and Buenos Aires. The new hit opera performance, Thomas‘ Hamlet with the unforget-table Ivana Lazar in the role of Ophelia, with critical praise in the prestigious international magazine Opernwelt and six successivesold out performances, as well as the new ballet production of The Nutcracker with thirteen sold out performances in December andalmost 10,000 spectators, contributed to the record attendance rate in the last quarter of 2011. In May 2012, the repeatedly awardedchildren’s performance Hillary the Witch Goes to the Opera, in its second season, marked a small jubilee, its 50th performance. Theensembles of the Croatian National Theatre in Zagreb during the 2011/2012 season gave in total 240 performances, 180 on the CNTstage, 33 on tours in Croatia, 5 on international tours and 22 in the CNT Foyer. The average attendance rate was 82 % and around106,000 spectators saw our performances on the main stage and about 25,000 on tours. Such a high attendance rate is now repeatingseveral seasons in a row, so our revenue from the annual ticket sales is between 3.7 and 4 million kuna. Therefore, it is difficult to

comprehend the thesis that has often been imposed upon the Croatian public through some media, that the Croatian National The-atre in Zagreb is a theatre that ‘conducts business well’, but its artistic relevance is questionable. In the entire world there is not onetheatre that can ‘do business well’ without a well-defined repertoire, good performances, excellent artists and a full house, one dayafter another � these are namely assumptions for a stable business, besides responsible management. Throughout the past sevenseasons our theatre has acquired more than 100,000 regular visitors and thirty continuous partners and has long ago ceased to bea ‘case’ with seven-figure debts and an empty auditorium. Our total revenues that, besides ticket sales, include income from sponsors and donators, venue hire, costume and set equipment hireand our gift shop, in 2011 amounted to almost 9 million kuna, which is not easily achieved in the difficult period of the recession ofthe Croatian economy. In relation to investments, after a long time, we have been successful in collecting funds for an air-conditioningsystem for the ballet studio and from our own income we have secured the funds that were necessary for the redecoration of femaledressing rooms. We still have to redecorate the male dressing rooms. Our marketing department came up with a series of new ways of ticket sales, like gift vouchers for every artistic branch, VIP dinnerand newlyweds. These originated from similar sales in large world theatres and were urged by frequent enquiries and suggestions ofour visitors. For the upcoming season our subscribers have been offered two additional possibilities: subscription 15 (family Friday)and subscription 16 (theatre variety) intended for the 18 to 30 age population. With the printing of subscription cards that will re-place the previous tickets, we have modernised the subscription system, and with it completely computerised the sales. From this sea-son we are present on social networks like Facebook and Twitter. We have also installed a virtual tour of the theatre on our website,created a mobile version of the site, established cooperation with the internet shop Give me a gift and have enriched our gift shopwith new ballet and opera items and a whole series of souvenirs relating to new productions. We still have ahead of us the final phase of IT of the theatre (Win GPS system, namely managing budget funds) which we have begunlast year in order to set up the management of funds and control system. This system directly enables the organisational units (Opera,Drama, Ballet, Technical department and Management) to access a simple and safe planning system and the implementation of fi-nancial flows. The unified enterprise resource planning (ERP) system gives us control of income and expenditures by units at eventlevel (performances), therefore creating savings in finances and time. Our regular conducting of business, especially in the past several months has been burdened by general economical conditions, butwith great effort and support of our regular partners we have succeeded to completely realise our taken over programme obligations.We would especially like to thank successful and social responsible Croatian companies that in these difficult times of conductingbusiness participated as partners in our programmes, without whom it would be impossible to maintain the stability of our work. Forsupport in the previous season we must extend our special gratitude to our general sponsors: Privredna banka Zagreb, Pliva, Ina,Siemens and Croatia osiguranje, as well as to many larger and smaller Croatian and international companies that with their dona-tions, compensations, patronages and other forms of partnership helped the realisation of our programmes: Comping, Metronet,Westin, H2 komunikacije, Illuminata, Airport Zagreb, Istrabenz plini, HEP, Zagreb Tourist Board, Hrvatska pošta, Max factor, Neva,Labud d.o.o., Jadran čarape, Estare culto, Oktal pharma, Badel, Mercator, Restaurant VIP, Zagrebačka pivovara, Moj bor, Axis-designand Centar za strane jezike. We also thank our media sponsors Europlakat and Aktual.Dear spectators, before you is the offer of new productions in the 2012/2013 season. We hope that you will find some exciting theatreevent for yourself and that you will continue to follow us in the future.

Stela Telebuh Stazić, Business manager of the Croatian National Theatre in Zagreb

In Partnership With The Audience

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13INTRO

Drama

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Suvremen pogled na literaturu

Smatram teatar najboljim umjetničkim oblikom, jer na najneposredniji način jednoljudsko biće može s drugim ljudskim bićem podijeliti osjećaj kako se može biti čovjekom. Te riječi genijalnog engleskog dramatičara Oscara Wildea sjajno opisujukazališnu umjetnost � prvenstveno dramsku � iskazujući njezinu pravu bit: komunikaciju ljudskih bića i utjecaj koju ta komunikacija sa sobom nosi. Baš zbog toga je kazalište vrlo krhka umjetnost,ne samo zato što nestaje u trenutku nastanka, nego i zato što kazališna umjetnost postoji samo u sadašnjosti.No, u isto vrijeme, kazalište koje nema kontinuitet umjetničkoga stvaranja postaje još ranjivije i krhkije. Svaki repertoaru sebi nosi i prošlost i sadašnjost, a u onim najnadahnutijim trenucima i nagovještaj budućnosti. Vođena tim postula-tima, Drama Hrvatskoga narodnog kazališta u nadolazećoj sezoni priprema raznolik repertoar kojim nastoji obuhvatiti i tradiciju izvedbi velikih klasika, ali i suvremen pogled na dramsku literaturu.Sezonu 2012./2013. otvaramo premijerom Euripidove tragedije Medeja, zagrebačkom inačicom predstave koja se pri-prema u koprodukciji s Dubrovačkim ljetnim igrama, te u suradnji s Pandur Theatersom. Nakon gotovo pedeset godinaMedeja će zaigrati na našoj sceni, u novom prijevodu Lade Kaštelan i u režiji Tomaža Pandura. To svojevrsno putovanjekroz vrijeme nastavljamo premijernom izvedbom sjajne Shakespeareove komedije Na Tri kralja ili kako hoćete koja tako-đer nije desetljećima izvođena na sceni nacionalne kazališne kuće. U iznimno duhovitim zapletima besmrtni Shakespearepoigrava se rodovima i spolovima, postavljajući pitanja o prividu i istini, odnosno o onome što ljudima dolikuje ili ne do-likuje, to jest o moralu, običajima i ljudskim navikama. Predstavu će režirati naš gost iz Makedonije, Aleksandar Popov-ski koji po prvi put surađuje s Dramom Hrvatskoga narodnog kazališta u Zagrebu. U drugoj polovici sezone publici ćemopredstaviti stvaralaštvo Ranka Marinkovića, jednog od najvećih hrvatskih pisaca, i to trima dramatizacijama njegovihproznih djela koje će umjetnički osmisliti troje mladih redatelja: Helena Petković, Ivan Plazibat i Olja Lozica, uz svoje su-radnike dramaturge. Budući da je 2013. stota obljetnica Marinkovićeva rođenja, Drama Hrvatskoga narodnog kazalištau Zagrebu prikazat će Marinkovića onako kako ga vidi najmlađa generacija redatelja i dramaturga. Sezonu ćemo za okružitipremijerom dramskog teksta Antona Pavloviča Čehova Višnjik u režiji gosta iz Slovenije, Vite Taufera koji se nakon izvr-sne predstave Gospoda Glembajevi vraća u Zagreb kako bi zajedno s glumačkim ansamblom Drame stvorio svijet velikog ruskog pisca koji je svojim dramskim djelima otvorio nove putove razvoja kazališne umjetnosti.

17HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA UVOD CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA INTRO

Uz te premijere Drama Hrvatskoga narodnog kazališta u Zagrebu izvodi i bogat reprizni repertoar koji iz sezone u sezonupobuđuje velik interes. Početkom jeseni ponovno ćemo izvoditi predstavu Pigmalion, najpoznatije djelo G. B. Shawa, urežiji Helene Petković. Predstava je već na premijeri zaintrigirala publiku finom dozom ironije i humora u priči o pripro-stoj djevojci Elizi Doolittle koju profesor fonetike Higgins pretvara u mladu, profinjenu damu. Nastavljamo s repriznimizvedbama predstave Gospoda Glembajevi, klasičnog djela Miroslava Krleže u sjajnoj režiji Vite Taufera i nagradamaovjenčanoj glumačkoj izvedbi. Nakon Krleže izvodit će se britka komedija Carla Goldonija, Gostioničarka Mirandolina, urežiji Saše Broz, predstava koja je i u matičnoj zgradi u Zagrebu i na mnogim gostovanjima širom Hrvatske zadobilabrojne pohvale i simpatije.Naši posjetitelji i ove će sezone uživati u zajedničkom projektu Drame, Opere i Baleta Hrvatskoga narodnog kazališta,Molièreovu i Lullyjevu Građaninu plemiću, u režiji Krešimira Dolenčića. U siječnju 2013. godine reprizirat ćemo velikuansambl-predstavu Zagorka koja je već na praizvedbi osvojila gledatelje. U tom autorskom projektu Ivice Boban po novnoćemo pratiti život i djelo spisateljice, novinarke i zastupnice ženskih prava, Marije Jurić Zagorke. Osim Zagorke, počet-kom 2013. godine izvodit će se i predstava Maškarate ispod kuplja Ive Vojnovića u inventivnoj režiji Ivice Kunčevića isjajnoj glumačkoj izvedbi pretežno ženskog ansambla.U proljeće sljedeće godine ponovno smo u Rusiji za vrijeme napoleonskih ratova i pratimo sudbine obitelji Rostovih,Bolkonskih, Kuraginih i mnogih drugih u vrtlogu ratnih događanja u spektakularnoj predstavi Rat i mir Lava Nikolaje-viča Tolstoja u dramatizaciji Darka Lukića i režiji Tomaža Pandura. Uza sve ove predstave, naši će gledatelji i daljemoći uživati u izvrsnoj izvedbi jednog od najboljih djela Oscara Wildea, predstavi Važno je zvati se Ernest koja je na repertoaru punih šest godina, a da nije izgubila na svježini, duhovitosti i ironiji kojom osvaja gledatelje.Drama Hrvatskoga narodnog kazališta tim repertoarom nastavlja stvarati iskreno i nadasve otvoreno kazalište, kazali-šte koje ne postoji bez poštovanja i uvažavanja fenomena teatarske umjetnosti, poštovanja i uvažavanja svih onih kojisu stvarali kazalište prije nas i onih koji će ga stvarati poslije nas; naposljetku, osjećaja poštovanja i uvažavanja kojenam priječi da povjerujemo kako smo sve naučili, kako sve možemo sami, kako nam nitko nije potreban i kako smosami sebi dovoljni. Takvo kazalište zaslužuje pozornost javnosti koju ćemo, uvjerena sam, opravdati i u novoj sezoni.

Sanja Ivić, ravnateljica Drame HNK u Zagrebu

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA INTRO 1918 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA UVOD

Sanja Ivić, Director of the Drama of the CNT in Zagreb

A Contemporary View of LiteratureI regard the theatre as the greatest of all art forms, the most immediate way in which a human being can share with another the sense of what it is to be a human being. These words of the ingenious British dramatist Oscar Wilde brilliantlydescribe theatre art � primarily drama � expressing its very real essence: the communication of human beings and theinfluence that this communication brings with it. Exactly for that reason, theatre is a very fragile art, not only because itdisappears in the moment of its creation, but also because theatre art exists only in the present. Yet, at the same time,a theatre that does not have a continuity of artistic creation becomes even more vulnerable and fragile. Every repertoirecarries in itself both the past and the present, and in those most inspiring moments, also a hint of the future. Guided bythese postulates, the Drama of the Croatian National Theatre is preparing in the forthcoming season a diverse repertoirewith which it is trying to include both the tradition of performing the great classics, but also a contemporary view ofdrama literature. We are opening the 2012/2013 season with the Zagreb opening night of Euripides’ tragedy Medea, a performance whichis being prepared in co-production with the Dubrovnik Summer Festival and in co-operation with Pandur Theaters. Afteralmost fifty years Medea is going to be played on our stage, directed by Tomaž Pandur and in a new translation by LadaKaštelan. This particular journey through time we continue with the premiere of Shakespeare’s brilliant comedy TheTwelfth Night; Or, What You Will which has also not been put on stage of the national theatre for decades. In exception-ally humorous plots, the immortal Shakespeare plays with kinship and gender, asking questions about perception andtruth, namely about things that are worthy or not worthy of people, that is, about morality, customs and human habits.The performance will be directed by our guest from Macedonia, Aleksandar Popovski who, for the first time, cooperateswith the Drama of the Croatian National Theatre. In the second half of the season we will present to the audience the opusof Ranko Marinković, one of the greatest Croatian writers, through three dramatizations of his prose works which will beartistically designed by three young directors: Helena Petković, Ivan Plazibat and Olja Lozica, with their assistant dra-maturges. Since the year 2013 marks the 100th birth anniversary of Marinković, the Drama of the Croatian National The-atre will present Marinković in the way the youngest generation of directors and dramaturges see him. The season willbe rounded up with the premiere of a drama text by Anton Pavlovich Chekhov The Cherry Orchard directed by a guest fromSlovenia, Vito Taufer, who after the magnificent play The Glembays returns to Zagreb in order to create, together with theDrama ensemble, the world of the great Russian writer who has opened new paths of development of theatre art with hisdrama works.

Along these premieres, the Drama of the Croatian National Theatre in Zagreb has a rich repertoire of re-runs that everyseason repeatedly raises huge interest. In the beginning of autumn, we are going to repeat the play Pygmalion, the mostfamous work by G.B. Shaw, directed by Helena Petković. The performance intrigued the audience already at the openingnight with a fine touch of irony and humour in the story of a common flower girl Eliza Doolittle whom Higgins, professorof phonetics, turns into a young, sophisticated lady. We continue with repeat performances of The Glembays, a classicalwork by Miroslav Krleža, brilliantly directed by Vito Taufer with actors who were given awards for their interpretations.After Krleža, Carlo Goldoni’s brisk comedy The Mistress of the Inn directed by Saša Broz will be put on the repertoire, a per-formance that acclaimed a lot of praise and positive reaction both on the Zagreb stage and throughout Croatia. Our visitors will once again this season enjoy the joined project of the Drama, Opera and Ballet of the Croatian NationalTheatre in Zagreb, Molière’s and Lully’s The Bourgeois Gentleman, directed by Krešimir Dolenčić. In January 2013, weare preparing a re-run of the large ensemble performance Zagorka that delighted the audience already at its worldopening night. In this original project by Ivica Boban once again we are going to follow the life and work of Marija JurićZagorka, a writer, journalist and representative of women‘s rights. Besides Zagorka at the beginning of the year 2013,there will be performances of Masquerades under the Roofing Tiles by Ivo Vojnović, imaginatively directed by IvicaKunčević and performed by the brilliant, mostly female ensemble.Next spring we are once again in Russia during the time of Napoleonic wars and we follow the destinies of the familiesRostov, Bolkonsky, Kuragin and many others, in a whirlpool of war events in the spectacular performance War and Peaceby Leo Nikolayevich Tolstoy, directed by Tomaž Pandur and in Darko Lukić’s dramatisation. Along all these perform-ances our spectators will still be able to enjoy the excellent performance of one of Oscar Wilde’s best works The Impor-tance of Being Ernest, which has been on our repertoire for six full years, yet it has not lost its freshness, wittiness orirony with which it charms the audience.With such a repertoire the Drama of the Croatian National Theatre continues to create a sincere and above all an opentheatre, one that does not exist without respecting and considering the phenomena of theatre art, respecting all thosewho had been creating theatre before us and all those who will create it after us: after all, the feeling of respect andtolerance which prevents us from believing that we have learnt it all, that we can do everything by ourselves, that wedo not need anyone and that we are self-sufficient. Such a theatre deserves public attention which we are going to,I am certain of it, justify yet again in the new season.

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MEDEJAMedea

Euripid / Euripides

Jedno od najboljih djela velikog starogrčkog pisca Euripida,

Medeja je priča o ljubavi, zavisti, častohleplju i osveti. Medeja

nije obična žena, ona je obdarena moćima kojima uspijeva na-

tjerati muškarce na najnevjerojatnije stvari, no kada se osjeti

ugroženom, njezina osveta je strašna. Tragedija Medeja dram-

ski je tekst koji nikada nije izgubio na aktualnosti, kao ni

ostala Euripidova djela koja su znatno utjecala na europsku

dramsku literaturu. Grčki klasik bio je velik psiholog, izniman

intelektualac, buntovnik protiv općeprihvaćenih kanona pisa-

nja. Drama HNK u Zagrebu u koprodukciji s Dubrovačkim ljet-

nim igrama i suradnji s Pandur.Theatersom sezonu će započeti

premijerom te tragedije u novom prijevodu Lade Kaštelan i re-

žiji Tomaža Pandura.

Redatelj / Director Tomaž Pandur

Premijera 3. kolovoza 2012., Dubrovnik / 28. rujna 2012., ZagrebPremiere August 3, 2012, Dubrovnik / September 28, 2012, Zagreb

Koprodukcija: Hrvatsko narodno kazalište u Zagrebu i Dubrovačke ljetne igre u suradnji s Pandur.TheatersomA co-production of the CNT in Zagreb and the Dubrovnik Summer Festival in cooperation with Pandur. Theaters

Medea, one of the best works of the great old Greek writer Eu-

ripides, is the story of love, envy, greed and revenge. Medea is

not an ordinary woman. She is gifted with powers with which

she makes men do incredible things, but when she feels

threatened, her revenge is horrific. The tragedy Medea is a

drama text that has never lost its relevance, just like Euripi-

des’ other works that have significantly influenced European

drama literature. The Greek classic writer was a great psy-

chologist, an exceptional intellectual, a rebel against gener-

ally accepted canons of writing. The Drama of the CNT in

Zagreb in a co-production with the Dubrovnik Summer Festi-

val and the Pandur Theaters will begin the season with the

opening night of this tragedy translated by Lada Kaštelan and

directed by Tomaž Pandur.

