V Brn\u011b se neboj\u00ed nov\u00fdch v\u011bc\u00ed. <\/p>\n\n\n\n
Pro \u00fanorov\u00e9 dny, snad symbolicky, p\u0159ipravili zcela novou operu o Stalinov\u011b pomn\u00edku na Letn\u00e9. Monument. Se\u0161lo se k tomu tv\u016fr\u010d\u00ed duo zku\u0161en\u00fdch mistr\u016f. Marko Ivanovi\u010d a David Radok. A povstal z toho mimo\u0159\u00e1dn\u00fd kus, kter\u00fd st\u00e1l za vid\u011bn\u00ed, u\u017e pro tu odvahu pustit se do n\u011b\u010deho takov\u00e9ho. <\/p>\n\n\n\n\n\n\n\n
Monument nen\u00ed o kusu \u017euly, jakkoli ob\u0159\u00edm, je sp\u00ed\u0161 o tom, jakou p\u0159\u00edt\u011b\u017e\u00ed se tenhle kus \u017euly m\u016f\u017ee st\u00e1t a jak obstoj\u00ed \u010di neobstoj\u00ed tv\u016fr\u010d\u00ed z\u00e1pal, mistrovstv\u00ed a rovn\u00e1 p\u00e1te\u0159 pod tlakem mas a odlid\u0161t\u011bn\u00e9ho re\u017eimu. \u201cBez tv\u016fr\u010d\u00ed pr\u00e1ce a mohutn\u00e9ho rozmachu aktivity lidu bychom nedos\u00e1hli \u017e\u00e1dn\u00e9ho z on\u011bch velk\u00fdch \u00fasp\u011bch\u016f na\u0161\u00ed v\u00fdstavby, j\u00ed\u017e jsme denn\u011b sv\u011bdky,\u201d prav\u00ed 1. tajemn\u00edk hned na za\u010d\u00e1tku opery ke shrom\u00e1\u017ed\u011bn\u00fdm mas\u00e1m a vy v tu chv\u00edli v\u00edte, \u017ee to je p\u0159esn\u011b naopak. \u017de to, co je opravdu tv\u016fr\u010d\u00ed skon\u010d\u00ed jako n\u00e1vrh jednoho ze socha\u0159\u016f. St\u0159epy, basa, nakl\u00e1da\u010dka. Vlastizrada!<\/p>\n\n\n\n
Monument je p\u0159\u00edb\u011bhem tv\u016frce Stalinova pomn\u00edku Otakara \u0160vece. Je p\u0159\u00edb\u011bhem marnosti, na jeho\u017e konci jsou dva vyhasl\u00e9 \u017eivoty a pomn\u00edk, kter\u00fd se, a\u010d m\u011bl st\u00e1t na v\u011b\u010dn\u00e9 \u010dasy, prom\u011bn\u00ed v prach a hromadu sutin.<\/p>\n\n\n\n
Opera byla naps\u00e1na na m\u00edru Jan\u00e1\u010dkovu divadlu. P\u0159esto\u017ee je to opera o jednom d\u011bjstv\u00ed a jeden\u00e1cti kr\u00e1tk\u00fdch obrazech a p\u0159esto\u017ee jej\u00ed jazyk je velmi \u00fase\u010dn\u00fd a hudebn\u00ed \u010d\u00e1st velmi \u00fasporn\u00e1, je to opera s monument\u00e1ln\u00ed sc\u00e9nou. Podle m\u00e9ho je pr\u00e1v\u011b vizu\u00e1ln\u00ed str\u00e1nka t\u00edm nejsiln\u011bj\u0161\u00edm, co opera nab\u00edz\u00ed. Rozlehlost, bez\u00fat\u011b\u0161nost, t\u00edsnivost a v podstat\u011b absence soukrom\u00ed tu mimo\u0159\u00e1dn\u011b siln\u011b p\u016fsob\u00ed. Sc\u00e9na i kost\u00fdmy jsou v\u00edcem\u00e9n\u011b uniformn\u00ed, za\u0161edl\u00e9, lid\u00e9 se sl\u00e9vaj\u00ed v masy a nad t\u00edm v\u0161\u00edm zlov\u011bstn\u00fd rud\u00fd \u00fasvit.<\/p>\n\n\n\n
Pro obsazen\u00ed hlavn\u00edch rol\u00ed s\u00e1hli auto\u0159i neomyln\u011b po Svatopluku Semovi a Mark\u00e9t\u011b Cukrov\u00e9. Oba jsou, nakolik jim to libreto umo\u017e\u0148uje, vynikaj\u00edc\u00ed a to jak p\u011bvecky, tak herecky. Dobr\u00e9 jsou i v\u0161echny t\u0159i sbory (Sbor Jan\u00e1\u010dkovy opery, \u010cesk\u00fd akademick\u00fd sbor a D\u011btsk\u00fd sbor Brno).<\/p>\n\n\n\n
Bohu\u017eel p\u0159es v\u0161echny tyto p\u0159edpoklady opera moje o\u010dek\u00e1v\u00e1n\u00ed nenaplnila. Jsem konzerva a \u00fapln\u011b jsem se nepotkal s hudebn\u00ed str\u00e1nkou. Navzdory n\u011bkolika poveden\u00fdch sc\u00e9n\u00e1m, kdy hudba opravdu p\u016fsobila mocn\u011b (zejm\u00e9na prvn\u00ed obraz), si z n\u00ed nepamatuju v\u016fbec nic. Zkr\u00e1tka to nebyl m\u016fj \u0161\u00e1lek \u010daje. <\/p>\n\n\n\n
