Krakow Chamber Opera

Old songs in Yiddish and traditional Jewish melodies, in interesting, new arrangements, with the preservation of traditional klezmer instruments. Singing, music, and movement - in successive, changing images - combine elements of mysticism, wonder, longing, elation, joy and fears into a harmonious whole, taking us into the dimension of forgotten, mysterious worlds.

A poetry spectacle filled with pictures of the medieval customs of the Kraków court, painted with poetry, song, music, dance - a time of feast, a time of love, a time of death. Medieval Polish poetry - the oldest monuments of the Polish language: poetry of manners, calendar poems and manners guides, love poetry, erotics and love letters, occasional and polemical works, didactic poetry, translations from the Bible (psalms), prayers, dramatic works. Polish medieval music - the oldest monuments of Polish music performed on old instruments, feast and religious songs, gothic court dances.

A musical play showing the customs and genre scenes of a Polish noble manor, painted with poetry, song, music and dance. Proposal time, love time, play time. The scenario of the show is consisted of: Old Polish landowners' poetry and manor and gentry poetry (old monuments of Polish music and language): Polish songs and dances, love poetry, renaissance poetry and baroque troubadour songs, rococo idylls, dumkas and feast songs; obereks, kujawiaks, mazurkas, polonaises, krakowiaks, pavans, minuets; based on the works of the following composers: Stanisław Moniuszko, Michał Kazimierz Ogiński, John Dowland (Lachrymae pavan), Jean-Philippe Rameau (minuet), anonymous Polish composers of the 17th and 18th centuries; a suite of Polish dances and the title song "Oświadczyny staropolskie" from the collection of Oskar Kolberg.

The Great Meeting of History and Legend in the Kraków noble manor. In the dance parade, legendary and historical figures tell tales about Old Polish traditions and customs. The beauty of Krakow and Polish hospitality, created in the unusual setting and atmosphere of the Polish noble manor and the Krakow salon, transfer in a natural and touching way into the future of our city. Authentic costumes, historical dances and original music create a unique atmosphere of the show.

This poem invokes various elements of our cultural tradition - our national mosaic (historical images, characters, myths). They unfold in pictures, sometimes beautiful, sometimes funny, sometimes dramatic. The guide to Polish myths is music - or to be more precise - a musical theme, different, depending on time, situation, people, and in fact - still the same. Musicality and music in the performance are the driving force of the thoughts expressed - it is a medium transmitting reflections on old and contemporary Poland, and space, gesture and all stage activities - symbolic, abbreviated, metaphorical.

A Passion-Easter show for two female voices, a male voice and old musical instruments (lute, viola da gamba, flutes) in the stylization of the 19th century Krakow salon. The texts of the show consisted of old Polish songs: incl. Renaissance compositions by Mikołaj Gomółka, Wacław of Szamotuły, Cyprian Bazylik, translated by Jan Kochanowski, Mikołaj Rej, Andrzej Trzecieski; a dramatic song from the "Dialogue of Marcin Łaski", a satirical song from "Kancjonał Zamojski"; blessing composition Ładysław from Gielniów from the 15th century; it is also Old Polish Passion and Easter songs from the 19th century collections of Michał Mioduszewski and Teofil Klonowski. The narrative uses the text of the Bible - "The Bible is the Books of the Old and New Testaments from Latin into Polish translated by Jakub Wujek" - reprint from the authentic Krakow edition from 1599.

The characters of 19th century pilgrims on their way to the holy places, created by actors, are presented to us by old Polish Marian songs from the 19th century collection by Michał Marcin Mioduszewski - a priest from the Congregation of Missionaries in Krakow, a Polish collector of church songs. He published the collected songs in the collections: "Church Songbook or Devout Songs with Melodies Used in the Catholic Church" (Krakow 1838) and "Pastorals and Christmas Carols with Melodies" (Krakow 1843). The performance also presents Marian songs from the Benedictine monastery in Montserrat (near Barcelona), where a unique collection of Marian songs from the 13th-14th centuries is collected in the so-called "Red Book".

The Scena EL-JOT Theatre spectacle has the shape of a dramatized oratorio, in which a female voice is "played" by male voice and instrument (piano), and the dramatic action and the actors' interpretation meet through recitatives, arias, duets, and instrumental parts. The scenario of the spectacle is based on the biblical text (Old Testament). In the interpretation adopted by the author of the present staging of the "Song of Songs" are two separate monologues, two separate views of love - feminine and masculine. It's seeing love in its human dimension, from birth and maturation to triumphant fulfillment. Finally, it is seeeing wandering, greedy love, which in its power is close to the power of death.