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA PREMIERESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA PREMIJERE

2322

NA TRI KRALJA ILI KAKO HOĆETETwelft Night; Or, What you Will

William Shakespeare

Nastala u najzrelijem vremenu Shakespeareovog stvaralaštva,

komedija Na Tri kralja ili kako hoćete temelji se na travestiji

i zamjeni identiteta kojom autor britko propituje prirodu

privlačnosti, instinkta i ljubavi. Djevojka prerušena u mladića

snubi ženu u ime muškarca kojeg voli. Ta žena zaljubljuje se

u djevojku misleći da je mladić, a sve to u sjeni intriga i gru-

bih šala, dok preodijevanje istodobno i skriva i otkriva. Geo -

metrija odnosa iz nekonvencionalnog ljubavnog trokuta

pre rasta u neočekivane oblike obrata, trijumfirajući neobičnom

simetrijom koja nastaje pri ponovnom susretu blizanaca iz -

gubljenih u brodolomu na obalama Ilirije. Često izvođena,

adaptirana i ekranizirana Shakespeareova komedija rastvara

se tako u mnogo inačica, a galerija likova � od zaljubljenih

djevojaka do pijanih rođaka � ima svoje odraze u svakom vre-

menu, pa će tako i ovim uprizorenjem sigurno osvojiti svoju

publiku.

Redatelj / Director Aleksandar Popovski

Premijera 7. prosinca 2012.Premiere December 7, 2012

Shakespeare’s comedy the Twelfth Night; Or, What You Will

written in his most mature period is based on travesty and

identity replacement with which the author sharply questions

the nature of attractiveness, instinct and love. A girl disguised

as a young man woos a woman in the name of the man she

loves. That woman falls in love with the girl, believing her to

be a young man. All of this occurs in the shadow of intrigues

and rough jokes, whilst the changing of garments simultane-

ously hides and reveals. The geometry of relationships from

an unconventional love triangle transcends into an unexpected

turn of events, triumphing with an unusual symmetry that sur-

faces when the twins, lost in a shipwreck on the coast of Illyria,

reunite. Often staged, adapted and screened, Shakespeare’s

comedy dissolves into so many variants and the gallery of

characters � from girls in love to drunk relatives � has its re-

flections in every time period, so this staging will definitely

attract its audience.

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA PREMIERESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA PREMIJERE

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U ZNAKU VAGEIn the Sign of Libra

Ranko Marinković

Dramatičar, prozaik i esejist Ranko Marinković jedan je od naj-

većih hrvatskih pisaca. Na pozornici Drame Hrvatskoga na-

rodnog kazališta u Zagrebu 1939. praizveden je Albatros,

njegov prvi dramski tekst, a idućih godina postao je svoje -

vrsnim kućnim dramskim autorom. Na našoj pozornici pra -

izvedene su sve njegove drame i brojne dramatizacije, od Glo-

rije 1955. godine, preko kultne dramatizacije romana Kiklop

1976. godine, potom premijere dramskog teksta Politeia ili in-

spektorove spletke 1977., praizvedbe drame Pustinja 1982. te

praizvedbe dramatizacije romana Zajednička kupka 1989. go-

dine, pa sve do najnovije izvedbe Glorije (2004.). U 2013. go-

dini obilježava se stota obljetnica piščeva rođenja. Drama HNK

u Zagrebu ponudit će praizvedbu dramatizacija njegovih proz-

nih tekstova. Troje mladih redatelja, Helena Petković, Ivan Pla-

zibat i Olja Lozica, u suradnji s troje mladih dramaturga, iz

bogatoga opusa Ranka Marinkovića dovest će na scenu neza-

boravne likove koji u mediteranskom ozračju ljube, pate, žive

i razmišljaju o životu, nikada ne gubeći ironičan smiješak i po-

koju suzu, u praizvedbi koja je, dakle, svojevrsni hommage

velikom piscu na njegov rođendan 22. veljače 2013. godine..

Redatelji / Directors Helena Petković, Ivan Plazibat, Olja Lozica

Premijera 22. veljače 2013.Premiere February 22, 2013

Dramatist, prose-writer and essayist Ranko Marinković is one

of the greatest Croatian writers. In 1939 the Drama of the

Croatian National Theatre in Zagreb staged his first drama

text Albatros and in the following years he became a resident

author of dramas. All of his dramas and numerous dramati-

zations were put on our stage, from Glorija in 1955, the cult

dramatization of the novel Cyclops in 1976, the opening night

of the drama text Politeia or The Inspector’s Intrigues in 1977,

the world opening nights of the drama The Desert in 1982 and

of the dramatization of the novel Common Bath in 1989, to

the latest production of Glorija (2004). In 2013, it is his 100th

birth anniversary, so the Drama of the CNT in Zagreb will offer

a world opening night of dramatizations of his prose texts.

Three young stage directors, Helena Petković, Ivan Plazibat

and Matija Ferlin in cooperation with three young dramaturges

will bring to the stage the unforgettable characters from the

rich opus of Ranko Marinković who, in a Mediterranean at-

mosphere, love, suffer, live and think about life, never failing

to show an ironic smile or drop a tear. This world opening night

is a specific hommage to our great writer that will take place

on his birthday, February 22, 2013.

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VIŠNJIKThe Cherry Orchard

Anton Pavlovič Čehov / Anton Pavlovich Chekhov

Nakon mnogo godina u inozemstvu, osiromašena ruska plem -

kinja s preostalom obitelji vraća se na svoje imanje. Uz stara

prijateljstva i tužne uspomene, ondje zatječe i dugove koje više

ne može otplaćivati. Imanje s čuvenim višnjikom prodaje se

na dražbi, a obitelj nema ni novca ni poslovne snalažljivosti

za spas svojih posjeda. Promatrajući godine i generacije kako

odlaze u nepovrat, rascvali višnjik ispraća jednu obitelj kako

bi nestao zajedno s njom...Posljednja drama Antona Pavloviča

Čehova napisana je kao komedija, djelomice čak i farsa, ali

već je na moskovskoj praizvedbi 1904. u režiji slavnog Kon-

stantina Stanislavskog bilo jasno da Višnjik skriva i duboko

tragične nijanse sudbina svojih likova. Nerazmjer ideala i ka -

pitala, iluzija i činjenica te potraga za ljubavi, sjećanjem i za -

boravom, Višnjik čine jednom od najuzbudljivijih drama 20.

stoljeća.

Redatelj / Director Vito Taufer

Premijera 10. svibnja 2013.Premiere May 10, 2013

After having spent many years abroad the impoverished Russ-

ian noblewoman and the rest of her family return to her estate.

Along old friendships and sad memories, she is faced with

debts she can no longer pay. The estate with the famous cherry

orchard is being sold at an auction and the family has neither

funds nor business intuition to salvage its estates. Observing

the years and generations that become irretrievable, the blos-

somed cherry orchard sees off one family and disappears to-

gether with it... Anton Pavlovich Chekhov‘s last drama was

written as a comedy, partly even a farce, but already in the

Moscow production of 1904 directed by the renowned Kon-

stantin Stanislavsky, it was clear that The Cherry Orchard also

concealed deeply tragic nuances of its characters‘ destinies.

The disproportion of the ideals and assets, illusions and facts

and the search for love, memories and oblivion make The

Cherry Orchard one of the most exciting dramas of the 20th

century.

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PIGMALIONPygmalion

George Bernard Shaw

Najpoznatije djelo engleskog dramatičara G. B. Shawa sjajan

je tekst o priprostoj djevojci Elizi Doolitle koja prodaje cvijeće

na tržnici. Njezin mentor, profesor fonetike Henry Higgins uči

je svemu što čini profinjenu, mladu damu: od pravilnog go-

vora, preko lijepog držanja do prikladnog ponašanja koje će

joj priskrbiti dostojan društveni status. Trpka kritika društva

u duhovitim dijalozima samo je jedan element ovog najrepre-

zentativnijeg teksta engleske dramatike s početka 20. sto-

ljeća. Predstava mlade redateljice Helene Petković zaintri gi-

rala je publiku pričom oko stvaranja nove osobe sa svim

posljedicama koje neminovno prate takav eksperiment.

Prijevod / Translation Marko Maras

Redateljica / Director Helena PetkovićDramaturginja / Dramaturge Ana Tonković DolenčićScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Zjena GlamočaninSkladatelj / Composer Frano �urovićOblikovatelj svjetla / Light Designer Deni Šesnić

Premijera 23. ožujka 2012. / Premiere March 23, 2012

The most popular work of the English dramatist G.B. Shaw is

a superb text about Eliza Doolitle, a common flower-girl. Her

mentor professor of phonetics, Henry Higgins, teaches her

everything that makes a young lady genteel; proper speech,

elegant posture and appropriate fine manners, that will result

in a commendable social status. Sharp criticism of the soci-

ety through witty dialogues is just one element of this most

representative text of the English dramatics from the begin-

ning of the 20th century. The performance directed by a young

stage director Helena Petković intrigued the audience with a

story about creating a new person with all the consequences

that inevitably come with such an experiment.

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3130 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA REPRIZE

MAŠKARATE ISPOD KUPLJAMasquerades under the Roofing Tiles

Ivo Vojnović

Jedan od najznačajnijih hrvatskih dramatičara, Ivo Vojnović

iznimno je intrigantno pisao o svojim sugrađanima dubrovča-

nima. Njegov komorni tekst Maškarate ispod kuplja govori o

životu dviju sestara i njihovom malom kućanstvu stiješnje-

nom ispod tavana dubrovačke kuće. Radnja se događa na po-

sljednji dan poklada i suptilno dočarava tihu sjetu, isprazne

nade i prave male tragedije života koji balansira na rubu ireal-

nog. U režiji Ivice Kunčevića, vrsnog poznavatelja Vojnovićeva

djela, ova predstava je svojom emotivnom energijom i sjajnim

glumačkim kreacijama zaintrigirala publiku, dok je kritika

prepoznala sve nijanse i suptilnost i režije i glume.

Redatelj / Director Ivica KunčevićPomoćnica redatelja i koreografkinja

/ Assistant Director and Choreographer �urđa KunejScenograf / Set Designer Ivica PrlenderKostimografkinja / Costume Designer Danica DedijerOblikovanje i izrada lutaka / Design and manufacture

of dolls Vesna BalabanićSkladatelj / Composer Neven FrangešOblikovatelj svjetla / Light Designer Zoran Mihanović

Premijera 13. siječnja 2012. / Premiere January 13, 2012

Ivo Vojnovic from Dubrovnik, one of the most significant Croa-

tian dramatists, wrote exceptionally intriguingly about his fel-

low townspeople. His intimate drama text Masquerades under

the Roofing Tiles speaks about the life of two sisters and their

small household squeezed under the attic of a Dubrovnik

house. The plot takes place on Shrove Tuesday and subtly

evokes the quiet wistfulness, idle hopes and genuine small

tragedies of life that balances on the edge of the irreal. Staged

by Ivica Kunčević, an excellent expert in Vojnović’s works, this

performance with its emotional energy and excellent interpre-

tations intrigued the audience, whilst the critique recognised

all the nuances and the subtlety of both the direction and

acting.

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA REPEAT PERFORMANCES

NAGRADE / AWARDS

Nagrada Mila Dimitrijević Olgi Pakalović za ulogu Anice u sezoni 2011./2012. / The Mila Dimitrijević Award was granted to Olga Pakalović for the role of Anica in the season 2011/2012

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GOSTIONIČARKA MIRANDOLINAThe Mistress of the Inn

Carlo Goldoni

Briljantna komedija velikog talijanskog dramatičara Carla Gol-

donija priča je o vedroj i inteligentnoj gostioničarki Miran-

dolini koju opsjedaju razni prosci. U komičnim situacijama

Miran do lina vješto izbjegava bračne ponude, tajeći sve do

samoga kraja kome će pripasti njezino srce. Mediteransko

ozračje, duhoviti dijalozi i nepredvidive situacije obilježja su

ove suptilne studije karaktera. Nastavljajući suradnju s regio -

nalnim kazalištima, Drama Hrvatskoga narodnog kazališta u

Zagrebu ostvarila je ovu premijeru zajedno s Hrvatskim na-

rodnim kazalištem u Zadru, a na brojnim je gostovanjima

širom Hrvatske, ali i u izvedbama na matičnoj sceni u Zagrebu,

osvojila nepodijeljene simpatije publike.

Prijevod / Translation Morana Čale

Redateljica / Director Saša BrozDramaturginja / Dramaturge Sanja IvićScenograf / Set Designer Dragutin BrozKostimografkinja / Costume Designer Mirjana ZagorecSkladatelj / Composer Matej MeštrovićPomoćnik redateljice i koreograf

/ Assistant Director and Choreographer Igor BarberićOblikovatelj svjetla / Light Designer Olivije Marečić

Premijera 20. listopada 2011. / Premiere October 20, 2011

Koprodukcija: HNK u Zagrebu i HNK Zadar / A co-production of the CNT in Zagreb and the CNT Zadar

The brilliant comedy of the great Italian dramatist Goldoni

talks about the merry and intelligent mistress of the inn Mi-

randolina who is swarmed with countless admirers. Through

comical situations she deftly avoids marriage proposals and

hides until the very end the man who has won her heart. The

Mediterranean ambiance, the witty dialogues and unforesee-

able situations are features of this subtle study of characters.

The Drama of the Croatian National Theatre in Zagreb contin-

uing its cooperation with regional theatres produced this per-

formance with the Croatian National Theatre in Zadar. This

production won undivided acclaim of the audience both at

many festivals throughout Croatia and on the Zagreb stage.

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RAT I MIRWar and Peace

Lav Nikolajevič Tolstoj / Leo Nikolayevich Tolstoy

Slavni roman o obiteljima i njihovim životima u ratu i miru, ne

govori samo o Rusiji u vrijeme napoleonskih ratova, o ljubavi

lijepe Nataše Rostove, o tuzi i nesreći Andreja Bolkonskog, o

Pjeru Bezuhovu, i o brojnim drugim likovima, nego i o pat-

njama i nadama, čežnjama i boli ljudi uhvaćenih u mrežu

velikih povijesnih događaja. Bezumna ratna razaranja kon-

trapunktirana su prizorima u Moskvi i Petrogradu u kojima

pratimo obitelji čiji će životi biti trajno promijenjeni. U dra-

matizaciji Darka Lukića i redateljskoj viziji Tomaža Pandura

ovo remek-djelo svjetske literature u interpretaciji golemog

dramskog ansambla osvojilo je publiku kao umjet nički i pro-

dukcijski spektakularna, po mnogočemu iznimna dramska

predstava.

Prijevod / Translation Zlatko Crnković

Redatelj / Director Tomaž PandurAutor dramatizacije / Author of dramatization Darko LukićDramaturginja / Dramaturge Livija PandurUmjetnička suradnica / Artistic associate Sanja IvićScenografi / Set Designers Numen � Sven Jonke, Nikola RadeljkovićKostimografkinja / Costume Designer Danica DedijerSkladatelji / Composers Silence � Boris Benko, Primož HladnikOblikovatelj svjetla / Light Designer Juan Gómez Cornejo

Premijera 14. listopada 2011./ Premiere October 14, 2011

Koprodukcija: HNK u Zagrebu i Pandur.Theaters / A co-production of the CNT in Zagreb and Pandur Theaters

The famous novel about families and their lives during war

and peace, the love of the beautiful Natasha Rostov, the grief

and sorrow of Andrei Bolkonsky, Pyotr (Pierre) Bezukhov and

numerous other characters, but it also speaks about the suf-

ferings and hopes, yearnings and pain of people caught in the

net of great historical events. Irrational war devastations are

in counterpoint to the scenes in Moscow and St. Petersburg in

which we follow families whose lives will be permanently al-

tered. In Darko Lukic’s dramatization and Tomaž Pandur’s di-

rection, this masterpiece of world literature enchanted the

audience with its spectacular artistic and production quality

and in many aspects it is really an exceptional drama per-

formance.

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA REPEAT PERFORMANCES

NAGRADE / AWARDS

Nagrada Mila Dimitrijević Liviju Badurini za ulogu Sluge u sezoni 2011./2012. / The Mila Dimitrijević Award was granted to Livio Badurina for the role of the servant in the season 2011/2012

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GOSPODA GLEMBAJEVIThe Glembays

Miroslav Krleža

Gospoda Glembajevi, jedno od najpoznatijih i najizvođenijih

dramskih djela velikana hrvatske moderne književnosti Miro-

slava Krleže, dramski je tekst o usponu i propasti ugledne

bankarske obitelji u kojoj tijekom proslave obljetnice banke

započinje nezadrživ splet događanja koji će mnoge članove

obitelji zauvijek promijeniti. Gospoda Glembajevi paradig-

matsko su Krležino djelo u kojem se naš veliki pisac nemilo-

srdno razračunava s lažnim sjajem, bogatstvom i svim opsje-

nama koje donosi novac i uspon u društvu. Integralni Krležin

tekst furiozno se igra na gotovo praznoj sceni. Inteligentna

režija Vite Taufera i sjajne glumačke kreacije probudile su velik

interes i kritike i publike.

The Glembays, one of the most famous and most often staged

plays of the great of Croatian modern literature, Miroslav

Krleža, is a drama about the rise and fall of a respected family

of bankers in which, during a bank anniversary, an irrepres-

sible series of events begins and irrevocably changes many

members of the family. The Glembays is Krleža’s paradigma-

tic wok in which our great writer pitilessly settles his scores

with the false glory, richness and all the illusions brought by

the money and rise in the society. Krleža’s integral text is pow-

erfully interpreted on an almost empty stage. Vito Taufer’s in-

telligent direction and excellent acting evoked enormous

interest, both of the critics and the audience.

Redatelj / Director Vito TauferDramaturginja / Dramaturge Ana Tonković DolenčićScenograf / Set Designer Ivo KnezovićKostimografi / Costume Designers Leo Kulaš, Marita ĆopoSkladatelj / Composer Andrej GoričarOblikovatelj svjetla / Light Designer Pascal Merat

Premijera 6. svibnja 2011. / Premiere May 6, 2011

NAGRADE / AWARDS

Nagrada Mila Dimitrijević Milanu Pleštini za ulogu Leonea u sezoni 2010./2011. / The Mila Dimitrijević Award was granted to Milan Pleština for the role of Leone in the season 2010/2011.Godišnja nagrada Vladimir Nazor i Nagrada grada Zagreba za 2011. Milanu Pleštini za ulogu Leonea. / Milan Pleština is the laureate of the annual Vladimir Nazor Award and the Award of the City of Zagreb for 2011 for the role of Leone.Nagrada Marulićevi dani za 2011. za najbolje izvedeni dramski tekst. / Days of Marulić Award for 2011 for the best performed drama text.Nagrada Marulićevi dani za 2011. Pascalu Meratu za oblikovanje svjetla. / Days of Marulić Award for 2011 was granted to Pascal Merat for light design.