V\u011bt\u0161\u00ed slabinou cel\u00e9ho kusu pro mne ale z\u016fst\u00e1v\u00e1 libreto. Atmosf\u00e9ra houstne, je mu\u010div\u00e1, div\u00e1k v\u00ed, k jak\u00e9mu to sp\u011bje konci, a p\u0159esto v t\u011bch kl\u00ed\u010dov\u00fdch chv\u00edl\u00edch p\u0159ijde komick\u00fd moment, groteskn\u00ed \u0161kleb, div\u00e1ci okolo v\u00e1s se za\u010dnou sm\u00e1t a s\u00edla t\u011bch nast\u0159\u00e1dan\u00fdch emoc\u00ed je najednou pry\u010d. Katarze se nekon\u00e1. Libreto mi br\u00e1nilo proniknout k postav\u011b socha\u0159e, nedok\u00e1zal jsem s n\u00edm pro\u017e\u00edt pln\u011b jeho p\u0159\u00edb\u011bh. P\u0159\u00edkladem budi\u017e druh\u00fd obraz odehr\u00e1vaj\u00edc\u00ed se v ateli\u00e9ru. T\u0159i siln\u00e9 postavy, Socha\u0159, jeho \u017eena a jeho kolega. Zde je z\u00e1sadn\u00ed souboj o samu podstatu – tvorba a svoboda vs. zaji\u0161t\u011bn\u00e9 \u017eivobyt\u00ed. A tu libretista vlo\u017e\u00ed do \u00fast socha\u0159ov\u011b \u017een\u011b slova: \u201cTy n\u00e1\u0161 mal\u00fd Mefisto\u2026\u201d. Hledi\u0161t\u011bm za\u0161um\u00ed sm\u00edch a cel\u00e1 dramati\u010dnost situace je pry\u010d. Podobn\u00fdch situac\u00ed je v ope\u0159e bohu\u017eel v\u00edc. Je to snad z\u00e1m\u011br autor\u016fv, kter\u00fd m\u00e1 dosv\u011bd\u010dit absurdnost a grotesknost cel\u00e9 situace a snad trochu ubrat patos, ale j\u00e1 jsem v t\u011bch momentech ztratil z\u00e1jem o d\u011bn\u00ed. Zbyla mi jen slova meta\u0159\u016f: \u201cPap\u00edry, fla\u0161ky, vajgly, smrad, \u0161p\u00edna a smet\u00ed, odpad a odpadky, zbytky a ostatky na\u0161eho byt\u00ed.\u201d Sebevra\u017eda socha\u0159ova mi pak byla zcela lhostejn\u00e1. <\/p>\n\n\n\n
\u201cJe to v\u0161echno stejn\u011b marn\u00e9, omrz\u00ed b\u00fdt dobr\u00fd, omrz\u00ed b\u00fdt \u0161patn\u00fd,\u201d zp\u00edv\u00e1 v Jan\u00e1\u010dkov\u011b V\u011bci Makropulos Elina, ale tam, tam je to s\u00edla. V Monumentu je to jen dal\u0161\u00ed chleba s tla\u010denkou a tu j\u00e1 nerad.<\/p>\n\n\n\n
<\/p>\n\n\n\n
Monument | ND Brno 29.2.2020<\/strong><\/p>\n\n\n\n autor: Marko Ivanovi\u0107 Socha\u0159: Svatopluk Sem j. h. <\/p>\n<\/div><\/div>\n\n\n\n <\/p>\n\n\n\n V Brn\u011b se neboj\u00ed nov\u00fdch v\u011bc\u00ed. Pro \u00fanorov\u00e9 dny, snad symbolicky, p\u0159ipravili zcela novou operu o Stalinov\u011b pomn\u00edku na Letn\u00e9. Monument. Se\u0161lo se k tomu tv\u016fr\u010d\u00ed duo zku\u0161en\u00fdch mistr\u016f. Marko Ivanovi\u010d a David Radok. A povstal z toho mimo\u0159\u00e1dn\u00fd kus, kter\u00fd st\u00e1l za vid\u011bn\u00ed, u\u017e pro tu odvahu pustit se do n\u011b\u010deho takov\u00e9ho. <\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51,50,1],"tags":[],"_links":{"self":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/2571"}],"collection":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/comments?post=2571"}],"version-history":[{"count":4,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/2571\/revisions"}],"predecessor-version":[{"id":2576,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/posts\/2571\/revisions\/2576"}],"wp:attachment":[{"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/media?parent=2571"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/categories?post=2571"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.cozynotes.cz\/index.php\/wp-json\/wp\/v2\/tags?post=2571"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
hudebn\u00ed nastudov\u00e1n\u00ed: Marko Ivanovi\u0107
dirigent: Marko Ivanovi\u0107
re\u017eie: David Radok
sc\u00e9na: David Radok
kost\u00fdmy: Zuzana Je\u017ekov\u00e1<\/p>\n\n\n\n
Man\u017eelka: Mark\u00e9ta Cukrov\u00e1 j. h.<\/p>\n\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"