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Korunovace Poppey<\/strong> – L’incoronazione di Poppea<\/strong> – je opera pln\u00e1 kr\u00e1sn\u00e9 muziky a hanebn\u00fdch lid\u00ed. \u00dast\u0159edn\u00ed zamilovan\u00e1 dvojice, kter\u00e1 v z\u00e1v\u011bru opery cukruje sv\u016fj n\u00e1dhern\u00fd duet Pur ti miro<\/em>, u kter\u00e9ho se v\u0161ichni doj\u00edm\u00e1me, nen\u00ed nikdo jin\u00fd ne\u017e nechvaln\u011b proslul\u00fd c\u00edsa\u0159 a krutovl\u00e1dce Nero a jeho milenka Poppea. Ani ona, a\u010d m\u00e1 \u00fasta pln\u00e1 n\u011b\u017en\u00fdch slov\u00ed\u010dek, nen\u00ed \u017e\u00e1dn\u00e1 sv\u011btice, ale p\u011bkn\u00e1 mrcha, kter\u00e1 nev\u00e1h\u00e1 p\u0159i sv\u00e9 cest\u011b k moci s\u00e1hnout k intrik\u00e1m a vra\u017ed\u011bn\u00ed. Jedinou vysloven\u011b charaktern\u00ed postavou cel\u00e9 opery je sen\u00e1tor a filozof Seneca. Jak ale v\u00edme, i pr\u00e1v\u011b proto, \u017ee Neronovi vy\u010d\u00edt\u00e1 jeho rozhodnut\u00ed zapudit man\u017eelku Octavii a o\u017eenit se s courou Poppeou, jsou jeho dny za Neronovy vl\u00e1dy se\u010dteny. Kdo se protiv\u00ed touh\u00e1m c\u00edsa\u0159e, mus\u00ed b\u00fdt odstran\u011bn. Ona korunovace, j\u00ed\u017e opera vrchol\u00ed je ve skute\u010dnosti triumfem hanby, intrik a n\u00e1sil\u00ed. A v\u016fbec nen\u00ed divu, \u017ee v Plzni se cel\u00e9 to z\u00e1v\u011bre\u010dn\u00e9 cukrov\u00e1n\u00ed odehr\u00e1v\u00e1 nad ho\u0159\u00edc\u00edm \u0158\u00edmem, kter\u00fd je \u00fast\u0159edn\u00ed dvojici jen hra\u010dkou.<\/p>\n\n\n\n Aby cel\u00e1 opera nebyla jen z\u00e1va\u017en\u00e1, je pro\u0161pikov\u00e1na vtipn\u00fdmi glos\u00e1tory d\u011bn\u00ed z \u0159ad n\u00edzk\u00fdch prost\u00fdch lid\u00ed. Slu\u017eebn\u00e9 a komorn\u00e9, p\u00e1\u017eata. Ti p\u0159ehl\u00ed\u017een\u00ed se samoz\u0159ejm\u011b tak\u00e9 n\u011bkdy sna\u017e\u00ed vyt\u011b\u017eit z cel\u00e9 situace, ale z\u00e1rove\u0148, a\u010d (z\u00e1m\u011brn\u011b) v komick\u00fdch v\u00fdstupech, upozor\u0148uj\u00ed tu na nedostatek v\u011brnosti a up\u0159\u00edmnosti v mocensk\u00fdch hr\u00e1ch, tu na p\u0159el\u00e9tavost l\u00e1sky a n\u00e1klonnosti, tu na t\u011b\u017ek\u00fd osud \u017een, kter\u00e9 jsou hra\u010dkami v rukou mu\u017e\u016f. <\/p>\n\n\n\n Mysl\u00edm, \u017ee p\u0159esn\u011b v tomhle kontrastu je to zrcadlo nastaven\u00e9 Korunovac\u00ed Poppey. Ve v\u0161\u00ed sl\u00e1v\u011b a noblese used\u00e1 \u201cnev\u011bstka