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA REPEAT PERFORMANCES 3938 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA REPRIZE

ZAGORKAZagorkaDa

Ivica Boban

Buran život i neumorno stvaralaštvo Marije Jurić Zagorke, nje-

zina borba za mjesto pod suncem u novinarstvu, dramskom i

proznom stvaralaštvu okosnica su teksta u kojem se isprepliće

život i stvaralaštvo ove legendarne Zagrepčanke čija su djela

odgojila generacije, svrstavajući je u red najomiljenijih pisaca

20. stoljeća u Hrvatskoj. U autorskom projektu Ivice Boban, uz

sudjelovanje velikog glumačkog ansambla, svjedočimo najte-

žim trenucima ali i najvećim uspjesima Marije Jurić Zagorke,

žene koja po cjelokupnom svom radu i opusu doista nije samo

nagovijestila moderno doba, nego je i aktivno sudjelovala u

njegovu stvaranju. Dinamična i potresna ansambl predstava

oduševila je gledatelje već na praizvedbi.

Eventful life and tireless work of Marija Jurić Zagorka, her fight

for her position as a journalist, playwright and novelist, are

the framework of this project which interlaces the life and the

work of this legendary citizen of Zagreb, whose works educa-

ted many generations, thus placing Zagorka among the most

popular writers of the twentieth-century Croatia. In this pro-

ject created and directed by Ivica Boban, we witness the most

difficult moments and the biggest successes of Marija Jurić

Zagorka, the woman who didn’t just herald the modern age in

her works, but also actively participated in its making. This

dynamic and distressing ensemble performance elated the

audience already at the opening night.

Redateljica / Director Ivica BobanDramaturginja / Dramaturge Sanja IvićScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Doris KristićOblikovatelj svjetla i autor projekcija / Light Designer and Video projections Deni ŠesnićAutori scenske glazbe / Author of stage music Frano �urović, Tomislav Ribičić, Siniša ReljićAutor tekstova i glazbe za kuplet / Author of texts and music for the couplet Nikša Kušelj

Premijera 28. siječnja 2011. / Premiere January 28, 2011

NAGRADE / AWARDS

Nagrada Mila Dimitrijević Dariji Lorenci Flatz za ulogu Zagorke u sezoni 2010./2011. / The Mila Dimitrijević Award was granted to Daria Lorenci Flatz for the role of Zagorka in the season 2010/2011.

41CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA REPEAT PERFORMANCES40 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA REPRIZE

GRA�ANIN PLEMIĆThe Bourgeois Gentleman(Le bourgeois gentilhomme)

Jean-Baptiste Poquelin Molière � Jean-Baptiste Lully

Zajednički projekt Drame, Opere i Baleta Hrvatskoga narod-nog kazališta u Zagrebu već je od premijere naišao na odu-ševljenje kako kritike tako i publike postavši jednom odnajpopularnijih predstava našeg kazališta. Građanin plemić �specifičnog žanra komedija-balet � djelo je koje iznimno du-hovito govori o mahnitoj želji bogatog skorojevića, gospodinaJourdaina, za uspjehom u društvu, uvjerenog kako se novcemmože kupiti sve � od uglađenog ponašanja do prijatelja i dru-štvenog statusa. U razigranoj izvedbi, uz sjajnog nositelja na-slovne uloge izmjenjuju se vrsni dramski, operni i baletnisolisti uz Hrvatski barokni ansambl, prikazujući remek-djelonajvećeg francuskog komediografa na originalan način.

The joint project of the Drama, Opera and Ballet of the Croa-tian National Theatre in Zagreb has been welcomed with theenthusiasm of both critics and the audience since its openingnight and has become one of the most popular performancesof our theatre. The Bourgeois Gentleman � of a peculiar co-medy-ballet genre � is a very witty work which speaks of thefrantic desire of a rich parvenu, Monsieur Jourdain, to succeedin the society, convinced that money can buy everything, fromnice manners to friends and social status. In this highly ori-ginal staging of the master-piece of the greatest French co-medy writer, our prominent drama, opera and ballet soloistsperform together with the Croatian Baroque Ensemble.

Zajednički projekt Drame, Opere i Baleta / Joint Project of Drama, Opera and Ballet

Prijevod / Translation Mladen Škiljan

Redatelj / Director Krešimir DolenčićDirigent / Conductor Saša BritvićDramaturginje / Dramaturges Sanja Ivić, Ana Tonković DolenčićScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Ana Savić GecanKoreografkinja / Choreographer Mary CollinsOblikovatelj svjetla / Light Designer Deni Šesnić

Premijera 20. studenoga 2009. / Premiere November 20, 2009

NAGRADE / AWARDSNagrada Mila Dimitrijević Siniši Popoviću za ulogu Gospodina Jourdaina u sezoni 2009./2010. / The Mila Dimitrijević Award was granted to Siniša Popović for the role of Monsieur Jourdain in the season 2009/2010.Nagrada Hrvatskog glumišta za najbolju predstavu u cjelini 2010. / The Croatian Theatre Arts‘ Award for the best performance in 2010.Zlatni smijeh za najbolju predstavu u cjelini na Danima satire 2010. i četiri Zlatna smijeha - redatelju Krešimiru Dolenčiću, glumcimaZrinki Cvitešić i Siniši Popoviću te kostimografkinji Ani Savić Gecan / The Award Golden Smile for the best performance at the Days ofSatire 2010 and four Awards Golden Smile were granted to: Kresimir Dolencic as best stage director, Zrinka Cvitesic and Sinisa Popovicas best actors and Ana Savic Gecan as best costume designer.

4342 CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 DRAMA REPEAT PERFORMANCESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13DRAMA REPRIZE

VAŽNO JE ZVATI SE ERNESTThe Importance of Being Earnest

Oscar Wilde

Jedna od najboljih engleskih komedija kraja 19. stoljeća, au-

tora Oscara Wildea, velikog engleskog pisca i nenadmašnog

kozera već je prije nekoliko sezona na juriš osvojila i publiku i

kritiku. Zgode i zavrzlame dva mlada ljubavna para uz budno

oko jedne nadasve originalne tetke potka su ove brze i prštave

komedije koja naoko neozbiljno postavlja ozbiljna pitanja o

životu. Sjajan ansambl pridonosi uspjehu predstave koja ne-

umorno zabavlja publiku.

One of the best English comedies from the end of the 19th

century, written by the great English writer and unsurpassed

causeur Oscar Wilde, took both the audience and the critics by

storm several seasons ago. The adventures and tangles of two

young couples under the alert eye of a rather original aunt are

the main thread of this sparkling comedy which, in a seemin-

gly frivolous way, poses serious questions about life. The great

ensemble contributes to the success of this show which tire-

lessly amuses the audience.

Prijevod / Translation Martina Aničić

Redatelj / Director Tomislav PavkovićScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Doris KristićOdabir glazbe / Choice of Music Tomislav PavkovićOblikovatelj svjetla / Light Designer Deni Šesnić

Premijera 29. ožujka 2007. / Premiere March 29, 2007

NAGRADE / AWARDS

Nagrada Mila Dimitrijević Luki Dragiću za ulogu Johna Worthinga u sezoni 2006./2007. / The Mila Dimitrijević Award was granted to Luka Dragić for the role of John Worthing in the season 2006/2007.

Opera

4746

Branko Mihanović, ravnatelj Opere HNK u Zagrebu

Pišući tekst o repertoaru nove operne sezone ne mogu se ne osvrnuti na primjedbu jednog

od bivših ravnatelja Opere HNK koji žestoko kritizira “eksperimentalni” repertoar i estetiku

koju je prisiljen gledati na našoj opernoj sceni posljednjih sedam godina, ultimativno tra-

žeći postavljanje Tosce. Gotovo svakodnevno sugeriraju mi se programske ideje, ali kad one

dolaze preko javnog medija od bivšeg ravnatelja, imaju znatno veću težinu. Floria Tosca

sljedeće se sezone nikako ne želi pojaviti na našoj pozornici, baš kao ni u Metu ni u Scali

(doista “škandalozno”, posebice ako se ima na umu da su to operne kuće, a ne nacional -

ni teatri), a Puccinija ćemo moći čuti samo na jednoj od nedjeljnih matineja u našem

foyeru. Jednako tako svoje ćemo posjetitelje poštedjeti gledanja “eksperimentalnih”, ali za-

čudo višestruko nagrađivanih predstava poput Razgovora karmelićanki, Orfeja ili Mazepe,

od kojih je posljednja na gostovanju u Rigi. Usprkos tome mogu najaviti kako će naš vri-

jedan ansambl izvesti bogat repertoar od trinaest naslova koji je drugim hrvatskim opernim ansamblima u ovim recesijskim

godinama nažalost nezamisliv. Uz nezaobilaznog Eru s onoga svijeta u kojemu ćemo predstaviti mlade tumače glavnih uloga

te uvijek rado gledanog Nikolu Šubića Zrinjskog, premijerno ćemo izvesti komično-fantastičnu operu Postolar iz Delfta, prema

pripovijesti Hansa Christiana Andersena, koju je skladao jedan od najznačajnijih predstavnika hrvatske moderne, Blagoje

Bersa. Autor je operu, koja će se izvoditi na njemačkom jeziku, namijenio razonodi bečke publike u godinama Prvog svjetskog

rata, stoga vjerujem da će u ovim ozbiljnim vremenima zabaviti i “mali Beč”, kako si mi Zagrepčani volimo tepati. U novoj se-

zoni nećemo vidjeti Toscu kako se baca s bedema Castellora u Verdijevu Trubaduru, ali ni s Elsinorea u Thomasovom Hamletu,

već ćemo ponovno uživati u potresno očaravajućem ludilu mlade Ofelije i uzavrelim Azuceninim, Leonorinim, Manricovim i Lu-

ninim strastima. Uz najnoviju (valjda opet eksperimentalnu) produkciju opere-slikovnice Ljubavni napitak, ove sezone moći ćemo

razonoditi i uz nove izvedbe Šišmiša i Seviljskog brijača, a za zahtjevniju publiku obnovit ćemo “operu nad operama”, Mozar-

tovog Don Giovannija u, kakvoj drukčije nego “eksperimentalnoj” režiji Oliviera Tambosija, te Wagnerovog nadaleko i naširoko

hvaljenog Parsifala. Tragičnu priču o Tosci morat ćemo zbog recesije preseliti iz raskošnog Rima u malo moravsko selo u kojem

ćemo i sljedeće sezone pratiti još tragičniju opernu priču o mladoj djevojci Jenufi iz pera Leoša Janáčeka, koja je nastala u

gotovo u isto vrijeme kao Tosca, što im je i jedina poveznica.

Nezaustavljivo se primiče 2013. godina predstavljajući olakšanje za sve operne ravnatelje koji kreiraju sezonu, premda ne i za

gledatelje. Cijela godina bit će posvećena dvojici opernih titana, Giuseppeu Verdiju i Richardu Wagneru koji, iako rođeni iste

1813. godine, nemaju gotovo ništa zajedničko. Njihovi su uspjesi usporedivi, ali njihova osobnost i odnos prema glazbi čine ih

inkompatibilnima. Verdi je držao da je umjetnost utjeha čovječanstvu, a Wagner je sa zadovoljstvom vjerovao kako snažan

intenzitet njegovih opera može slušatelja dovesti do ludila. Genijalnost obojice nudi nam izbor dviju umjetnosti, dvaju načina

života, dviju suprotstavljenih filozofija postojanja. Tijekom svog života Verdi i Wagner su, svaki na svoj način, pomogli defini-

ranju identiteta svojih naroda, a njihova glazba i danas potiče na isticanje vrline milosrđa i potrebe povezivanja među ljudima.

Godišnjicu ćemo obilježiti premijerom Verdijeve Aide, zrelim djelom velikog majstora iz Busseta te premijerom Lohengrina,

posljednjom Wagnerovom romantičnom operom.

Aida je vrhunac talijanske romantične, “velike” opere, ali se može nazvati i muzičkom dramom u kojoj Verdi prokomponirano-

šću i diferencijacijom instrumentacije sublimira tradicionalan stil s općim tendencijama koje u glazbu uvode Berlioz i Wagner.

Tako će se dugo očekivana Tosca iz naše priče preseliti nekih tri tisuće kilometara južno i postati etiopskom princezom.

U Wagnerovom Lohengrinu jadna će Tosca morati “potegnuti” na sjever sve do Antwerpena i utjeloviti brabantsku princezu Elsu.

Lohengrin je zacijelo vrhunac njemačke romantične opere i ubraja se u Wagnerova najpopularnija djela. Riječ je i o muzičkoj

drami u kojoj su, kao i u Tannhäuseru, suprotstavljena dva svijeta: Lohengrinov svijetao i čist nasuprot Ortrudinom začaranom

i mračnom. Opera je donekle i autobiografska jer prikazuje neshvaćenog umjetnika koji je osuđen na život u osami.

Pripremite se i oboružajte znanjem za nove operne doživljaje jer, kako kaže skladatelj Doktora Fausta Ferruccio Busoni, publika

ne zna i ne želi znati da tijekom usvajanja umjetničkog djela sama mora obaviti polovicu posla.

A Tosca će se zasigurno kad-tad pojaviti i umrijeti na pozornici Hrvatskoga narodnog kazališta, unatoč tome što je miris isto-

imene kolonjske vode nepovratno ishlapio.

Tosca još nije umrla, a kada će, ne znamo

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA UVOD

4948

Branko Mihanović, Artistic Director of the Opera of the Croatian National Theatre in Zagreb

Tosca Has Not Died Yet, And When She Is Due To, No-one Knows

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA INTRO

Writing this text about the repertoire of the new opera season I cannot but refer to the complaint of one of the previous CNT Opera

directors who fiercely criticizes the ‘experimental’ repertoire and aesthetics that he has been forced to watch on our opera

stage during the past seven years, and demanded the staging of Tosca. I have been receiving programme ideas almost on a

daily basis, but when they reach me through public media from an ex-director, then they carry a much deeper meaning. Floria

Tosca does definitely not wish to appear on our stage next season, just like she will not appear at the Met or in La Scala (re-

ally „scandalous“, especially when one has in mind that these are opera houses and not a national theatre), and we shall only

be able to hear Puccini at one of our Sunday matinees in our Foyer. Just as well, we shall spare our visitors from watching ‘ex-

perimental‘, but strangely enough repeatedly awarded performances like Dialogues of the Carmelites, Orfeo or Mazeppa, that

was last awarded in Riga as a guest performance. Despite this, I can announce how our worthy ensemble will perform a rich

repertoire of thirteen titles which is unfortunately inconceivable for other Croatian opera ensembles in these recessive years.

Along the imperative Ero the Joker in which we shall present young interpreters in the leading roles and the always well visited

Nikola Šubić Zrinjski, we shall give a new production of the comic-fantastic opera The Shoemaker from Delft, after Hans Chris-

tian Andersen‘s novel composed by one of the most significant representatives of the Croatian Modern Movement Blagoje Bersa.

The author intended the opera that will be sung in German, for the entertainment of the Viennese audience around WWI, there-

fore, I believe it will also entertain the ‘little Vienna’, as we like to think of our Zagreb. In the new season we shall not see Tosca

throwing herself off the walls of the Castellor castle in Verdi‘s Il Trovatore, nor from Elsinore in Thomas‘ Hamlet, but we shall

enjoy again the impressive and fascinating madness of young Ophelia and the boiled passions of Azucena, Leonora, Manrico

and Luna. Along the latest (I guess again experimental) production of the children’s book opera L‘elisir d’amore, this season

we shall entertain our audience with new performances of The Bat and The Barber of Seville, and for the more demanding au-

dience we shall revive the ‘opera above all operas’, Mozart‘s Don Giovanni in, what else, but ‘experimental‘ stage direction of

Olivier Tambosi and the far and widely praised Wagner‘s Parsifal. Due to the recession we shall have to move the tragic story

about Tosca from lavish Rome to a small Moravian village in which we shall follow, once again, an even more tragic opera story

of a young girl Jenufa by Leoš Janáček, which was composed at almost the same time as Tosca, this being their single con-

nection. The year 2013 is approaching unstoppably, presenting a relief for all opera directors who have to create the season,

although not for the spectators. The entire year will be dedicated to two opera titans, Giuseppe Verdi and Richard Wagner who,

although born in the same 1813, have almost nothing in common. Their achievements are comparable, but their personalities

and their attitude towards music make them incompatible. Verdi believed that art is comfort for humanity and Wagner was sat-

isfied in his belief that the intensity of his operas could lead the listener to insanity. The genius of both men offers us a choice

between two arts, two ways of life, two opposed philosophies of existence. During their lives, Verdi and Wagner, each in their

own way contributed to the definition of their nations’ identities and even today, their music is an inspiration for featuring the

virtue of mercy and the human need to connect. The anniversary will be marked by new productions: Verdi‘s Aida, the mature

work of the great master from Busseto and Lohengrin, Wagner‘s last romantic opera.

Aida is the peak of the Italian romantic ‘great’ opera, but can also be categorised as a music drama in which Verdi with deeply

saturated composing elements and diversification of instrumentation sublimes the traditional style with general trends that

were introduced into music by Berlioz and Wagner. This way, our long awaited Tosca from our story will move some three thou-

sand kilometres south and become the Ethiopian princess.

In Wagner‘s Lohengrin poor Tosca will have to ‘stretch out‘ to the north, all the way to Antwerpen and embody Princess Elsa of

Brabant. Lohengrin is definitely the peak of German romantic opera and is considered to be one of Wagner‘s most popular

works. This is also a music drama in which, just like in Tannhäuser, two worlds are confronted: Lohengrin‘s light and pure

against Ortrud‘s bewitched and dark. The opera is somewhat even autobiographical, because it depicts a misunderstood artist

who is doomed to a lonely life.

Prepare and arm yourself with knowledge for the new opera events, because as the composer of Doctor Faust Ferruccio Busoni

says, ‘The public neither knows nor wants to know that in order to receive a work of art, half the work must be done by the re-

cipient.‘ And Tosca will definitely appear sooner or later and die on the stage of the Croatian National Theatre, despite the fact

that the smell of the same eau de cologne had irretrievably evaporated.

5150

Komično fantastična opera Postolar od Delfta hrvatskog

skladatelja Blagoja Berse (1873. � 1934.) praizvedena je

26. siječ nja 1914. u Zagrebu i pripada najuspjelijim ostvare-

njima domaćeg glazbeno-scenskog repertoara. Libreto su na-

pisali A. M. Willner i J. Wilhelm prema priči Čarobne kaljače

danskog pisca H. Ch. Andersena. Činjenicu da se glazba,

premda bogato orkestrirana, mjestimice kreće na rubu za bav -

ne (operetne) glazbe valja pripisati Bersinom očaranošću be-

čkom secesijom i operama Richarda Straussa. Napisan u Beču

i za Bečane prije Prvoga svjetskog rata, Bersin Postolar od

Delfta bio je stvoren da publici pruži zabavu koju je očekivala.

