Felix Mendelssohn-Bartholdy: A Midsummer Night’s Dream / Sen noci svatojánské
Staging team
- Choreography: L. Vaculík
- Stage director: L. Vaculík
- Libreto: L. Vaculík
- Set designer: M. Černý
- Costume designer: R. Šolc
- Assistant choreographer: K. Dedková-Franková, H. Vláčilová, M. Šebor
Cast
- Titania: A. Ščekaleva, A. Pešková, A. Ščekaleva, A. Pešková, N. Márová, as a guest, A. Ščekaleva, N. Márová, as a guest, A. Ščekaleva, N. Márová, as a guest, A. Ščekaleva, N. Márová, as a guest, A. Ščekaleva
- Hermia: I. Zahradníková, K. Madejová, I. Zahradníková, K. Madejová, K. Madejová, I. Zahradníková, K. Madejová, I. Zahradníková, K. Madejová, I. Zahradníková, K. Madejová, I. Zahradníková
- Director, Theseus: J. Kadlec, D. Dvořák, J. Kadlec, D. Dvořák, M. Boček, J. Kadlec, D. Dvořák, J. Kadlec, D. Dvořák, J. Kadlec, D. Dvořák, J. Kadlec, D. Dvořák
- Lysander: O. Novotný, J. Svoboda, O. Novotný, J. Svoboda, O. Novotný, J. Svoboda, O. Novotný, J. Svoboda, O. Novotný, J. Svoboda, O. Novotný, J. Svoboda
- Puck: D. Stránský, D. Stránský, J. Kolva, D. Stránský, J. Kolva, D. Stránský, J. Kolva, D. Stránský, J. Kolva, D. Stránský
- Egeus: J. Němeček, J. Němeček, P. Jirsa, P. Jirsa, J. Němeček, P. Jirsa, J. Němeček, P. Jirsa, J. Němeček, P. Jirsa, J. Němeček
- Bottom (Pyramus): J. Kolva, J. Kolva, M. Dinuš, J. Kolva, J. Kolva, J. Kolva, J. Kolva
- Snug (Lion): Z. Petrů, Z. Petrů, L. Lojda, Z. Petrů, L. Lojda, Z. Petrů, L. Lojda, Z. Petrů, L. Lojda, Z. Petrů, L. Lojda
- Flute (Thisbe): J. Slypyč, J. Slypyč, J. Svoboda, J. Slypyč, J. Slypyč, J. Slypyč, J. Slypyč
- Starvelling (Thisbe’s Mother, Moonshine): M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák
- Snout (Thisbe’s Father, Wall): M. Gebauer, M. Gebauer, D. Dvořák, D. Dvořák, M. Gebauer, D. Dvořák, M. Gebauer, D. Dvořák, M. Gebauer, D. Dvořák, M. Gebauer
- Tomcat: M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák, M. Boček, D. Dvořák
- Young Elf: J. Svoboda, J. Svoboda, R. Hlinka, R. Hlinka, R. Hlinka, R. Hlinka
- Helena: A. Ščekaleva, A. Ščekaleva, A. Ščekaleva, A. Ščekaleva, A. Ščekaleva, A. Ščekaleva
- Oberon: M. Gebauer, M. Boček, M. Gebauer, M. Boček, M. Gebauer, M. Boček, M. Gebauer, M. Boček, M. Gebauer, M. Boček, M. Gebauer
- Director’s wife, Hippolyta: I. Zahradníková, I. Zahradníková, Z. Hvízdalová, I. Zahradníková, Z. Hvízdalová, I. Zahradníková, Z. Hvízdalová, I. Zahradníková, Z. Hvízdalová
- Snout: M. Dinuš, M. Dinuš, M. Dinuš, M. Dinuš
- Demetrius: V. Kocian, V. Kocian, V. Kocian
William Shakespeare’s lyrical comedy A Midsummer’s Night Dream was created as an opportunist drama designated to be performed during a wedding party. The ingenious faerie showing the twinkling world of forest fairy-tale beings incorporating a delicate one night’s dream, the magic play of loving couples as well as the charming performance by the craftsmen, inspired Felix Mendelssohn-Bartholdy to compose its extremely successful overture. Fifteen years later, requested to do so by King of Prussia Friedrich Wilhelm IV, he composed the full score. “I should like to have my dream come true of staging A Midsummer Night’s Dream, one of the most bizarre, most grotesque, and most erotic dramas offered by the non-ballet literature”, says choreographer Libor Vaculík. “To shift an idyllic comedy as far as to the dangerous brink of a grotesque, to combine reality and irrationality, to offer laugh for a while, cruelty for a while, tears for a while. I have a feeling that nothing is certain at the threshold of the new millennium... a tyrant may become a slave, a servant turns out to be a tyrant, love turns into hatred, minor is major, tango is waltz and ballet is rap. Not always, not everywhere, but certainly in the dreams and in the desires of the main characters of A Midsummer Night’s Dream.”
Premiere: Apr 6, 2006
Response in the press
“The young ballet troupe has fairly successfully coped with Mr Vaculík’s pronounced, technically often demanding choreography. Following Lady of the Camellias, this is yet another attempt by Mr Vaculík to create a family-type of an attractive performance for the Prague State Opera.”
(Marcela Benoniová, Právo, April 19, 2006)
“Mr Vaculík is an author who is endowed with rich capability to tell his story via movement – by way of his original and many facetted dance morphology. He has described in full colour the character of the impish Puck whose parts are created using major doses of enthusiasm and invention. Mr Vaculík literally spills an abundance of ideas – solo scenes and duets closely follow one another, everything keeps moving. (…) Miss Anna Ščekaleva offers an elegant performance as Titánia, having added noblesse to her expression.”
(Lucie Dercsényiová, Lidové noviny, April 25, 2006)
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