Babylonsk\u00e1\u201d vedle sv\u00e9ho \u0161\u00edlen\u00e9ho mu\u017ee, aby vl\u00e1dli \u0158\u00edmu, kter\u00fd je v trosk\u00e1ch a plamenech. V\u00fdjev jak z opiov\u00e9ho salonu (jist\u011b ne nadarmo jsou v\u0161echny kv\u011bty na sc\u00e9n\u011b vl\u010d\u00ed m\u00e1ky): Odd\u00e1ni sami sob\u011b a sv\u00fdm sn\u016fm a touh\u00e1m zp\u00edvaj\u00ed na ho\u0159\u00edc\u00edch trosk\u00e1ch sv\u011bta tito dva \u0161\u00edlen\u00ed milenci sv\u016fj legend\u00e1rn\u00ed duet. Kdy\u017e je moudrost (Seneca) odstran\u011bna, zb\u00fdvaj\u00ed jen p\u0159ehl\u00ed\u017een\u00ed a \u201cneviditeln\u00ed\u201d, kte\u0159\u00ed v\u011bd\u00ed, \u017ee \u201c\u0161\u00edlen\u00e1 cti\u017e\u00e1dost je t\u00edm nejbou\u0159liv\u011bj\u0161\u00edm citem a \u017ee u dvora nikdy nep\u0159eb\u00fdv\u00e1 v\u011brnost.\u201d<\/p>\n\n\n\n A triumfuj\u00edc\u00ed Amor? Nen\u00ed to obvykl\u00fd r\u016f\u017eol\u00edc\u00ed and\u00edlek, ale d\u00e1ma v \u010dern\u00e9. Doprov\u00e1zen\u00e1 sv\u00fdmi temn\u00fdmi pobo\u010dn\u00edky, kte\u0159\u00ed si s lidmi jen zahr\u00e1vaj\u00ed. Triumfuje v pozad\u00ed oz\u00e1\u0159en\u00e1 plameny ho\u0159\u00edc\u00edho \u0158\u00edma ne nepodobna pekeln\u00edk\u016fm z obraz\u016f Hieronyma Bosche.<\/p>\n\n\n\n Plze\u0148sk\u00e9 nastudov\u00e1n\u00ed\u00a0 v re\u017eii Tom\u00e1\u0161e Ond\u0159eje Pila\u0159e <\/strong>p\u0159edstavuje Korunovaci Poppey na vkusn\u00e9 velmi klasick\u00e9 sc\u00e9n\u011b Petra V\u00edtka<\/strong>, stylizovan\u00e9 do jak\u00e9hosi z\u00e1meck\u00e9ho salonu, kde se odehr\u00e1v\u00e1 v\u011bt\u0161ina d\u011bje. Salon postupn\u011b ch\u00e1tr\u00e1, dve\u0159e nahrad\u00ed potrhan\u00fd z\u00e1v\u011bs, ve zdi se objev\u00ed d\u00edra. Jakoby ozv\u011bny Neronova ne\u0161\u0165astn\u00e9ho vl\u00e1dnut\u00ed, kter\u00e9 je triumfem \u00fapadku. Velmi vkusn\u00e9 jsou kost\u00fdmy\u00a0 Ale\u0161e Val\u00e1\u0161ka<\/strong>. V n\u00e1znac\u00edch odkazuj\u00ed k antice i k baroku, ale nejde o \u017e\u00e1dn\u00fd zb\u011bsil\u00fd mix z divadeln\u00edho fundusu, naopak, je to elegance, skv\u011ble umoc\u0148uj\u00edc\u00ed v\u00fdraz jednotliv\u00fdch postav a cel\u00e9 sc\u00e9ny. Herectv\u00ed postav upom\u00edn\u00e1 k barokn\u00edmu stylizovan\u00e9mu projevu s pomal\u00fdm pohybem a akcentem na dr\u017een\u00ed t\u011bla a gesta. P\u0159esto v\u0161ak opera nep\u016fsob\u00ed nudn\u011b a zdlouhav\u011b, naopak, je sv\u011b\u017e\u00ed a velmi \u017eiv\u00e1.