The world opening night of this comic fantastic opera The

Shoemaker from Delft of the Croatian composer Blagoje Bersa

(1873-1934) took place on January 26, 1914 in Zagreb and

belongs to the most successful creations of the Croatian stage

repertoire. The libretto was written by A. M. Willner and J. Wil-

helm after the story of the Danish writer H. Ch. Andersen Ga-

loshes of Fortune. The fact that the score, although richly

orchestrated, in some places is on the edge of entertaining

(operetta) music must be attributed to Bersa’s fascination

with the Vienna Secession and operas of Richard Strauss.

Bersa’s The Shoemaker from Delft was composed in Vienna

for its citizens before WWI and created to offer the audiences

the expected entertainment.

Dirigent / Conductor Ivan Josip SkenderRedatelj / Director Krešimir Dolenčić

Premijera 19. listopada 2012.Premiere October 19, 2012

Blagoje Bersa

POSTOLAR OD DELFTAThe Shoemaker from Delft

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA PREMIJERE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA PREMIERES

5352

Premda okarakterizirana kao komorno djelo kroz koje prolazi

trijumfalan marš, Aida je najspektakularnija Verdijeva opera.

Radames, pobjednički egipatski ratnik zaljubljen je u Aidu,

porobljenu etiopsku princezu. Faraonova kći Amneris planira

osvojiti Radamesa za sebe što rezultira gorkim ljubavnim tro-

kutom nabijenim najsnažnijim emocijama. Ta nadahnuta

priča o starom Egiptu, mističnim obredima i zabranjenim stra-

stima obiluje prekrasnim arijama, moćnim zborovima, balet-

nim prizorima i uzbudljivom orkestralnom glazbom. U obljet -

nič koj Verdijevoj godini Aida je ujedno i prva koprodukcija

dvaju nacionalnih teatara, Zagreba i Rijeke.

Although it was defined as a chamber work with a triumphant

march, Aida is Verdi’s most spectacular opera. Radames, the

winning Egyptian warrior is in love with Aida, an enslaved

Ethiopian princess. The pharaoh’s daughter Amneris plans to

seduce Radames for herself which results in a bitter love tri-

angle of the most intense emotions. This inspiring story about

old Egypt, mystical rituals and forbidden passions is abun-

dant with beautiful arias, powerful ensembles, ballet scenes

and exciting orchestral music. In the year when we celebrate

Verdi’s anniversary, Aida is at the same time the first co-pro-

duction of two national theatres in Zagreb and Rijeka.

Dirigent / Conductor Balász KovalikRedatelj / Director Antonello Allemandi

Premijera 25. siječnja 2013.Premiere January 25, 2013

Giuseppe Verdi (u povodu 200. godišnjice rođenja / on the occasion of his 200th birth anniversary)

AIDAAidaKoprodukcija HNK u Zagrebu i HNK Ivana pl. Zajca u Rijeci / A co-production of the CNT in Zagreb

and the CNT Ivan noble Zajc in Rijeka

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA PREMIJERE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA PREMIERES

5554

Dijelom bajka, dijelom povijesni mit, a dijelom tragična lju-

bavna priča Wagnerov Lohengrin postavlja ozbiljno pitanje:

može li apsolutno povjerenje i bezuvjetna ljubav egzistirati u

svijetu u kojem apsolutno ne postoji i u kojem je gotovo sve

uvjetovano? Napisana na temelju srednjovjekovne legende o

Vitezu Grala, Lohengrinu, opera se smatra jednim od najljep-

ših djela njemačkog romantizma u kojem glazba pomoću hip-

notički kontinuiranog protoka zvuka ujedinjuje soliste, zbor i

orkestar u jedinstven i neponovljiv umjetnički izraz. Nakon za-

htjevne produkcije Parsifala, a ponovno u koprodukciji HNK u

Zagrebu i Franačkog teatra Wurtzburg, premijerom ne manje

zahtjevnoga Lohengrina obilježit ćemo Wagnerovu godinu.

Wagner’s Lohengrin, partly a fairy-tale, partly a historical myth

and partly a tragic love story, raises a serious issue: can ab-

solute trust and unconditional love exist in a world in which

the absolute does not exist and in which almost everything is

pre-determined? This opera written after a mediaeval legend

about Lohengrin, the knight of the Holy Grail, is considered to

be one of the most beautiful works of German romanticism in

which music, through a hypnotically unbroken flow of sounds,

unites the soloists, choir and orchestra into a unique and un-

repeatable artistic expression. After the demanding produc-

tion of Parsifal, this is again a co-production of the CNT in

Zagreb and the Mainfranken Theatre Würzburg. With the open-

ing night of the equally challenging Lohengrin, we shall mark

the Wagner Year.

Dirigent / Conductor Nikša BarezaRedatelj / Director Kurt Josef Schildknecht

Premijera 22. ožujka 2013.Premiere March 22, 2013

Richard Wagner (u povodu 200. godišnjice rođenja / on the occasion of his 200th birth anniversary)

LOHENGRINLohengrinU koprodukciji s Mainfranken Theater Würzburg / A co-production of the CNT in Zagreb and Mainfranken

Theatre Würzburg

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5756

DON GIOVANNIDon Giovanni

Wolfgang Amadeus Mozart

“Svojim Don Giovannijem Mozart ulazi u malu grupu besmrt-

nika, čija imena i djela nikada nećemo zaboraviti”, rekao je

jednako tako besmrtan Sören Kierkegaard. Miješajući strah,

sažaljenje i komediju te podnaslovljujući djelo dramma gio-

cosa / šaljiva drama, Mozart sugerira svoj odnos prema vječnoj

temi o lomitelju ženskih srdaca koji se zamjerio onozemaljskim

sila ma, temi koja je duboko ukorijenjena u europskoj, osobito

romanskoj književnosti. Ova snažna glazbena drama dojmljive

sati ričko-ironične karakterizacije likova praizvedena je 1787.

godine u Pragu. Majstorski vladajući tragičnim i komičnim

situacijama, pojedinačnim i skupnim prizorima te vokalnim i

instrumentalnim dionicama, Mozart je stvorio uvijek popularno

djelo koje više od dva stoljeća plijeni zanimanje publike.

With his Don Giovanni Mozart joins a small group of the im-

mortals, whose names and works will never be forgotten, said

the equally immortal Sören Kierkegaard. Mixing fear, com-

passion and comedy, and subtitling his work dramma giocosa

(humorous drama), Mozart suggests his attitude towards the

eternal subject of the seducer who has run afoul of the “heav-

enly powers”, the subject which is deeply rooted in European,

particularly Roman literature. This powerful musical drama

with the impressive satiric-ironic characterization of the main

protagonists was first performed in Prague in 1787. Skillfully

mastering tragic and comic situations, individual and group

scenes and vocal and instrumental parts, Mozart has created

an always popular work which has been capturing the atten-

tion of the audience for more than two hundred years.

Dirigent / Conductor Johannes WildnerRedatelj / Director Olivier TambosiScenograf i kostimograf / Set and Costume Designer Bengt GomérOblikovatelj svjetla / Light Designer Deni Šesnić

Premijera 7. listopada 2006. / Premiere October 7, 2006

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SEVILJSKI BRIJAČThe Barber of Seville(Il barbiere di Siviglia)

Gioachino Rossini

Rossinijeva najpopularnija opera smatra se jednom od

najboljih komičnih opera ikada napisanih. Libreto je napisao

Cesare Sterbini prema prvom dijelu Beaumarchaisove trilogije,

Le Barbier de Seville. Opera je napisana u samo tri tjedna

(uvertiru je kompozitor “posudio” iz svoje manje uspjele opere

Aureliano in Palmira). Premijera je bila potpuni fijasko

zahvaljujući nemirnoj i glasnoj publici kao i nizu nezgoda koje

su se dogodile na sceni tijekom izvedbe. Druga izvedba bila je

već puno bolje prihvaćena i djelo je uskoro postavljeno na svim

velikim pozornicama Europe te je postalo jedan od na j -

izvođenijih opernih naslova u povijesti.

Rossini’s most popular opera is considered the best comic

opera ever. The libretto was written by Cesare Sterbini,

following Le Barbier de Seville, the first part of the Figaro

trilogy by Beaumarchais. The opera was written in only three

weeks (the overture was “borrowed” from Rossini’s less

successful opera Aureliano in Palmira). The opening night was

a fiasco, thanks to the loud, fidgety audience and a series of

accidents on the stage during the performance. The second

performance was much better received and the opera was

soon staged on all big European stages and became one of

the most frequently staged works in the history of opera.

Dirigent / Conductor Josip ŠegoRedatelj / Director Krešimir DolenčićScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Ana Gecan SavićOblikovatelj svjetla / Light Designer Deni ŠesnićKoreografkinja / Choreographer Mateja Pučko-Petković

Premijera 12. svibnja 2006. / Premiere May 12, 2006

6160

Jenufa je okrutno istinita i gotovo nepodnošljivo lije pa ope -

ra Leoša Janáčeka sa svršetkom koji nas preobražava. Nakon

verističkog sadržaja punog ljubomore i osvete u prva dva čina,

slijedi nestvarno transcedentan treći čin koji blagoslovom

oprosta iskupljuje patnju prvih dviju trećina radnje. Sama Ja-

náčekova glazba toliko je izražajna i uvjerljiva da u konačnici

pretvara patnju u suosjećanje iskupljujući sve i svakoga. U iz-

vedbama Jenufe najčešće dominira umjetnica koja utjelovljuje

Crkvenjarku, ženu iskrivljenog poimanja morala koje je potiče

na čedomorstvo. To je jedna od najkompleksnijih dramskih

uloga u opernoj literaturi uopće, izazov koji je osigurao pravi

trijumf pjevačicama kao što su Astrid Varnay, Sena Jurinac,

Leonie Rysanek i Eva Marton, a od prošlosezonske zagrebačke

premijere i Ivanki Boljkovac. Izvanredno snažna glazbeno-

scen ska interpretacija na čelu s maestrom Dinićem i dojmlji-

vim solistima � a posebice potresnom i emotivnom Tamarom

Franetović Felbinger kao Jenufom � doživjela je izniman us-

pjeh kod publike.

Jenufa is brutally true and almost unbearably beauti-

ful Leoš Janáček‘s opera with an ending that transforms us.

After the veristic content in the first two acts filled with jeal-

ousy and revenge, follows a surreal transcendent third act that

with a blessing redeems the sufferings from the first two

thirds of the plot. Janáček‘s music score is so expressive and

convincing that in the end it turns the suffering into compas-

sion, redeeming everything and everyone. The most dominant

artist in Jenufa usually embodies a sacristan, a woman of dis-

torted morality that leads her to infanticide. It is one of the

most complex drama roles in opera literature in general, a

challenge that has secured real triumph for singers like Astrid

Varnay, Sena Jurinac, Leonie Rysanek and Eva Marton, and

from the last season’s Zagreb premiere for Ivanka Boljkovac.

An exceptionally strong music and stage interpretation led by

conductor Dinić and impressive soloists, especially the im-

pressive and emotional Tamara Franetović Felbinger as Jenufa

� received great acclaim from the audience.

Dirigent / Conductor Srboljub DinićRedatelj / Director Ozren ProhićScenograf / Set Designer Branko LepenKostimografkinja / Costume Designer Petra DančevićScenski pokret / Stage movement Blaženka Kovač CarićOblikovatelj svjetla / Light Designer Zoran Mihanović

Premijera 27. travnja 2012. / Premiere April 27, 2012

Leoš Janáček

JENUFAJenufa

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA REPEAT PERFORMANCES

NAGRADE / AWARDS

Nagrada Marijana Radev Ivanki Boljkovac za ulogu Crkvenjarke u sezoni 2011./2012. / The Marijana Radev Award was granted to Ivanka Boljkovac for the role of the sacristan in the season 2011/2012.

6362

U najnovijoj zagrebačkoj produkciji Ljubavnog napitka svi

likovi kao da su izašli iz ogromnih dječjih slikovnica koje čine

scenski okvir predstave. Među njima je Nemorino koji je za-

ljubljen u naizgled nezainteresiranu Adinu. Tu je i narednik

Bel core, drugi Adinin obožavatelj za kojega je ljubav osvajanje

i borba. Kao preuranjeni deus ex machina pojavljuje se putu-

jući nadriliječnik Dulcamara čiji ljubavni napitak, koji je za-

pravo samo vino bordeaux, svima obećava ostvariti njihove

snove. Na prvi pogled komedija, Ljubavni napitak zapravo je

drama koja upotrebom komičnih sredstava pripovijeda o kom-

pleksnosti ljubavi. Donizetti nije pao u zamku parodiranja

emocionalne kolebljivosti, već je cijelu priču uokvirio svojom

radosnom i melodičnom glazbom. Publika je oduševljena in-

terpretacijom svjetski slavnoga Giorga Suriana kao Dulcamare

(kojemu je ovo prva zagrebačka premijera!), kao i novom te-

norskom zvijezdom naše Opere, mladim Domagojem Doroti-

ćem kao Nemorinom.

In the latest Zagreb production of L’elisir d’amore all the char-

acters appear as if they have come out of huge children’s pic-

ture books which make the stage frame of the performance.

Amongst them is Nemorino who is in love with Adina, who ap-

pears not interested. For Adina’s other admirer sergeant Bel-

core, love is all about conquering and fighting. The travelling

quack doctor Dulcamara, appearing as a premature deus ex

machina and whose love potion is actually only wine bordeaux,

promises everyone the realisation of their dreams. A comedy at

first glance, L’elisir d’amore is actually a drama which nar-

rates about the complexity of love using comic means.

Donizetti did not fall into the trap of parody with emotional

hesitations, but framed the entire story with merry and melo-

dious music. The audience was thrilled with the interpreta-

tions of the world famous Giorgio Surian as Dulcamara (this

was his first Zagreb opening night!) and the new tenor star of

our Opera, the young Domagoj Dorotić in the role of Nemorino.

Dirigent / Conductor Pietro RizzoRedatelj / Director Cesare LieviScenograf / Set Designer Luigi PeregoKostimografkinja / Costume Designer Marina LuxardoOblikovatelj svjetla / Light Designer Roger Vanoni

Premijera 17. veljače 2012. / Premiere February 17, 2012

Gaetano Donizetti

LJUBAVNI NAPITAKL’elisir d’amore

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NAGRADE / AWARDS

Nagrada Vladimir Ruždjak Giorgiu Surianu za ulogu Dulcamare u sezoni 2011./2012. / The Vladimir Ruždjak Award was granted to Giorgio Surian for the role of Dulcamara in the season 2011/2012

6564

Francuska opera Hamlet (1868.) Ambroisea Thomasa bila je usvoje vrijeme iznimno popularna, ali potom zaboravljena, da bise tek početkom 21. stoljeća ponovno u velikom stilu vratila nasvjetske operne pozornice. Najpoznatija je po velikom prizoruOfelijinog ludila i napitnici naslovnog junaka. Operni libreto neslijedi u potpunosti Shakespeareovu dramu. Riječ je o roman-tičnoj melodrami u kojoj se duh Hamletova oca vraća u po-sljednjem prizoru kako bi bio vidljiv svima, a ne samo Ham -letu. U drami se smrt ključnih likova niže u brzom slijedu kakobi nas razvoj događanja ostavio bez daha. Nasuprot tome, go-tovo svaki lik u operi, uključujući i Ofeliju, Gertrudu i Polonija,dobiva ariju ili opsežan glazbeni broj prije susreta sa svojomsudbinom. Ovakav nedostatak nimalo ne umanjuje kvalitetuopere zbog njenih izrazitih glazbenih vrijednosti: lijepih zbor-skih i orkestralnih odlomaka, prekrasnih arija i veličanstve-nih ansambala zbog kojih s pravom nosi epitet velike opere.Zahvaljujući sjajnim solistima Opere HNK u Zagrebu, pod vod-stvom maestra Niqueta, ovo � našoj publici nepoznato djelo �doživjelo je golem uspjeh.

The French opera Hamlet (1868) composed by AmbroiseThomas was exceptionally popular in its time, but then for-gotten, only to return in great style back to the world operastages at the beginning of the 21st century. It is best known forthe scene of Ophelia’s madness and the drinking song of thetitle hero. The opera libretto does not completely follow Shake-speare’s original. It is a romantic melodrama in which theghost of Hamlet’s father returns in the last scene, visible to all,not only to Hamlet. In the drama the death of the key charac-ters follows in a fast sequence, so the development of theevents would leave us speechless. In contrast to that almostevery character in the opera, including Ophelia, Gertrude andPolonius, has an aria or a large music number before facingtheir fate. Such a flaw does not diminish the quality of theopera because of its exceptional music qualities: beautifulchoir and orchestra parts, beautiful arias and magnificent en-semble numbers giving it, justly, the epithet of a large-scaleopera. Due to great soloists of the CNT Opera in Zagreb led byconductor Niquet, this work that has been unknown to our au-dience, achieved great success.

Dirigent / Conductor Hervé NiquetRedatelj i scenograf / Director and Set Designer Michiel DijkemaKostimografkinja / Costume Designer Claudia DammKoreograf / Choreographer Leo MujićOblikovatelj svjetla Bas Berensen

Premijera 19. studenog 2011. / Premiere November 19, 2011

Ambroise Thomas

HAMLETHamlet

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Romantična ljubav, smrtna ljubomora i opsesivna želja za

osvetom pokretački su dramski elementi Verdijeve opere Tru-

badur. Osnova je zapleta rivalstvo grofa Lune i pobunjenika

Manrica koji nisu samo politički neprijatelji nego i suparnici u

borbi za naklonost plemkinje Leonore. Glazba ove opere odli-

kuje se prekrasnom, ujedno i divljom energijom, spektakularno

vođenim vokalnim dionicama koje prenose snažne emocije,

dok zamršena priča obiluje vatrenom strašću. Giuseppe Verdi

dosegnuo je Trubadurom vrhunac glazbenog majstorstva i po-

sebne snage svog takozvanog srednjeg razdoblja stvaranja.

Opera je fascinantna zbog iznimno izražajne glazbe, psiho -

loški zaokruženih likova te raznovrsnih i egzotičnih lokacija

radnje.

Romantic love, mortal jealousy and obsessive desire for re-

venge are the dramatic driving forces of Verdi‘s Il Trovatore.