A passion show for two female voices, three male voices and three instruments (lute, viola da gamba, flutes) in the stylization of the 19th century Krakow salon. The texts of the performances were composed of old Polish songs, which are defenitely worth recalling, due to the wonderful cultural background of old melodies and the richness of Old Polish text motifs. These old songs are Renaissance compositions by Mikołaj Gomółka, Wacław of Szamotuły, Cyprian Bazylik - translated by Jan Kochanowski, Mikołaj Rej, Andrzej Trzecieski. It is a dramatic song from the "Dialogue of Marcin Łaski" and a satirical song from "Kancjonał Zamojski". It is an anonymous composition from the 14th century and a composition of bliss. Ładysław from Gielniów from the 15th century. Finally, these are Old Polish songs from the 19th century collection of Michał Mioduszewski and Teofil Klonowski. The dialogues were based on texts by Mikhail Bulgakov and Roman Brandstaetter, as well as on fragments of the Holy Bible.

Pastorele Staropolskie Musical play for three voices and three old instruments. The figures of 19th-century Krakow aristocrats, created by actresses, present Old Polish carols – the favorite songs of our ancestors, now forgotten but defenitely worth remembering, because of the richness of text motifs as well as the charm and cultural background of ancient melodies. These forgotten carols, dating back to the 16th, 17th and 18th centuries, come from cantionals: Monastery of the Benedictine Sisters of Staniątki near Krakow, Franciscan Sisters from the Monastery of St. Andrew in Krakow, the Monastery of the Discalced Carmelite Sisters from Krakow and from the 19th century collections of Oskar Kolberg and Michał Marcin Mioduszewski.

The scenario of this musical performance is consisted of: Karol Wojtyła's youthful poem "Song of the Glow of the Water", cantatas by Johann Sebastian Bach (fragments) and fragments of the Holy Bible translated by priest Jakub Wujek. Karol Wojtyła's poem begins with a quote from the Gospel of St. John referring to Jesus' conversation with the Samaritan woman at the well. This dialogue at the well is subjected by the author of the poem to a beautiful, poetic reflection. This spectacle was prepared on the occasion of the Year of John Paul II (100th anniversary of the birth of the Polish Pope) and on the occasion of the Bach Year (335th birthday and 270th death anniversary of this outstanding composer).

"The Little Mermaid" is the most beautiful love story of all time: a fairy tale about pure love. The script of this musical fable was based on the classic fairy tale "The Little Mermaid" written by Hans Christian Andersen and on the opera-ballet "Syrena" by Witold Maliszewski, a Polish composer of the first half of the 20th century. Witold Maliszewski "polonized" Andersen's fairy tale, by locating its action on the Baltic Sea, giving the characters Slavic names and introducing Polish national dances. The premiere performance of the opera-ballet took place in 1928 at the Grand Theater in Warsaw and was directed by the composer himself. Hans Christian Andersen addressed his fairy tales for both children and adults: "My fairy tales are like colorful boxes, on the outside for children, inside for the elderly. Children understand the anecdote, adults understand deeper, hidden content.”

Mr. Pimpinone was brought to life by the composer Georg Philipp Telemann and librettist Johann Philipp Praetorius. The story is as old as the world itself: Vespetta the chambermaid wheedles her way into marrying her employer, old Pimpinone. Once married she shows her waspish nature (the name Vespetta means "little wasp") and completely dominates her husband… Telemann belongs to the most famous Baroque composers from the turn of the 18th century. In Bach’s times, he was overrated, today – he is definitely underrated. Son of the evangelical deacon, author of numerous suites, concertos, passions, oratorios and approximately 50 operas, including the most well-known and successful: Pimpinone. The new opera play of the Kraków Chamber Opera is co-produced by the Academy of Music in Kraków and the Academy of Music in Wrocław. In April, we will hear the concert version of the opera, stage version will be presented in autumn. (karnet.krakow.pl)

A true gem of charm, levity and wit, an exquisite union between text and music, flowing plot, characters resembling those of the commedia dell`arte of old, a subtle instrumentation, spectacular solo parts and masterful group scenes.

The program includes music by: Wolfgang Amadeus Mozart, Gaetano Donizetti, Antonio Vivaldi, Giuseppe Verdi.