<\/p>\n\n\n\n Jedin\u00fdmi limity plze\u0148sk\u00e9 sc\u00e9ny jsou snad jen ty technick\u00e9. T\u0159eba hlu\u010dn\u00fd motor kter\u00fd ovl\u00e1d\u00e1 ma\u0161in\u00e9rii kulis a lanov\u00ed. Ob\u010das mi p\u0159i\u0161lo, \u017ee i sv\u00edcen\u00ed m\u00e1 sv\u00e1 omezen\u00ed, co\u017e m\u011b s ohledem na to, \u017ee je za\u0148 zodpov\u011bdn\u00fd Daniel Tesa\u0159<\/strong>, trochu mate. U n\u011bj jsem zvykl\u00fd v inscenac\u00edch na v\u00fdbornou pr\u00e1ci, tak\u017ee m\u00e1m pocit \u017ee Plzni mohla b\u00fdt chyba i jinde. Kdo v\u00ed. Nejz\u00e1va\u017en\u011bj\u0161\u00edm kolapsem byl ale v\u00fdpadek titulkovac\u00edho za\u0159\u00edzen\u00ed, kter\u00e9 nefungovalo cel\u00fd prolog a nasko\u010dilo a\u017e p\u0159i prvn\u00edm d\u011bjstv\u00ed a to se obsluha je\u0161t\u011b asi dv\u011b minuty pokou\u0161ela doost\u0159it obraz. Drobn\u00e9 v\u00fdpadky pak n\u00e1sledovaly b\u011bhem cel\u00e9ho p\u0159edstaven\u00ed a kazily jinak v\u00fdborn\u00fd dojem z cel\u00e9ho p\u0159edstaven\u00ed.<\/p>\n\n\n\n Hudebn\u011b je opera prov\u00e1d\u011bna s mal\u00fdm orchestrem za \u0159\u00edzen\u00ed a v hudebn\u00edm nastudov\u00e1n\u00ed Vojt\u011bcha Spurn\u00e9ho<\/strong>. V ope\u0159e nejsou velk\u00e9 sbory. Ka\u017ed\u00e1 chyba je tak hned patrn\u00e1 a m\u016f\u017ee v\u0161e zma\u0159it. V Plzni ale proveden\u00ed zvl\u00e1dli na v\u00fdbornou. P\u011bvecky Plze\u0148 velmi mile p\u0159ekvapila. P\u0159edstavitel\u00e9 hlavn\u00edch rol\u00ed byli perfektn\u00ed hlasov\u011b i herecky. Nero Vojt\u011bcha Pelky<\/strong> byl studen\u00fd p\u0159ez\u00edrav\u00fd mlad\u00ed\u010dek tou\u017e\u00edc\u00ed po vlastn\u00edm uspokojen\u00ed, cti\u017e\u00e1dostiv\u00e1 mrcha Poppea v pod\u00e1n\u00ed Lucie Ka\u0148kov\u00e9<\/strong> jej zdatn\u011b dopl\u0148ovala. Jejich z\u00e1v\u011bre\u010dn\u00fd duet p\u0159i n\u011bm\u017e si, zahled\u011bni jen sami do sebe, pohr\u00e1vaj\u00ed s \u0158\u00edmem tak trochu leno\u0161iv\u011b a snad i znud\u011bn\u011b, byl vpravd\u011b korunovac\u00ed cel\u00e9 opery. Octavia Mark\u00e9ty Cukrov\u00e9<\/strong> byla skv\u011bl\u00e1 zhrzen\u00e1 a pomstychtiv\u00e1 man\u017eelka a jej\u00edmu hlasu bylo i plze\u0148sk\u00e9 Velk\u00e9 divadlo mal\u00e9. Josef Kova\u010di\u010d <\/strong>coby Seneca mi zase u\u010daroval hloubkou a mocnost\u00ed hlasu, kter\u00fd perfekn\u011b sed\u011bl k z\u00e1va\u017enosti postavy stoick\u00e9ho filozofa.