The basis of the plot is the rivalry between count Luna and the

rebel Manrico, who are not only political enemies, but also ri-

vals for the affection of lady Leonora. The music of this opera

is characterised by both stunningly beautiful and wild energy,

spectacular vocal passages which convey powerful emotions,

and the complicated plot of this opera abounds in ardent pas-

sion. With Il Trovatore, Giuseppe Verdi reached the peak of the

musical mastery and expressive power of his so-called middle

period: this opera is fascinating because of its highly expres-

sive music, psychological portrayal of its characters and

diversity of exotic locations.

Dirigent / Conductor Mihail Sinkevič / Mikhail SinkevichRedatelj / Director Andrejs Žagars / Andrejs ZagarsScenograf / Set Designer Reinis SuhanovsKostimografkinja / Costume Designer Kristine PasternakaOblikovatelj svjetla / Light Designer Kevin Wyn-Jones

Premijera 3. lipnja 2011.Premiere June 3, 2011

Giuseppe Verdi

TRUBADURIl TrovatoreU suradnji s Gradskim kazalištem u Klagenfurtu, Austrija / In Cooperation with Stadttheater Klagenfurt, Austria

6968 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA REPEAT PERFORMANCES

Parsifal je svečani posvetni prikaz u tri čina za koji je libreto i

glazbu napisao Richard Wagner. Djelo je nastalo prema ep-

skoj poemi iz 13. stoljeća Wolframa von Eschenbacha o životu

Parzivala, viteza s dvora kralja Artura, i o njegovoj potrazi za

Svetim Gralom. Opera Parsifal svojim uzvišenim simboličkim

i metafizičkim sadržajem simbolizira najviši izraz ideje isku-

pljenja koji prožima cijeli Wagnerov opus. U umjetničkom te-

stamentu autor je kondenzirao osobno moralno vrednovanje

svijeta označivši povratak korijenima ljubavi i religije. Claude

Debussy napisao je da je partitura Parsifala jedan od najljep-

ših spomenika ikad podignutih glazbi.

Parsifal is a ceremonious dedication work in three acts whose

libretto and music were written by Richard Wagner. The work

was created after an epic poem from the 13th century written

by Wolfram von Eschenbach about the life of Parsifal, a knight

of King Arthur’s Court and his quest for the Holy Grail. Opera

Parsifal with its elated symbolic and metaphysical features

symbolises the highest expression of the idea of redemption

that imbued Wagner’s entire opus. In the artistic testament,

the author condensed a personal moral evaluation of the

world, by marking the return to the origins of love and religion.

Claude Debussy wrote that the music score of Parsifal was

one of the nicest monuments ever erected to music.

Dirigent / Conductor Nikša BarezaRedatelj / Director Kurt Josef SchildknechtScenograf / Set Designer Rudolf RischerKostimografkinja / Costume Designer Gera GrafOblikovatelj svjetla / Light Designer Roger Vanoni

Premijera 26. ožujka 2011. / Premiere March 26, 2011

Richard Wagner

PARSIFALParsifalU koprodukciji s Mainfranken Theater Würzburg / A co-production with the Mainfranken Theater Wurzburg

NAGRADE / AWARDS

Nagrada Marijana Radev Dubravki Šeparović Mušović za ulogu Kundry u sezoni 2010./2011. / The Marijana Radev Award was granted to Dubravka Šeparović Mušović for the role of Kundry in the season 2010/2011.Nagrada Hrvatskog glumišta za najbolju predstavu u cjelini u sezoni 2010./2011. / The Croatian Theatre Arts‘ Award for the best performance in the season 2010/2011.Nagrada Hrvatskog glumišta Nikši Barezi za najbolje dirigentsko ostvarenje u sezoni 2010./2011. / The Croatian Theatre Arts‘ Award for the best conductor in the season 2010/2011.Nagrada grada Zagreba za 2011. Dubravki Šeparović Mušović za ulogu Kundry. / The 2011 City of Zagreb Award was granted to Dubravka Šeparović Mušović for the role of Kundry.

7170 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA REPEAT PERFORMANCES

Već nakon praizvedbe 1874. godine Šišmiš je postao sinoni-

mom operetnog žanra. Bečka opereta stvorena je prema fran-

cuskom uzoru popularnih kazališnih djela H. Meilhaca i L.

Halévyja koji su ostali zapamćeni kao libretisti Bizetove opere

Carmen. Francusku prirodu njihovih komedija Strauss je pri-

lagodio Beču baš kao što je i stoljeće prije Mozart transformi-

rao Beaumarchaisov Figarov pir u svoju operu.

Johann Strauss i Šišmiš većinu ljudi asocira na veselje, slav-

lje i beskrajne svečane balove koji nemaju kraja. Međutim, ova

opereta nad operetama posjeduje obilje melankolije, čežnje za

idealom sreće koji, jednom upoznat, ne može nikad ponovno

biti osvojen. Šišmiš započinje kao poziv na užitak, a završava

sviješću o zajedničkoj ljudskosti.

Immediately after its world premiere in 1874, The Bat became

a byword for operetta genre. Operetta in Vienna was made

after the French model of the popular works by Meilhac and

Halevy, who remain famous as the librettists of Bizet’s Car-

men. Strauss adjusted the French nature of their comedies to

Vienna, just as one century earlier Mozart transformed Beau-

marchais’s The Marriage of Figaro into his opera. In most peo-

ple, Johann Strauss and The Bat evoke joy and solemn endless

balls. However, this mother of all operettas has a lot of melan-

choly and longing for the ideal of happiness which, once we

know it, can never again be attained. The Bat begins as an

invitation to a feast, and it ends with the awareness of the

common human qualities.

Prijevod / Translation Vladan Švacov

Dirigent / Conductor Michael HelmrathRedatelj / Director Krešimir DolenčićScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Ana Gecan SavićKoreografkinja i scenski pokret / Choreographer and stage movement Valentina TurcuOblikovatelji svjetla / Light Designers Deni Šesnić, Miljenko Bengez

Premijera 10. prosinca 2010. / Premiere December 10, 2010

Johann Strauss ml. / Johann Strauss Jr.

ŠIŠMIŠThe Bat

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Zajčeva opera Nikola Šubić Zrinjski jedno je od rijetkih skla-

dateljevih djela koje se trajno zadržalo na repertoaru hrvat-

skih opernih kuća. Badalićev libreto prožet je rodoljubnim

oduševljenjem dok je glazba izrazito belkantistička i često in-

spirirana slavenskim citatima. Sadržaj opere opisuje pogibiju

jednog od najpoznatijih predstavnika hrvatske aristokratske

obitelji Zrinjski nakon dugotrajne turske opsade grada Sigeta

1566. godine za vrijeme koje je umro i sultan Sulejman Veliki

ne uspjevši doprijeti do Beča. Libreto je napisan prema drami

romantičnog pjesnika Körnera koji je tematikom otpora hrvat-

skog bana prema turskom osvajaču želio potaknuti svoje su-

vremenike na borbu protiv Napoleonovog pokoravanja Europe.

Premda je libreto svojom banalnošću najslabija sastavnica

djela, često se neopravdano daje prednost patriotskoj poruci

naspram neospornih muzičkih kvaliteta djela koje ovu operu

uzdižu na vrhunce slavenske operne romantike.

Nikola Šubić Zrinski by Ivan Zajc is one of the rare works of

that author that has kept its place on the repertoire of Croa-

tian opera houses. The libretto written by Badalić is imbued

with patriotic enthusiasm, while the music is pronouncedly

belcanto and often inspired by Slavic quotations. The story

describes the death of one of the most famous members of

the aristocratic Zrinjski family after the long lasting Turkish

siege of Siget in 1566, during which sultan Suleiman the Great

died without succeeding to get to Vienna. The libretto was writ-

ten upon the drama of the romantic poet Koerner, who chose

the subject of the resistance of the Croatian governor to the

Turkish invaders with the desire to encourage his contempo-

raries to fight against Napoleon’s conquest of Europe. Alt-

hough the libretto is the weakest part of this opera, the

patriotic message is often given the preference over the un-

deniable musical qualities of the work, which place this opera

on the very peak of the Slavic opera romanticism.

Dirigent / Conductor Josip ŠegoRedatelj / Director Krešimir DolenčićScenografkinja / Set Designer Dinka JeričevićKostimografkinje / Costume Designers Ika Škomrlj, Dženisa PecotićKoreografkinja / Choreographer Sonja KastlOblikovatelj svjetla / Light Designer Deni Šesnić

Obnova 24. rujna 2010. / Revival September 24, 2010

Ivan pl. Zajc

NIKOLA ŠUBIĆ ZRINJSKINikola Šubić Zrinjski

7574 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA REPEAT PERFORMANCES

ERO S ONOGA SVIJETAErothe Joker

Jakov Gotovac

Najpopularnija i najizvođenija hrvatska opera Ero s onoga svi-

jeta praizvedena je u Zagrebu 1935. godine i od tada ne silazi

s repertoara svih hrvatskih opernih kuća. Za ogromnu popu-

larnost i međunarodni uspjeh zaslužna je idealna suradnja

književnika Milana Begovića i skladatelja Jakova Gotovca. Iz-

razita komičnost libreta proizlazi iz savršeno pogođene život-

nosti likova Dalmatinske zagore koju nadopunjuje Gotovčeva

bogato orkestrirana glazba živog ritma i kolorita. Opera obi-

luje prekrasnim arijama, duetima i ansamblima, a kulminira

popularnim završnim kolom.

The most popular and most frequently performed Croatian

opera Ero the Joker had its world-premiere in Zagreb in 1935

and has not left the repertoire of all Croatian opera houses

ever since. Its enormous popularity and international success

is the result of the ideal cooperation between the writer Milan

Begović and the composer Jakov Gotovac. The exceptional hu-

mour of the libretto stems from the perfect vitality of the cha-

racters from the Dalmatian hinterland, completed by the richly

orchestrated music of lively rhythm. The opera abounds with

beautiful arias, duets and ensembles, with the popular wheel

dance for the finale.

Libreto / Libretto Milan Begović

Dirigent / Conductor Robert HomenRedatelj / Director Krešimir Dolenčić Scenograf / Set Designer Dalibor Laginja Kostimografkinja / Costume Designer Inga KostinčerObnova kostima / Costume revival Dženisa PecotićKoreografi / Choreographers Margareta Froman, Vatroslav Krčelić (obnovila Sonja Kastl / revived by Sonja Kastl)

Premijera 9. svibnja 1992. / Premiere May 9, 1992

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Divlja tinejdžerska vještica osvojila je na nagradnoj igri dvije

ulaznice za operu. Ali � što je opera?

S puno humora, šarma i glazbenih odlomaka mala, ali i velika

publika u igrokazu Petera Lunda na najneposredniji se način

upoznaje sa svim tajnama opere i opernih izvedbi. Uz pomoć

svoje novopečene prijateljice i pjevačice Marije Bellacante vje-

štica Hillary otkriva što su to note, dirigentski štapić, korepe-

titor te iznad svega strast za pjevanjem.

In a prize game, a wild teenage witch won two tickets for the

Opera. But what is Opera?

In Peter Lund’s play, in the most direct way, small, but also

grown up spectators get acquainted with all the secrets of the

opera and opera performances through music fragments and

a lot of humour and charm. With the assistance of her newly

acquired friend, singer Marija Bellacante, Witch Hillary dis-

covers what are notes, a conductor’s batton, an accompanist

and above all passion for singing.

Redatelj / Director Ivan Leo LemoScenografkinja / Set Designer Vesna RežićKostimografkinja / Costume Designer Mirjana ZagorecSkladatelj / Composer Zvonimir DusperOblikovatelj videa i svjetla / Video and Light Designer Deni Šesnić

Premijera 26. rujna 2010. / Premiere September 26, 2010

Peter Lund

VJEŠTICA HILLARY IDE U OPERUHillary the Witch Goes to the Opera(Hexe Hillary Geht in die Oper)

NAGRADE / AWARDS

Nagrada za najbolju predstavu u cjelini na dječjem 11. Naj, naj, naj festivalu Teatra Žar-ptica 2011. te nagrada glumici Dori Lipovčan(Hillary) za najbolju žensku ulogu.Award for the best performance of the 11th Naj, naj, naj festival of Theatre Žar-ptica in 2011 (The very best Festival of Theatre Firebird)and actress Dora Lipovčan (Witch Hillary) was granted the award for the best female role.

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13OPERA REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 OPERA REPEAT PERFORMANCES

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 SUNDAY MATINEES WITH COFFEE 7978 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13NEDJELJNE MATINEJE UZ KAVU

NEDJELJNE MATINEJE UZ KAVUSunday Matinees with coffee

Nedjeljne matineje uz kavu koje smo pokrenuli prije dvije go-

dine pobudile su velik interes publike koja glazbeni užitak po-

vezuje s neobaveznim druženjem u jednom od najljepših

gradskih prostora, foyeru našeg kazališta. Koncerti se održa-

vaju jedanput mjesečno, nedjeljom, i započinju u 11 sati, a

jednosatnu glazbenu čaroliju uz prethodno druženje uz kavu i

kolač prekidaju zvuk gričkog topa i odjek obližnjih crkvenih

zvona. Kako bismo udovoljili brojnim posjetiteljima jutarnjih

matineja koji žele na vrijeme osigurati svoje mjesto, oformili

smo novi ciklus od 8 koncerta vrhunske komorne glazbe u ra-

sponu od baroka do swinga u izvedbi uglednih zagrebačkih

glazbenika.

PROGRAMListopad Meksička vokalna lirika, izvodi Katja Markotić

Studeni Igračka vjetrova Tin Ujević/Eric Satie, izvodi Žanina Carić Bilić

Prosinac Božićni koncert, izvodi Komorni zbor HNK u Zagrebu

Siječanj U predvorju Wagnerovog hrama, izvode mladi pjevači

Veljača L’amour tendre, L’amour cruel, izvodi Hrvatski barokni ansambl

Ožujak Sole e amore pjesme Giacoma Puccinija, izvodi Vedrana Šimić

Travanj Alla Zigana, izvodi Trio Haluza

Svibanj Brass u operi, izvodi Ad gloriam brass ansambl

The Sunday Matinees with Coffee that we have launched two

years ago have evoked great interest in the audience that con-

nects a music treat with optional mingling, in one of the most

beautiful city venues, the Foyer of our theatre. The concerts

are held once a month on a Sunday at 11 a.m. The one-hour

long music magic with the previously consumed coffee and

cake is interrupted by the sound of the Grič cannon and the

echoing of the bells of nearby churches. In order to satisfy the

numerous visitors of our Sunday Matinees who wish to secure

their place on time, we have created a new cycle of eight con-

certs of top-quality chamber music ranging from Baroque to

swing, performed by renowned Zagreb musicians.

PROGRAMMEOctober Mexican vocal lyrics performed by Katja Markotić

November Toy of the Winds � Tin Ujević/Eric Satie, performed by Žanina Carić Bilić

December Christmas Concert, performed by the Chamber Choir of the CNT in Zagreb

January In the Atrium of Wagner‘s Templeperformed by young singers

February L’amour tendre, L’amour cruel performed by the Croatian Baroque Ensemble

March¸ Sole e amore � Giacomo Puccini’s songs,sung by Vedrana Šimić

April Alla Zigana, performed by Trio Haluza

May Brass in the Opera, performed by Ad gloriam brass ensemble

Balet/Ballet

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Raditi u kazalištu znači pomoći da se ni iz čega izgradi zamišljen oblik � kazališni oblik� koji uz pomoć gledateljeva iskustva izvan granica scenskog djela izvođenog na pozor -nici prerasta u realnost. Takva realnost pomaže kazalištu da opstaje i živi još od antike,u nekim vremenima jasnije, u nekima manje jasno, ali još uvijek postojano. Kazalište usvima nama obično izaziva stanovito karakteristično uzbuđenje, i to na svoj spektaku-laran način, potaknuto nečim što bismo mogli nazvati pojavnošću duha i/ili duhovnošću. Duh u kazalištu širi svoje granice ipreoblikuje se u svakome od nas. Pri tome plesno kazalište, kao specifično unutar specifičnog, čini se, nudi najfluidnije gra-nice i još manje ograničenja jer svojim glavnim oruđem � tijelom � ostavlja otvorene nebrojene mogućnosti za oblikovanje duhovnog krajolika. Zato volimo i trebamo kazalište! Zato volimo i trebamo balet. To je ponovno potvrdila i naša posljednja prošlosezonska premijera predstava Suita, suita, suitaMarca Goeckea na glazbu J. S. Bacha i Druga simfonija Uwea Scholza na glazbu R. Schumanna, izvedenih u sklopu Večeri njemačkih autora. Uživali ste u njoj dok ste je gledali, a mi smo uživali dok smo je radili i predstavljali. Takav stav neobično nam je važan u promišljanju svakog budućeg repertoara, a svakako i ovoga koji se upravo nalazi pred vama,za sezonu 2012./2013. Vođeni željom da gledate predstave koje će u vama pokrenuti neke nove, neke zaboravljene i neke že-ljene slike i svjetove, odlučili smo prikazati širok spektar repertoara od klasike do suvremenih i novih djela. Osim spomenuteVečeri njemačkih autora ponovno ćete moći uživati u reprizama klasičnih djela koja čine okosnicu našeg repertoara jer, sudećiprema stalnom i velikom odzivu, jako volite Labuđe jezero i Orašara P. I. Čajkovskog te Pepeljugu S. Prokofjeva u koreografi-jama čuvenog engleskog koreografa Dereka Deanea. Istom žanru pripada i Don Quixote L. Minkusa u interpretaciji francuskogkoreografa Patricka Armanda. Na repertoaru ostaje i Coppèlia na Montmartreu, djelo koje se izvan uobičajene podjele može sma-trati zanimljivim spojem baletne klasike, operete i mjuzikla bez riječi, koje je kao vlastitu interpretaciju klasične Delibesoveglazbe postavio Youri Vàmos. U reprizni repertoar uvrštena je i Večer tri baleta (Concerto barocco J. S. Bacha, Pet tanga A. Piazzolle i Paquita L. Minkusa)koja prikazuje djela legendarnog klasika suvremene koreografije Georgea Balanchinea, velikana suvremene koreografije Hansavan Manena i suvremenog klasičara Dereka Deanea.

Živjeti kazalište

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET UVOD CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET INTRO

Kao obnovu izvest ćemo Varijacije u f.ado molu Huga Viere, predstavu praizvedenu na našoj sceni, koju su mnogi voljeli zbogzanimljivog koreografskog rukopisa i fascinantne glazbe portugalskog fada iz koje je nastala.U okviru tradicionalne suradnje s Muzičkim biennalom Zagreb premijerno ćemo izvesti jedno od prvih modernih baletnih djela,Posvećenje proljeća Igora Stravinskog koje cijelo stoljeće, od nastanka 1913. godine ne prestaje intrigirati mnoge koreografe,a kod nas će biti postavljeno u viđenju suvremenog francuskog koreografa i multimedijalnog umjetnika Bricea Lerouxa. Na kraju sezone, u želji da prezentira autora i baletno djelo koje nikada nije prikazano na našoj sceni, Balet HNK u Zagrebupremijerno će izvesti Manon čuvenog engleskog koreografa 20. stoljeća Kennetha MacMillana.U proteklih nekoliko sezona omogućavali smo članovima svog ansambla da u okviru Koreolabosa izraze svoje kreativne poten-cijale, što je rezultiralo nastankom zanimljivih koreografskih minijatura, a time ćemo nastaviti i u novoj sezoni. Jednako ćemoi nadalje s entuzijazmom sudjelovati u dijelu opernog ili i dramskog repertoara, što je gotovo naša povijesna zadaća.Osim želje za raznolikošću repertoara cijelo vrijeme vodimo računa i o profesionalnom napretku svog baletnog ansambla, o uče-nju i nadogradnji znanja, kako bi što lakše svladavali zahtjevne zadatke. Zato kontinuirano pozivamo u goste baletne peda-goge čija je kvaliteta rada i raznovrsnost pedagoških pristupa već dugo potvrđena. Radeći s našim ansamblom podizali sunjegovu kvalitetu i tehničke mogućnosti te prezentirali različite plesne poetike. Ansambl je iz sezone u sezonu rastao i potvrđi-vao koliko je voljan učiti i napredovati, dokazujući svakim novim zadatkom i kvalitetnom izvedbom svoj zajednički i pojedina-čni doseg. S obzirom na mjesto prvog i najvećeg ansambla u zemlji potvrdili smo dano nam povjerenje, prvenstveno jer ste vivoljeli ono što smo za vas radili, a osim toga, u nužnom uspoređivanju s ostalim velikim i većim baletnim kazalištima u dana-šnjem svijetu, slobodno se može zaključiti da ne zaostajemo. A to je velika stvar!Iz mnogih razloga svi zadaci postavljani pred nas nisu bili ni laki ni jednostavni, pogotovo kad se uzmu u obzir poteškoće s kojimse najveće kazalište u zemlji bori oduvijek, a to su jedan prostor i jedan orkestar, ali ne treba zaboraviti da se, zahvaljujući odlič-noj suradnji s našim opernim orkestrom, glazba za većinu naših predstava izvodi uživo, a ni time se mnogo veća i bogatijakazališta ne mogu pohvaliti. U nadi kako ste u odabranim djelima prepoznali našu stalnu brigu i ljubav za baletno kazalište, njegov napredak i suglasje sa suvremenošću te osobito brigu za vas, bez kojih kazalište nije moguće ni zamisliti, srdačno vas pozdravljamo i s veseljem pozivamo u novu sezonu!

Irena Pasarić, ravnateljica Baleta HNK u Zagrebu

Irena Pasarić, Artistic Director of the Ballet of the Croatian National Theatre in Zagreb

83CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET INTRO84 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET UVOD

Living the Theatre

To work in the theatre means to help build some imaginary form out of nothing � a theatre form that with the support of thespectator’s experience beyond the borders of a stage work performed on the stage, evolves into reality. Such reality aids thetheatre to survive and live since the ancient times, in some periods more explicit in others less, but always persistently. Thetheatre in all of us usually evokes a certain characteristic excitement, in its own spectacular manner, inspired by somethingthat we could call appearance of the spirit/spirituality. The theatre spirit spreads its borders and transforms itself in each andevery one of us. In this matter, the dance theatre, as a specificity within the specific, seems to offer the most fluid borders andeven less limitations, because with its main tool, the body, it opens the way to countless possibilities for modelling the spiri-tual landscape. This is the reason why we love and need the theatre! This is why we love and need ballet. This has once again been confirmed by our last new production in the previous season,Suite, suite, suite by Marco Goecke choreographed to the music by J. S. Bach and Second Symphony by Uwe Scholz choreographedto the music by R. Schumann, works performed under the title An Evening of German Authors. You have enjoyed watching itand we have enjoyed working on it and presenting it. Such an attitude is very important to us in the planning of the future repertoire and certainly of the repertoire that is right infront of you for the season 2012/2013. Led by the idea that you should see performances that will incite some new, some for-gotten and some desired images and worlds, we have decided to present a wide repertoire spectrum; from the classical balletrepertoire to contemporary and new works. Beside the already mentioned An Evening of German Authors you will once again beable to enjoy the re-runs of classical ballets that present the framework of our repertoire. According to the constant high at-tendance rate you admire Swan Lake and The Nutcracker by P. I. Tchaikovsky and Cinderella by S. Prokofiev, all choreographedby the prominent English choreographer Derek Deane, as well as Don Quixote by L. Minkus that belongs to the same genre andwas choreographed by the French choreographer Patrick Armand. Coppèlia on Montmartre will remain on the repertoire, a workthat can, if taken out of the usual categorisation, be considered an interesting combination of ballet classics, operetta and musical without words, that Youri Vàmos staged in his own interpretation of Delibes‘ music. We have also included the Triple Bill Ballet Evening (Concerto Barocco by J. S. Bach, Five Tangos by A. Piazzolla and Paquitaby L. Minkus) amongst the re-runs, a performance that presents the work of the legendary classic of modern choreography GeorgeBalanchine, the great master of contemporary choreography Hans van Manen and the contemporary classical choreographerDerek Deane.We shall revive Variations in F.ado Minor by Hugo Viera, a performance that had its world opening night on our stage and whichmany have loved for its interesting choreographic signature and the fascinating music of the Portuguese fado from which itoriginated.

Within the traditional cooperation with the Music Biennale Zagreb we shall give a new production of one of the first modernballets, The Rite of Spring by Igor Stravinsky in the staging of a contemporary French choreographer and multimedia artist BriceLeroux, a work that for an entire century since its appearance in 1913 did not cease to intrigue numerous choreographers. At the end of the season, wishing to present an author and a ballet work that has never been put on our stage, the Ballet ofthe CNT in Zagreb will give the opening night of ballet Manon choreographed by the renowned English choreographer of the20th century Kenneth MacMillan.Throughout the past several seasons we have given the opportunity to our ensemble members to express their creative poten-tials within Koreolabos which resulted in the creation of interesting choreographic miniatures and we shall continue with it inthe next season. With equal enthusiasm we shall continue to participate in the opera and drama repertoire, this almost beingour historical task. Besides our desire for a diverse repertoire, the entire time we have also been taking care of professional advancement of ourballet ensemble, about learning and expansion of knowledge in order to master the demanding tasks. Therefore, we continu-ally invite guest ballet pedagogues whose quality of work and the diversity of pedagogical approaches have been confirmedfor a long time. Working with our ensemble, they have raised its quality and technical capabilities and presented various danc-ing poetics. The ensemble has been growing every season and has confirmed how it is ready to learn and progress, proving withevery new assignment and the quality of performance, their mutual and individual achievements. In relation to our position ofthe first and the largest ballet ensemble in the country, we have justified the given trust, primarily because you have admiredwhat we have performed for you and in the necessary comparison with other prominent and large ballet theatres in today’s world,we can conclude that we are not lagging behind. And that is a big thing!Due to many reasons all the tasks placed before us were neither easy nor simple, especially when we take into considerationthe difficulties with which the largest theatre in the country has been faced with since its existence: one venue and one orchestra.But, we must not forget that due to an excellent cooperation with our opera orchestra, the music for most of our performancesis played live, a thing that even much larger and richer theatres cannot boast with. In hope that in the selected titles you have recognised our constant care and love for the ballet theatre, its advancement andharmony with contemporaneity and especially the care for you without whom we cannot imagine the theatre at all, we greet youcordially and joyfully invite you into the new season!

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VARIJACIJE U F.ADO MOLU Variations in F.ado minor

Hugo Viera

Publika će ponovno moći uživati u portugalskom fadu od ko-

jega je satkana baletna predstava Varijacije u F.ado molu.

Autor Hugo Viera, i sam Portugalac stasao na nostalgičnome

duhu i bogatim emocijama fada koji se sluša, gleda i upija

cijelim bićem, ovom je predstavom uspio dočarati mnoge teme

duboko ukorijenjene u dušu portugalskog čovjeka, ali jednako

primjenjive svima. Predstava nudi mnoštvo malih priča koje u

sebi sadržavaju mnoge svjetove boja i nijansi različitih osje-

ćaja od kojih se i sastoji beskrajni svijet fada. Glazbenu po-

dlogu tvore snimke izvedbi najpopularnijih portugalskih fado

izvođača poput Amálije Rodriques ili Marize s kojima se pot-

puno stopila živa interpretacija fada naše pjevačice Jelene

Radan. Koreografija koja ostavlja dojam potpune spontanosti

i slobode, omogućila je svim plesačima da ostvare svoju osob-

nost u prikazivanju vlastitih emocija. Potpuno razumijevanje

i uzajamno povjerenje autora i izvođača te zajedničko ponira-

nje u sudbinski svijet fada iznjedrili su predstavu vrhunskoga

umjetničkog dojma.

The audience will have the opportunity to enjoy once again the

Portuguese fado that is the basis of the ballet performance

Variations in F.ado Minor. The author Hugo Viera, of Por-

tuguese origin himself, grew up with the nostalgic spirit and

abundant emotions of fado that is listened to, observed and

absorbed with the entire body. With this performance he suc-

ceeded to evoke many themes that are deeply enrooted in the

soul of the Portuguese man, but equally applicable to all. The

performance offers numerous short stories that contain many

worlds of colours and nuances of different feelings that make

up the endless world of fado. The music is based on recordings

of the most popular Portuguese fado singers like Amália Ro-

driques or Marize with which the live interpretation of fado of

our singer Jelena Radan completely became one. The chore-

ography that leaves the impression of total spontaneity and

freedom enabled all the dancers to realise their own person-

ality by expressing their own emotions. Complete understand-

ing and mutual trust of the author and the performers and

their mutual plunging into the fateful world of fado generated

a performance of the highest artistic impression.

Koreograf, redatelj / Choreographer, Director Hugo VieraScenografkinja / Set Designer Dinka JeričevićKostimografkinje / Costume Designers Dženisa Pecotić, Emina TataragićOblikovatelj svjetla / Light Designer Deni Šesnić

Obnova 16. studenoga 2012.Revival November 16, 2012

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET OBNOVA CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET REVIVAL

8988

POSVEĆENJE PROLJEĆAThe Rite of Spring (Le sacre du printemps)

Igor Stravinski / Igor Stravinsky

Jedno od najvažnijih djela glazbeno-scenske umjetnosti 20.

stoljeća, Posvećenje proljeća Igora Stravinskog, prvi je put na

našem baletnom repertoaru. Danas gotovo jednako moderno

kao i u doba nastanka, ovo djelo praizvedeno prije točno sto

godina (1913.) izazvalo je burne reakcije publike. Inovacije u

glazbi i baletnom pokretu Vaclava Nižinskog bile su toliko šo-

kantne da publika nije znala adekvatno reagirati i prihvatiti

djelo. Djelo nastalo za Ballets Russes Sergeja Djagiljeva zaje-

dno s ostala dva baleta koja je Stravinski skladao za isto ba-

letno kazalište; Žar ptica (1910.) i Petruška (1911.) ipak su

autoru donijela svjetsku slavu. Dinamična glazba brzim obra-

tima, iznimnom snagom i asimetričnošću ritma sama stvara

odličnu dramaturgiju te poziva da ju se slijedi, predstavlja-

jući tako neiscrpno vrelo autorskih istraživanja mnogih sla-

vnih koreografa do danas.

One of the most significant works of the performing arts of the

20th century, The Rite of Spring by Igor Stravinsky is on our

ballet repertoire for the first time. Today, almost equally mod-

ern as at the time of its creation, this work had its world open-

ing night exactly 100 years ago (1913) and provoked intense

reactions of the audiences. The innovations in the music score

and in the ballet movement of Vaclav Nijinsky were so shock-

ing for the audiences that they failed to react adequately and

accept the work. The work was created for Ballets Russes of

Sergey Diaghilev together with the other two ballets that

Stravinsky composed for the same ballet theatre, The Firebird

(1910) and Petrushka (1911), that have made him world fa-

mous. The dynamic music score with fast turns, exceptional

strength and asymmetry of the rhythm creates by itself excel-

lent dramaturgy and invites the audience to follow it, pre-

senting with it the inexhaustible source of original researches

of numerous famous choreographers until today.

Koreograf / Choreographer Brice Leroux

Premijera 6. travnja 2013.Premiere April 6, 2013

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET PREMIJERE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET PREMIERES

Koprodukcija HNK u Zagrebu i Muzički biennale Zagreb / A co-production of the CNT in Zagreb

and the Music Biennale Zagreb

9190

Wishing to present the author and the ballet work that has

never been put on our stage, the Ballet of the CNT in Zagreb

will give the opening night of Manon choreographed by the

renowned English choreographer of the 20th century Kenneth

MacMillan. The music score for the work that today belongs to

the classical ballet repertoire consists of selected works com-

posed by Jules Massenet, arranged and orchestrated by the

British composer Leighton Lucas. This neoclassical ballet, a

sentimental love story set in the atmosphere of Paris of the

late 18th century had its world opening night in 1974 at the

Royal Ballet in London and until today has been, in a way, a

brand of this prestigious world theatre. In numerous world pro-

ductions, Manon is a work that is admired both by the dancers

and the audiences. The tragic story of love of two young peo-

ple who cannot resist the potency of their own emotions has

been taken from the bestseller of the 18th century carrying the

same name written by the French writer Abbe Prévost. In his

choreography MacMillan used, to the fullest, the emotional

story as well as the dramatic music interwoven with sensibil-

ity, creating a masterpiece of ballet art whose popularity is

growing even today, just like the popularity of his entire great

choreographic opus. Presenting through dance what is occur-

ring outside the experience, MacMillan plunges into the human

soul, believing that ballet is not a fairy-tale like art, but a pow-

erful mirror of human frailty.

MANON

Jules Massenet - Kenneth MacMillan

U želji da prezentira autora i baletno djelo koje nikada nije pri-

kazano na našoj sceni, Balet HNK u Zagrebu premijerno će iz-

vesti Manon čuvenog engleskog koreografa 20. stoljeća Ke n -

ne tha MacMillana. Za djelo koje danas pripada klasičnom ba-

letnom repertoaru, glazbenu potku čine odabrana djela Julesa

Masseneta u aranžmanu i orkestraciji britanskog skladatelja

Leightona Lucasa. Ovaj neoklasični balet, sentimentalna lju-

bavna priča smještena u pariško ozračje kasnog 18. stoljeća,

praizveden je 1974. godine u londonskom Kraljevskom baletu

i do danas je svojevrsni zaštitni znak tog prestižnog svjetskog

kazališta. Postavljana mnogo i često diljem svijeta, Manon je

djelo koje obožavaju i plesači i publika. Tragična priča o lju-

bavi dvoje mladih ljudi koji se ne mogu oduprijeti silini vla-

stitih osjećaja preuzeta je iz istoimena bestselera 18. stoljeća

francuskog književnika Abbea Prévosta. MacMillan je u svojoj

koreografiji maksimalno iskoristio emotivnu priču te dramati-

čnu, senzibilnošću nabijenu glazbu, stvorivši remek-djelo ba-

letne umjetnosti, čija popularnost i danas raste, jednako kao

i popularnost cijeloga njegovog velikog koreografskog opusa.

Plesom prikazujući ono što se nalazi izvan iskustva, MacMil-

lan ponire u ljudsku dušu, smatrajući kako balet nije bajkovita

umjetnost, nego moćno ogledalo ljudske krhkosti.

Koreograf / Choreographer Kenneth McMillanDirigent / Conductor Dian Tchobanov

Premijera 7. lipnja 2013.Premiere June 7, 2013

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET PREMIJERE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET PREMIERES

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VEČER NJEMAČKIH AUTORAAn Evening of German Authors

Marco Goecke � Uwe Scholz

Dvije koreografije čuvenih suvremenih koreografa svjetskoga

glasa, Marca Goeckea i Uwea Scholza, nastale su na glazbene

predloške velikih klasičnih skladatelja, J. S. Bacha i R. Schu-

manna, i od svojih praizvedbi, 1990. i 2008. godine, predstave

su nekoliko puta premijerno postavljane na raznim europskim

baletnim scenama. Marco Goecke, njemački je koreograf

mlađe generacije koji je u posljednjih desetak godina ostvario

iznimno uspješnu međunarodnu umjetničku karijeru, a nje-

govi se baleti izvode diljem svijeta. Uwe Scholz, prerano pre-

minuli njemački koreograf, ovjenčan svim relevantnim plesnim

nagradama, iza sebe je ostavio više od sto koreografija koje su

i danas sastavni dio repertoara mnogih svjetskih baletnih

kazališta. Oba baletna djela prenio je ugledni europski baletni

umjetnik Giovanni di Palma i sam interpret prvih uloga u

baletnim djelima Uwea Scholza i Marca Goeckea. Večer nje-

mačkih autora oduševila je zagrebačku publiku.

Two choreographies of renowned contemporary choreographers

of worldwide acclaim, Marco Goecke and Uwe Scholz have

been created to the music of great classical composers J. S.

Bach and R. Schumann. Since their world opening nights in

1990 and 2008, the works have repeatedly been staged on

various European ballet stages. Marco Goecke is a younger

German choreographer who has acquired an exceptionally suc-

cessful international career throughout the past ten years and

his ballets are performed around the globe. Uwe Scholz, a Ger-

man choreographer that has passed away too soon, has been

granted all relevant dance awards. He left more than one hun-

dred choreographies that are, still today, an integral part of

repertoires of many world ballet theatres. Both ballet works

were put on stage by the respectable European ballet artist

Giovanni di Palma, who was the interpreter of the first roles in

the ballets of Uwe Scholz and Marco Goecke. An Evening of

German Authors thrilled the Zagreb audience.