\u00a0<\/p>\n\n\n\n Za zm\u00ednku v plze\u0148sk\u00e9 inscenaci stoj\u00ed i tane\u010dn\u00ed slo\u017eka, kter\u00e1 nez\u0159\u00eddka p\u016fsob\u00ed v soudob\u00fdch nastudov\u00e1n\u00edch cize a k\u0159e\u010dovit\u011b. V Plzni tomu bylo p\u0159esn\u011b naopak, tane\u010dn\u00edci i tane\u010dnice naprosto p\u0159irozen\u011b propojovali sc\u00e9nu s jej\u00edmi p\u011bveck\u00fdmi\/hereck\u00fdmi akt\u00e9ry a rozv\u00edjeli \u00faspornou, ale velmi p\u016fsobivou choreografii.<\/p>\n\n\n\n Zkr\u00e1tka Korunovace Poppey v Plzni je \u00fakaz na \u010desk\u00e9m opern\u00edm nebi. Je odv\u00e1\u017en\u00fdm a zda\u0159il\u00fdm po\u010dinem, kter\u00fd si pr\u00e1vem vyslou\u017eil bou\u0159liv\u00fd potlesk publika na z\u00e1v\u011br a rozhodn\u011b stoj\u00ed za shl\u00e9dnut\u00ed a sly\u0161en\u00ed. Bravi tutti!<\/p>\n\n\n\n <\/p>\n\n\n\n L’incoronazione di Poppea | Korunovace Poppey – Claudio Monteverdi<\/strong><\/p>\n\n\n\n DJKT Plze\u0148 – Velk\u00e9 divadlo, 12.12.2021<\/strong><\/p>\n\n\n\n Hudebn\u00ed nastudov\u00e1n\u00ed: Vojt\u011bch Spurn\u00fd<\/p>\n\n\n\n Dirigent: Vojt\u011bch Spurn\u00fd<\/p>\n\n\n\n Re\u017eie: Tom\u00e1\u0161 Ond\u0159ej Pila\u0159<\/p>\n\n\n\n Sc\u00e9na: Petr V\u00edtek<\/p>\n\n\n\n Kost\u00fdmy: Ale\u0161 Val\u00e1\u0161ek<\/p>\n\n\n\n Sv\u011bteln\u00fd design: Daniel Tesa\u0159<\/p>\n\n\n\n Dramaturgie: Zbyn\u011bk Brabec<\/p>\n\n\n\n Choreografie: Martin \u0160int\u00e1k<\/p>\n\n\n\n <\/p>\n\n\n\n Obsazen\u00ed:<\/p>\n\n\n\n Nerone: Vojt\u011bch Pelka<\/p>\n\n\n\n Poppea: Lucie Ka\u0148kov\u00e1<\/p>\n\n\n\n Ottavia: Mark\u00e9ta Cukrov\u00e1<\/p>\n\n\n\n Ottone \/ 1. Senek\u016fv \u017e\u00e1k \/ Amorino 4: Bed\u0159ich L\u00e9vi<\/p>\n\n\n\n Seneca: Josef Kova\u010di\u010d <\/p>\n\n\n\n Arnalta \/ Nutrice: Tom\u00e1\u0161 Ko\u0159\u00ednek<\/p>\n\n\n\n Virtu \/ Drusilla \/ Amorino 2: Stanislava Mihalcov\u00e1<\/p>\n","protected":false},"excerpt":{"rendered":" St\u00e1le se nem\u016f\u017eu zbavit smutku z toho, jakou popelkou je na na\u0161ich opern\u00edch sc\u00e9n\u00e1ch baroko. M\u00e1me \u0161pi\u010dkov\u00e9, sv\u011btov\u011b uzn\u00e1van\u00e9 interprety, ale za barokn\u00ed operou prost\u011b mus\u00edme do sv\u011bta. \u010cest v\u00fdjimk\u00e1m. Co, \u010dek\u00e1te, \u017ee budu ps\u00e1t zase o Brnu, \u017ee jo? Velebit Jan\u00e1\u010dkovu operu, hmmm\u2026 Tak ne, tentokr\u00e1t cena putuje do Plzn\u011b. V Plzni toti\u017e korunovali … <\/p>\n