Premijera 8. lipnja 2012. / Premiere June 8, 2012

Marco Goecke � Johann Sebastian Bach SUITA SUITA SUITA / SUITE SUITE SUITE

Uwe Scholz � Robert Schumann DRUGA SIMFONIJA / SECOND SYMPHONY

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET REPEAT PERFORMANCESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE

Ako ste voljeli balet Coppélia na Montmartreu i ako vas je

dobro zabavio, i u ovoj sezoni imat ćete mogućnost ponovno

uživati u tom veselom, duhovitom i razigranom kazališnom

djelu. Onima koji ga nikada nisu vidjeli možemo reći da vrijedi

doći i zabaviti se uz balet pun ushita, ritma i žara, sjaja i me-

lankolije, genijalnom putokazu prema samom srcu glazbe!

Suvremeni mađarski baletni umjetnik Youri Vámos uspio je

dotaknuti osjećaje gledatelja pružajući im posve novu priču

uz već poznatu glazbu Léa Delibesa. Sadržaj i likovi ove Cop-

pélije samo djelomice odgovaraju izvorniku koji pamtite jer je

glavnu ulogu u Coppéliji na Montmartreu preuzeo Pariz iz raz-

doblja la belle époque i tako je nastao svojevrsni plesni mju-

zikl sa živim ritmovima kan-kana.

If you liked ballet Coppélia on Montmartre and were well en-

tertained, in the upcoming season you will have the opportu-

nity to, once again, enjoy this merry, witty and playful theatre

work. For those who have never seen it before, we can say that

it is worthwhile, so come and be entertained by a ballet filled

with enthusiasm, rhythm and ardour, glamour and melancholy

- an ingenious way towards the sole heart of music!

Youri Vamos, a contemporary Hungarian ballet artist, suc-

ceeded to touch the emotions of the audience by offering a

new story choreographed to the known music of Leo Delibes.

The content and the characters of this Coppelia only partially

relate to the original which you remember, since Paris from

the Belle époque period takes over the leading role in Coppelia

on Montmartre, creating an original dancing musical with live

rhythms of the Can-Can.

COPPÉLIA NA MONTMARTREUCoppélia on Montmartre(Coppélia am Montmartre)

Léo Delibes � Youri Vámos

NAGRADE / AWARDS

Nagrada Ana Roje Pavli Mikolavčić za ulogu Swanilde u sezoni 2006./2007./ The Ana Roje Award was granted to Pavla Mikolavčić for the role of Swanilda in the season 2006/2007

Libreto, koreograf, redatelj / Libretto, Choreographer and Director Youri VàmosDirigent / Conductor Dian Tchobanov Glazba / Music Léo DelibesScenografkinja / Set Designer Dinka JeričevićKostimografkinja / Costume Designer Dženisa PecotićOblikovatelj svjetla / Light Designer Klaus Gärditz

Obnova 9. ožujka 2012. / Revival March 9, 2012

9594 CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET REPEAT PERFORMANCESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE

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ORAŠARThe Nutcracker(Ščelkunčik)

Petar Iljič Čajkovski / Pyotr Ilyich Tchaikovsky

Orašar je posljednje od tri baletna djela velikana svjetske

glazbe Petra Iljiča Čajkovskoga i jedno od najljepših djela kla-

sične baletne literature. U sto dvadeset godina od praizvedbe,

njegova popularnost kod publike diljem svijeta stalno raste i

vjerojatno ne postoji nijedna generacija mladih koja nije odra-

stala uz taj balet. U svojim kasnijim godinama Čajkovski je

volio pobjeći u dječji svijet bajki i priča te je za predložak Ora-

šara uzeo Hoffmannovu dječju pripovijest u obradi Dumasa

sina, od koje je sastavio baletni libreto zajedno sa svojim pro-

kušanim suradnikom, koreografom Mariusom Petipaom.

U ovoj sezoni, uoči božićnih blagdana, moći ćete, zajedno sa

svojom obitelji, ponovno uživati u našoj novoj spektakularnoj

produkciji Orašara.

The Nutcracker is the last of the three ballet works of the great

composer of world music Pyotr Ilych Tchaikovsky and one of

the most beautiful pieces of classical ballet literature. In the

120 years since its opening night, its popularity has been

growing constantly with the audiences worldwide and most

probably there is not a single generation of young individuals

that has not grown up with this ballet. In his later years,

Tchaikovsky liked to escape into the children’s world of fairy-

tales and stories. For The Nutcracker he took Hoffman’s tale

adapted by Dumas the son from which he created the ballet li-

bretto with his well-experienced associate, choreographer Mar-

ius Petipa. In this season during Christmas time, you will once

again be able to enjoy our new spectacular production.

Koreograf, redatelj / Choreographer and Director Derek DeaneDirigent / Conductor Dian Tchobanov / Miroslav SalopekScenografkinja, kostimografkinja / Set and Costume Designer Roberta Guidi di BagnoOblikovatelj svjetla / Light Designer Jordan Tuinman

Premijera 9. prosinca 2011. / Premiere December 9, 2011

97

Libreto Marius Ivanovič Petipa (prema priči Ernesta Theodora Amadeusa Hoffmanna u obradi Alexandrea Dumasa oca)Libretto by Marius Ivanovich Petipa (after the story by Ernst Theodor Amadeus Hoffmann in adaptation by Alexandre Dumas,the father)

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET REPEAT PERFORMANCESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET REPEAT PERFORMANCES 9998 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE

VEČER TRI BALETATriple Bill Ballet Evening

George Balanchine � Hans van Manen � Derek Deane

Večer tri baleta sadržava tri različita koreografska koncepta

prezentirana s tri svjetski poznata kraća baletna djela koje

spaja tradicija, bravura i modernost. Prvi dio sadržava Con-

certo barocco nastao na glazbu Koncerta u d-molu za dvije

violine Johanna Sebastiana Bacha i tipična je Balanchineova

koreografija proizašla iz glazbene partiture. Središnji dio ve-

čeri prikazuje balet znamenitog nizozemskog koreografa Hansa

van Manena Pet tanga na glazbu Ástora Piazolle i predstavlja

savršenu viziju baletnog tanga u maniri ovog nezaobilaznog

suvremenog baletnog autora. U Paquiti na glazbu različitih

autora i u koreografiji Dereka Deanea ženski ansambl zagre-

bačkog Baleta demonstrira paradu klasičnog plesa u blješta-

vom scenskom okviru. Baletna večer percipirana je kao

svojevrsna proslava plesa te ju je iznimno dobro prihvatila i

publika i kritika.

The Triple Bill Ballet Evening contains three different choreo-

graphic concepts presented by three world famous shorter bal-

let pieces that are linked by tradition, bravura and modernity.

The first part is Concerto barocco created to the music of Jo-

hann Sebastian Bach’s Concert in d-minor for two violins. It is

a typical Balanchine‘s choreography that derives from a music

score. The central part of the triple bill is the ballet Five Tan-

gos of the renowned Dutch choreographer Hans van Manen,

created to the music of Astor Piazolla. It represents a perfect

vision of a ballet tango in the style of the unavoidable con-

temporary ballet author. In Paquita choreographed by Derek

Deane to the music of various authors, the female ensemble

of the Zagreb Ballet demonstrates a parade of classical bal-

let in a dazzling stage frame. The ballet evening is perceived

as a specific celebration of dance and was exceptionally well

accepted both by the critics and by the audience.

Koreografi / Choreographers George Balanchine � Hans van Manen � Derek DeaneGlazba / Music Johan Sebastian Bach � Ástor Piazzolla � Ludwig Minkus, Riccardo Drigo, Léo Delibes,

Yuli Gerber, Aleksej Papkov, Nikolaj Čerepnin

Premijera 4. ožujka 2011. / Premiere March 4, 2011

DON QUIJOTEDon Quixote(Don Kihot)

Ludwig Minkus

Libreto Marius Petipa prema romanu Miguela de Cervantesa SaavedreLibretto Marius Petipa based upon the novel by Miguel de Cervantes Saavedra

Koreograf i redatelj / Choreographer and Director Patrick Armand prema Mariusu PetipauDirigenti / Conductors Dian Tchobanov / Miroslav SalopekScenografkinja / Set Designer Dinka JeričevićKostimografkinje / Costume Designers Dženisa Pecotić, Emina KušanOblikovatelj svjetla / Light Designer Deni ŠesnićPremijera 5. lipnja 2010. / Premiere June 5, 2010

Slavni roman slavnog španjolskog književnika Miguela de

Cervantesa o bistrom vitezu Don Quijoteu, napisan početkom

17. stoljeća, stvorio je prototip plemenitog viteza koji praćen

svojim vjernim slugom Sanchom Panzom doživljava brojne pu-

stolovine diljem Španjolske. U kasnijim stoljećima mnoga su

djela različitih žanrova inspirirana vitezom tužnog lika iz

Manche, a kao predložak uzeli su ga i koreograf Marius Petipa

i skladatelj Ludwig Minkus kako bi stvorili istoimeno baletno

djelo. Balet Don Quijote, praizveden 1869. godine u moskov-

skom Boljšom teatru, postao je sastavnica repertoara svih

svjetskih baletnih kazališta. U posljednjih sto četrdeset go-

dina mnogi su koreografi postavljali ovo djelo, koje pred svaki

ansambl postavlja teške zadatke tražeći virtuoznost, umijeće,

temperament i inventivnost.

The famous novel by the celebrated Spanish writer Miguel de

Cervantes about the ingenious knight Don Quixote, was writ-

ten at the beginning of the 17th century and created the pro-

totype of the noble knight who, accompanied by his faithful

servant Sancho Panza, experiences numerous adventures all

over Spain. In later centuries, many works of different genres

were inspired by the sad knight of Mancha, and he was taken

as the model by the choreographer Marius Petipa and the com-

poser Ludwig Minkus, who created the homonymous ballet

piece. Ballet Don Quixote was first performed in 1869 in the

Bolshoi Theatre in Moscow and has become an integral part of

the repertoire of all ballet theatres around the world. In the

last one hundred and forty years, many choreographers staged

this piece which requires virtuosity, skill, temper and inven-

tivness of the dancers.

101100 CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 BALLET REPEAT PERFORMANCESHRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE

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PEPELJUGACinderella(Zoluška)

Sergej Sergejevič Prokofjev / Sergey Sergeyevich Prokofiev

Libreto prema bajci Charlesa PerraultaLibretto is based upon the fairy-tale by Charles Perrault

Koreograf i redatelj / Choreographer and Director Derek DeaneDirigent / Conductor Dian TchobanovScenografkinja i kostimografkinja / Set and Costume Designer Roberta Guidi di BagnoOblikovatelj svjetla / Light Designer Deni Šesnić

Premijera 26. listopada 2007. / Premiere October 26, 2007

NAGRADE / AWARDS

Nagrada hrvatskog glumišta za najbolju predstavu u cjelini 2009. / The Croatian Theatre Arts‘ Award for the best performance in 2009Nagrade hrvatskog glumišta za ulogu Pepeljuge Pavli Mikolavčić i Petri Vargović za izuzetno ostvarenje mladom umjetniku do 28 godina, 2009. / The Croatian Theatre Arts‘ Award was granted to Pavla Mikolavčič for the role of Cinderella in 2009 and to Petra Vargović for an exceptionalcreation of a young artist until the age of 28 for the role of Cinderella in 2009

HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 103BALLET REPEAT PERFORMANCES

Lijepa, mlada djevojka sreće svojega princa, oni se zaljube,

vjenčaju i žive zauvijek sretni...

Ova romantična priča, klasična je dječja bajka o Pepeljugi

Charlesa Perraulta, ispričana glazbenim jezikom Sergeja Pro-

kofjeva i pokretom Dereka Deanea. Poput ostalih klasičnih ba-

leta i Pepeljuga pripada samom vrhu baletne literature, uvijek

popularnom kod najšire publike diljem svijeta. Savršena par-

titura zbog svoje složenosti i prožetosti melodramatsko-senti-

mentalnim ugođajem najvećim je dijelom zaslužna za tu

popularnost.

A beautiful, young girl meets her prince, they fall in love, get

married and live happily ever after... This romantic story, a

classic fairy-tale of Cinderella written by Charles Perrault, is

narrated through the language of music by Sergey Prokofiev

and movement by Derek Deane. Together with other classic

ballets, Cinderella belongs to the very peak of the ballet liter-

ature and is always popular with the wide audience all over the

world. Its popularity is mostly due to the perfect score satu-

rated with the air of melodrama and deep sentimentality.

104 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13BALET REPRIZE CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 105BALLET REPEAT PERFORMANCES

LABU�E JEZEROSwan Lake(Lebedinoe ozero)

Petar Iljič Čajkovski / Pyotr Ilyich Tchaikovsky

Libreto Vladimir Petrovič Begičev i Vasilij Fjodorovič GeljcerLibretto Vladimir Petrovich Begichev and Vasily Fedorovich Geltser

Koreograf i redatelj / Choreographer and Director Derek DeaneDirigenti / Conductors Mihail Sinkevič / Miroslav SalopekScenografkinja / Set Designer Roberta Guidi di BagnoKostimografkinja / Costume Designer Dženisa PecotićOblikovatelj svjetla / Light Designer Deni Šesnić

Premijera 1. lipnja 2007. / Premiere June 1, 2007

NAGRADE / AWARDS

Nagrada Oskar Harmoš Dmitriju Timofejevu za ulogu Princa Siegfrieda u sezoni 2009./2010./ The Award Oskar Harmoš was granted to Dmitry Timofeev for the role of Prince Siegfried in the season 2009/2010

Labuđe jezero, svakako najpopularnije djelo svjetskih baletnih

repertoara tijekom posljednjih sto trideset godina od svojega

nastanka, postalo je sinonim za baletno kazalište. Melo dra -

matična ljubavna priča o dobru i zlu jednako može pripadati

legendama bilo kojega naroda, dok veličanstvena glazba ro -

mantičnog i osjećajnog Čajkovskoga i dijelovi koreografije

Petipaa i Ivanova, kojih se dijelovi, poput muzejskih dra go -

cjenosti čuvaju u gotovo svakoj izvedbi, uvijek iznova pobuđuju

oduševljenje diljem svijeta. Kao svi romantični baleti, i ovaj

tra ži maksimalnu sinkronizaciju ansambla i perfekciju izvo -

đe nja, pa je jedno od najtežih iskušenja za svaki baletni

ansambl, dok uloga Odette/Odilije do danas predstavlja vrhu -

nac umjetnosti svake klasične balerine.

Swan Lake, most certainly the most popular work on the ballet

repertoires around the world in the last one hundred and thirty

years since it was created, has become the synonym for ballet

theatre. The melodramatic love story about the good and the

evil can belong to the legends of any nation, while the mag -

nificent music of the romantic and emotional Tchaikovsky and

the fragments of the choreography by Petipa and Ivanov, which

are treasured in every staging as museum valuables, inspire

enthusiasm in the audience around the world. Like all roman -

tic ballets, this one also requires the utmost synchronization

of the ensemble and the performative perfection, and it pres -

ents one of the biggest challenges for every ballet ensemble,

while the role of Odette/Odilia is considered the peak of the

dancing skill for every classical ballet dancer.

Parket / Pit 345 sjedala / seats

Lože mezzanin / Boxes in mezzanine 105 sjedala / seats

Lože 1. kat / Boxes 1st floor 105 sjedala / seats

Balkon / Balcony 140 sjedala / seats

UKUPNO / TOTAL 695 sjedala / seats

PLAN GLEDALIŠTA / GROUND PLAN OF THE AUDITORIUM

107CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 PLAN GLEDALIŠTA GROUND PLAN OF THE AUDITORIUM

109108 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU SEZONA 12/13 PRETPLATA

8 POPULARNA PRETPLATADrama1/ Euripid MEDEJA2/ Miroslav Krleža GOSPODA GLEMBAJEVI3/ Ivo Vojnović MAŠKARATE ISPOD KUPLJA4/ Anton Pavlovič Čehov VIŠNJIKOpera5/ Gaetano Donizetti LJUBAVNI NAPITAK6 Ambroise Thomas HAMLET7/ Giuseppe Verdi TRUBADURBalet8/ Hugo Viera VARIJACIJE U F.ADO MOLU9/ Marco Goecke � Uwe Scholz

VEČER NJEMAČKIH AUTORA

10 POPULARNA PRETPLATADrama1/ Ranko MarinkovićU ZNAKU VAGE2/ William Shakespeare

NA TRI KRALJA ILI KAKO HOĆETE3/ George Bernard Shaw PIGMALIONOpera4/ Johann Strauss ml. ŠIŠMIŠ5/ Jakov Gotovac ERO S ONOGA SVIJETA6/ Giuseppe Verdi TRUBADURBalet7/ Jules Massenet � Kenneth MacMillan MANON8/ Ludwig Minkus DON QUIJOTE9/ Léo Delibes-Youri Vàmos

COPPÉLIA NA MONTMARTREU

12 DRAMSKO-OPERNA PRETPLATADrama1/ Euripid MEDEJA2/ George Bernard Shaw PIGMALION3/ Carlo Goldoni

GOSTIONIČARKA MIRANDOLINA4/ William Shakespeare

NA TRI KRALJA ILI KAKO HOĆETE5/ Anton Pavlovič Čehov VIŠNJIKOpera6/ Richard Wagner LOHENGRIN7/ Leoš Janáček JENUFA8/ Gaetano Donizetti LJUBAVNI NAPITAK9/ Gioachino Rossini SEVILJSKI BRIJAČ

9 POPULARNA PRETPLATADrama1/ Ivica Boban ZAGORKA2/ Euripid MEDEJA3/ Ivo Vojnović MAŠKARATE ISPOD KUPLJA4/ Anton Pavlovič Čehov VIŠNJIKOpera5/ Ambroise Thomas HAMLET6/ Johann Strauss ml. ŠIŠMIŠ7/ Wolfgang Amadeus Mozart DON GIOVANNI Balet8/ Léo Delibes � Youri Vàmos

COPPÉLIA NA MONTMARTREU9/ George Balanchine � Hans van Manen

� Derek Deane VEČER TRI BALETA

11 POPULARNA PRETPLATADrama1/ Ivica Boban ZAGORKA2/ Lav Nikolajevič Tolstoj RAT I MIR3/ Carlo Goldoni

GOSTIONIČARKA MIRANDOLINA4/ Ranko Marinković U ZNAKU VAGEOpera5/ Richard Wagner LOHENGRIN6/ Ambroise Thomas HAMLET7/ Ivan pl. Zajc NIKOLA ŠUBIĆ ZRINJSKIBalet8/ Marco Goecke � Uwe Scholz

VEČER NJEMAČKIH AUTORA9/ Petar Iljič Čajkovski LABU�E JEZERO

13 i 14 OPERNO-BALETNA PRETPLATAOpera1/ Blagoje Bersa POSTOLAR OD DELFTA2/ Giuseppe Verdi AIDA3/ Leoš Janáček JENUFA4/ Gioachino Rossini SEVILJSKI BRIJAČ 5/ Wolfgang Amadeus Mozart DON GIOVANNIBalet6/ Hugo Viera VARIJACIJE U F.ADO MOLU7/ Igor Stravinski POSVEĆENJE PROLJEĆA8/ Jules Massenet � Kenneth MacMillan MANON9/ Ludwig Minkus DON QUIJOTE

PROGRAM PRETPLATE ZA SEZONU 2012./2013.UPIS PRETPLATE (preuzimanje pretplatničkih ulaznica) za prošlosezonske pretplatnike od 11. do 23. lipnja 2012.i od 3. do 8. rujna 2011.; za nove pretplatnike od 10. do 22. rujna 2012.

Blagajna za upis pretplate otvorena je radnim danom od 10 do 13 i od 16 do 19 sati, a subotom od 10 do 13 sati.Informacije o pretplati možete dobiti na brojeve telefona 4888 412, 4888 413, 4888 414, 4888 419, 4888 488 (centrala) www.hnk.hr; e-mail: hnk@hnk.hr

1 DRAMSKA PRETPLATA

1/ Euripid MEDEJA2/ William Shakespeare

NA TRI KRALJA ILI KAKO HOĆETE3/ Anton Pavlovič Čehov VIŠNJIK4/ Ranko Marinković U ZNAKU VAGE5/ Jean-Baptiste Poquelin Molière

� Jean-Baptiste Lully GRA�ANIN PLEMIĆ6/ GOSTUJUĆA PREDSTAVA

2 OPERNA PRETPLATA

1/ Blagoje Bersa POSTOLAR OD DELFTA2/ Giuseppe Verdi AIDA3/ Richard Wagner LOHENGRIN4/ Jakov Gotovac ERO S ONOGA SVIJETA5/ Gioachino Rossini SEVILJSKI BRIJAČ6/ Wolfgang Amadeus Mozart

DON GIOVANNI

3 BALETNA PRETPLATA

1/ Igor Stravinski POSVEĆENJE PROLJEĆA2/ Hugo Viera VARIJACIJE U F.ADO MOLU3/ Jules Massenet � Kenneth MacMillan

MANON4/ Ludwig Minkus DON QUIJOTE5/ Sergej Sergejevič Prokofjev PEPELJUGA6/ GOSTUJUĆA PREDSTAVA

4 VIKEND PRETPLATASubotom u 18,00 sati

Drama1/ William Shakespeare

NA TRI KRALJA ILI KAKO HOĆETE2/ Ivica Boban ZAGORKA3/ Jean-Baptiste Poquelin Molière

� Jean-Baptiste Lully GRA�ANIN PLEMIĆ Opera4/ Richard Wagner LOHENGRIN5/ Ambroise Thomas HAMLET6/ Giuseppe Verdi TRUBADURBalet7/ Ludwig Minkus DON QUIJOTE 8/ Marco Goecke � Uwe Scholz

VEČER NJEMAČKIH AUTORA9/ Petar Iljič Čajkovski ORAŠAR

5 VIKEND PRETPLATASubotom u 18,00 sati

Drama1/ George Bernard Shaw PIGMALION2/ Euripid MEDEJA3/ Miroslav Krleža GOSPODA GLEMBAJEVIOpera4/ Blagoje Bersa POSTOLAR OD DELFTA5/ Leoš Janáček JENUFA6/ Johann Strauss ml. ŠIŠMIŠBalet7/ Marco Goecke � Uwe Scholz

VEČER NJEMAČKIH AUTORA8/ Léo Delibes � Youri Vàmos

COPPÉLIA NA MONTMARTREU9/ Petar Iljič Čajkovski LABU�E JEZERO

6 VIKEND PRETPLATASubotom u 18,00 sati

Drama1/ Ivo Vojnović MAŠKARATE ISPOD KUPLJA2/ Anton Pavlovič Čehov VIŠNJIK3/ Carlo Goldoni GOSTIONIČARKA

MIRANDOLINAOpera4/ Giuseppe Verdi AIDA5/ Gaetano Donizetti LJUBAVNI NAPITAK6/ Giuseppe Verdi TRUBADURBalet7/ Hugo Viera VARIJACIJE U F.ADO MOLU8/ Sergej Sergejevič Prokofjev PEPELJUGA9/ Jules Massenet � Kenneth MacMillan

MANON

7 POPULARNA PRETPLATADrama1/ Lav Nikolajevič Tolstoj RAT I MIR2/ William Shakespeare

NA TRI KRALJA ILI KAKO HOĆETE3/ Ranko Marinković U ZNAKU VAGE4/ Carlo Goldoni GOSTIONIČARKA

MIRANDOLINA

Opera5/ Richard Wagner LOHENGRIN6/ Gaetano Donizetti LJUBAVNI NAPITAK7/ Ivan pl. Zajc NIKOLA ŠUBIĆ ZRINJSKI Balet8/ Petar Iljič Čajkovski LABU�E JEZERO9/ Marco Goecke � Uwe Scholz VEČER NJEMAČKIH AUTORA

16 PRETPLATA KAZALIŠNA GALERIJA Drama1/ William Shakespeare NA TRI KRALJA ILI KAKO HOĆETE2/ Ivica Boban ZAGORKA3/ Jean-Baptiste Poquelin Molière � Jean-Baptiste Lully GRA�ANIN PLEMIĆOpera4/ Giuseppe Verdi AIDA5/ Ambroise Thomas HAMLET6/ Wolfgang Amadeus Mozart DON GIOVANNIBalet7/ Jules Massenet � Kenneth MacMillan MANON8/ Hugo Viera VARIJACIJE U F.ADO MOLU 9/ George Balanchine � Hans van Manen � Derek Deane VEČER TRI BALETA

15 PRETPLATA OBITELJSKI PETAK Drama1/ George Bernard Shaw PIGMALION2/ Carlo Goldoni GOSTIONIČARKA MIRANDOLINA3/ Jean-Baptiste Poquelin Molière � Jean-Baptiste Lully

GRA�ANIN PLEMIĆOpera4/ Blagoje Bersa POSTOLAR OD DELFTA5/ Jakov Gotovac ERO S ONOGA SVIJETA6/ Gioachino Rossini SEVILJSKI BRIJAČ Balet7/ Sergej Sergejevič Prokofjev PEPELJUGA8/ George Balanchine � Hans van Manen � Derek Deane

VEČER TRI BALETA9/ Léo Delibes � Youri Vàmos COPPÉLIA NA MONTMARTREU

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 111110 SUBSCRIPTION

SUBSCRIPTION FOR THE SEASON 2012/2013Subscription registering (taking over of subscription tickets) For the last season's subscribers fromJune 11 to 23 and from September 3 to 8, 2012.; For new subscribers from September 10 to 22, 2012.Box office for subscription registering is open Monday to Friday from 10 to 13 and from 16 to 19 hours,Saturday from 10 to 13 hoursSubscription information at (**385 1) 4888 412, 4888 413, 4888 414, 4888 419, 4888 488 (switchboard)www.hnk.hr; e-mail: hnk@hnk.hr

SUBSCRIPTION 1 DRAMA

1/ Euripides MEDEA2/ William Shakespeare

TWELFTH NIGHT; OR, WHAT YOU WILL3/ Anton Pavlovich Chekhov

THE CHERRY ORCHARD4/ Ranko Marinković IN THE SIGN OF LIBRA5/ Jean-Baptiste Poquelin Molière � Jean-

Baptiste Lully THE BOURGEOIS GENTLEMAN6/ GUEST DRAMA PERFORMANCE

SUBSCRIPTION 2 OPERA

1/ Blagoje Bersa THE SHOEMAKER FROM DELFT

2/ Giuseppe Verdi AIDA3/ Richard Wagner LOHENGRIN4/ Jakov Gotovac ERO THE JOKER5/ Gioachino Rossini THE BARBER OF SEVILLE6/ Wolfgang Amadeus Mozart

DON GIOVANNI

SUBSCRIPTION 3 BALLET

1/ Igor Stravinsky THE RITE OF SPRING2/ Hugo Viera VARIATIONS IN F.ADO MINOR3/ Jules Massenet � Kenneth MacMillan

MANON4/ Ludwig Minkus DON QUIXOTE5/ Sergey Sergeyevich Prokofiev CINDERELLA6/ GUEST BALLET PERFORMANCE

SUBSCRIPTION 4Saturday at 18.00 hoursDrama1/ William Shakespeare

TWELFTH NIGHT; OR, WHAT YOU WILL2/ Ivica Boban ZAGORKA3/ Jean-Baptiste Poquelin Molière � Jean

-Baptiste Lully THE BOURGEOIS GENTLEMANOpera4/ Richard Wagner LOHENGRIN5/ Ambroise Thomas HAMLET6/ Giuseppe Verdi IL TROVATOREBallet7/ Ludwig Minkus DON QUIXOTE 8/ Marco Goecke � Uwe Scholz

AN EVENING OF GERMAN AUTHORS9/ Pyotr Ilyich Tchaikovsky THE NUTCRACKER

SUBSCRIPTION 5Saturday at 18.00 hoursDrama1/ George Bernard Shaw PYGMALION2/ Euripid MEDEA3/ Miroslav Krleža THE GLEMBAYSOpera4/ Blagoje Bersa THE SHOEMAKER FROM DELFT5/ Leoš Janáček JENUFA6/ Johann Strauss Jr. THE BATBallet7/ Marco Goecke � Uwe Scholz

AN EVENING OF GERMAN AUTHORS8/ Léo Delibes � Youri Vàmos

COPPÉLIA ON MONTMARTRE9/ Pyotr Ilyich Tchaikovsky

SWAN LAKE

SUBSCRIPTION 6Saturday at 18.00 hoursDrama1/ Ivo Vojnović MASQUERADES UNDER

THE ROOFING TILES2/ Anton Pavlovich Chekhov THE CHERRY

ORCHARD3/ Carlo Goldoni THE MISTRESS OF THE INNOpera4/ Giuseppe Verdi AIDA5/ Gaetano Donizetti L’ELISIR D’AMORE6/ Giuseppe Verdi IL TROVATOREBallet7/ Hugo Viera VARIATIONS IN F.ADO MINOR8/ Sergey Sergeyevich Prokofiev CINDERELLA9/ Jules Massenet � Kenneth MacMillan

MANON

SUBSCRIPTION 7Drama1/ Leo Nikolayevich Tolstoy

WAR AND PEACE2/ William Shakespeare

TWELFTH NIGHT; OR, WHAT YOU WILL3/ Ranko Marinković

IN THE SIGN OF LIBRA4/ Carlo Goldoni THE MISTRESS OF THE INN

Opera5/ Richard Wagner LOHENGRIN6/ Gaetano Donizetti L’ELISIR D’AMORE7/ Ivan pl. Zajc NIKOLA ŠUBIĆ ZRINJSKI Ballet8/ Pyotr Ilyich Tchaikovsky SWAN LAKE9/ Marco Goecke � Uwe Scholz

AN EVENING OF GERMAN AUTHORS

SUBSCRIPTION 8Drama1/ Euripides MEDEA2/ Miroslav Krleža THE GLEMBAYS3/ Ivo Vojnović MASQUERADES

UNDER THE ROOFING TILES4/ Anton Pavlovich Chekhov

THE CHERRY ORCHARDOpera5/ Gaetano Donizetti L’ELISIR D’AMORE6 Ambroise Thomas HAMLET7/ Giuseppe Verdi IL TROVATOREBallet8/ Hugo Viera VARIATIONS IN F.ADO MINOR9/ Marco Goecke � Uwe Scholz

AN EVENING OF GERMAN AUTHORS

SUBSCRIPTION 10Drama1/ IN THE SIGN OF LIBRA2/ William Shakespeare

TWELFTH NIGHT; OR, WHAT YOU WILL3/ George Bernard Shaw PYGMALIONOpera4/ Johann Strauss Jr. THE BAT5/ Jakov Gotovac ERO THE JOKER6/ Giuseppe Verdi IL TROVATOREBallet7/ Jules Massenet � Kenneth MacMillan MANON8/ Ludwig Minkus DON QUIXOTE9/ Léo Delibes-Youri Vàmos

COPPÉLIA ON MONTMARTRE

SUBSCRIPTION 12 DRAMA-OPERA Drama1/ Euripides MEDEA2/ George Bernard Shaw PYGMALION3/ Carlo Goldoni THE MISTRESS OF THE INN4/ William Shakespeare

TWELFTH NIGHT; OR, WHAT YOU WILL5/ Anton Pavlovich Chekhov

THE CHERRY ORCHARDOpera6/ Richard Wagner LOHENGRIN7/ Leoš Janáček JENUFA8/ Gaetano Donizetti L’ELISIR D’AMORE9/ Gioachino Rossini THE BARBER OF SEVILLE

SUBSCRIPTION 9Drama1/ Ivica Boban ZAGORKA2/ Euripides MEDEA3/ Ivo Vojnović MASQUERADES

UNDER THE ROOFING TILES4/ Anton Pavlovich Chekhov

THE CHERRY ORCHARDOpera5/ Ambroise Thomas HAMLET6/ Johann Strauss Jr. THE BAT7/ Wolfgang Amadeus Mozart DON GIOVANNI Ballet8/ Léo Delibes � Youri Vàmos

COPPÉLIA ON MONTMARTRE9/ George Balanchine � Hans van Manen

� Derek Deane TRIPLE BILL BALLET EVENING

SUBSCRIPTION 11Drama1/ Ivica Boban ZAGORKA2/ Leo Nikolayevich Tolstoy WAR AND PEACE3/ Carlo Goldoni THE MISTRESS OF THE INN4/ Ranko Marinković IN THE SIGN OF LIBRAOpera5/ Richard Wagner LOHENGRIN6/ Ambroise Thomas HAMLET7/ Ivan pl. Zajc NIKOLA ŠUBIĆ ZRINJSKIBallet8/ Marco Goecke � Uwe Scholz

AN EVENING OF GERMAN AUTHORS9/ Pyotr Ilyich Tchaikovsky SWAN LAKE

SUBSCRIPTION 13, 14 OPERA-BALLET Opera1/ Blagoje Bersa THE SHOEMAKER FROM DELFT2/ Giuseppe Verdi AIDA3/ Leoš Janáček JENUFA4/ Gioachino Rossini THE BARBER OF SEVILLE 5/ Wolfgang Amadeus Mozart DON GIOVANNIBallet6/ Hugo Viera VARIATIONS IN F.ADO MINOR7/ Igor Stravinsky THE RITE OF SPRING8/ Jules Massenet � Kenneth MacMillan MANON9/ Ludwig Minkus DON QUIXOTE

SUBSCRIPTION 16 THEATER VARIETY Drama1/ William Shakespeare TWELFTH NIGHT; OR, WHAT YOU WILL2/ Ivica Boban ZAGORKA3/ Jean-Baptiste Poquelin Molière � Jean-Baptiste Lully THE BOURGEOIS GENTLEMANOpera4/ Giuseppe Verdi AIDA5/ Ambroise Thomas HAMLET6/ Wolfgang Amadeus Mozart DON GIOVANNIBallet7/ Jules Massenet � Kenneth MacMillan MANON8/ Hugo Viera VARIATIONS IN F.ADO MINOR 9/ George Balanchine � Hans van Manen � Derek Deane TRIPLE BILL BALLET EVENING

SUBSCRIPTION 15 FAMILY FRIDAY Drama1/ George Bernard Shaw PYGMALION2/ Carlo Goldoni THE MISTRESS OF THE INN3/ Jean-Baptiste Poquelin Molière � Jean-Baptiste Lully

THE BOURGEOIS GENTLEMANOpera4/ Blagoje Bersa THE SHOEMAKER FROM DELFT5/ Jakov Gotovac ERO THE JOKER6/ Gioachino Rossini THE BARBER OF SEVILLE Ballet7/ Sergey Sergeyevich Prokofiev CINDERELLA8/ George Balanchine � Hans van Manen � Derek Deane

TRIPLE BILL BALLET EVENING9/ Léo Delibes � Youri Vàmos COPPÉLIA ON MONTMARTRE

112 HRVATSKO NARODNO KAZALIŠTE U ZAGREBU KONTAKTI CONTACTS

Centrala / Switch-Board: +385 (0)1 4888 488Blagajna / Box office: +385 (0)1 4888 415Infocentar / Infocentre: +385 (0)1 4888 418 e-mail: hnk@hnk.hr

infocentar@hnk.hr

Intendantica / General Manager: tel. +385 (0)1 4888 402 fax: +385 (0)1 4888 404e-mail: uredintendantice@hnk.hr

Poslovna ravnateljica / Business Manager:tel. +385 (0)1 4888 401e-mail: stela.stazic@hnk.hr

Drama: tel. +385 (0)1 4888 432e-mail: drama@hnk.hr

Opera: tel. +385 (0)1 4888 422e-mail: opera@hnk.hr

Balet / Ballet: tel. +385 (0)1 4888 442e-mail: balet@hnk.hr

Tehnika / Technical Department: tel. +385 (0)1 4888 502fax: +385 (0)1 4888 505

Služba prodaje, promocije i odnosa s javnošću /Sales, Promotion and PR Department:

Drama: tel. +385 (0)1 4888 413e-mail: drama.prodaja@hnk.hr

Opera: tel. +385 (0)1 4888 412e-mail: opera.prodaja@hnk.hr

Balet / Ballet: tel. +385 (0)1 4888 414e-mail: balet.prodaja@hnk.hr

Služba marketinga / Marketing Department:tel. +385 (0)1 4888 410e-mail: marketing@hnk.hr

www.hnk.hr

KONTAKTI / CONTACTS

Nakladnik / PublisherHrvatsko narodno kazalište u Zagrebu/ Croatian National Theatre in ZagrebTrg maršala Tita 15 HR-10000 Zagreb, Croatia

Za nakladnika / For the Publisherdr. sc. Ana Lederer

Urednica izdanja / Editordr. sc. Ana Lederer

Izvršna urednica / Executive EditorStela Telebuh Stazić

Art DirectorBernard Bunić

Oblikovanje i prijelomDesign & LayoutAxis-Design d.o.o., Zagreb&Žinić OM, Za

Fotografije / Photographs byDamil Kalogjera, Saša Novković, Ines Novković, Aljoša Rebolj, Vjekoslav Skledar

Prijevod / TranslationAndreja Kovačić, Mirna Čubranić

Lektura i korekturaLanguage Editor & Proof-readerLucija Ljubić

Tisak / Printed byKerschoffset Zagreb

CROATIAN NATIONAL THEATRE IN ZAGREB SEASON 12/13 119SPONZORI SPONSORS 119

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