opera.info.plSzanowni Państwo,

Uprzejmie informujemy, że podjęliśmy decyzję o zamknięciu serwisu opera.info.pl w dotychczasowej formule. Po trzech latach naszej intensywnej pracy nad stworzeniem wortalu społecznościowego  poświęconego sztuce operowej, uznaliśmy ten projekt za niemożliwy do zrealizowania. Z przykrością stwierdzamy, że nie udało nam się przekonać naszych czytelników do podjęcia wysiłku współtworzenia treści publikowanych na opera.info.pl  Tylko garstka entuzjastów opery wsparła nasze starania, pisząc teksty, publikując komentarze i dzieląc się z innymi cennymi informacjami.  Wszystkim naszym współautorom oraz sympatykom opera.info.pl z całego serca dziękujemy.  Bez Państwa wsparcia, niniejszy tekst zostałby opublikowany znacznie wcześniej.

Szanowni Państwo,

Jest naszym zamiarem, aby strona internetowa opera.info.pl, w niedalekiej przyszłości powróciła w nowej formie do swoich czytelników. Nadal będzie to przedsięwzięcie czysto hobbistyczne, ale o innym charakterze i innych rozmiarach. Zasadniczy cel, nie ulegnie jednak zmianie. W dalszym ciągu będziemy opowiadać o operze, która bardzo potrzebuje wsparcia jej miłośników.

Jeszcze raz dziękujemy wszystkim sympatykom opera.info.pl za uwagę, którą poświęciliście Państwo naszemu przedsięwzięciu.

Serdecznie Wszystkich Państwa pozdrawiamy,

Beata i Michał Olszewscy
opera.info.pl - 11/05/2015

Jeśli chcecie przesłać nam Państwo wiadomość, prosimy o skorzystanie z formularza kontaktowego. Dziękujemy :)


Jednocześnie informujemy, że nadal aktywny jest profil opera.info.pl w serwisie społecznościowym Facebook.






Festival Opera Tigre English Version Menu

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Ewa Biegas recital - photos

Ewa Biegas recital. Concert guest - Pablo Cameselle, at the piano - Jon Paul Laka. Photos (c) Pablo A. Varela


Concierto Liryco fotos (c) Pablo A. Varela Concierto Liryco fotos (c) Pablo A. Varela Concierto Liryco fotos (c) Pablo A. Varela
Concierto Liryco fotos (c) Pablo A. Varela Concierto Liryco fotos (c) Pablo A. Varela Concierto Liryco fotos (c) Pablo A. Varela
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Another conversation with our Oberon and Demetrio

Spanish version spain flag


Interview by Renzo Longobucco

Gustavo Ariel Vita photo (c) juaningelmofotos.com.ar published by courtesy of the Festival Opera Tigre
Gustavo Ariel Vita
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GUSTAVO ARIEL VITA - bajo - Oberon

He studied music at the Conservatory Alberto Ginastera (Morón - Bs.As.) and (ISATC) Instituto Superior de Arte del Teatro Colón. He was the recipient of a scholarship from the foundation Teatro Colón in  2013 and 2014.

He participated as a soloist at a charity concert held at the Teatro Argentino de La Plata in 2014 amongst outstanding singers. He participated also in such opera productions as: La Bella Música in the Teatro Avenida in Buenos Aires. He colaborated with great stage directors: Michal Znaniecki, Alex Ollé and Valentina Carrasco (La Fura des Baus), Lizzie Waisse, Betty Gambartes, Leonor Manso and Felipe Hirschfeldt. Projects in progress: Bártolo and Antonio -  “Le nozze di Figaro” (W. A. Mozart) - Teatro Luz y Fuerza de Buenos Aires. Oberón - "Fairy Queen" (Henry Purcell) - Festival de Ópera Tigre,


TOMÁS RIVERA - actor - Demetrio

Trained in drama school "El Tigre" with Vanesa Weimberg between 2007 and 2014 and  "Estudio El Cuervo" with Pompeyo Audivert between 2012 and 2014. He performed in the following titles: "Folletines" (2009), "Tigranes en el ring" (2010), "Ecos del Tigre Hotel" (2013/2014), all of these performances were directed by Vanesa Weimberg as well as "Museo Ezeiza" (2013/2014), "Domicilio particular" (2013/2014), "El Cadáver detrás de la pantalla" (2014), directed by Pompeyo Audivert.

Tomas Rivera photo published by courtesy of the Festival Opera Tigre
Tomas Rivera
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He also performed in the TV show "Entre Aguas", produced for Canal Encuentro

Renzo Longobucco: What does the experience of performance in a completely natural stage for the first time, where the audience doesn’t have a permanent place like in a classical theatre, mean to you?

Gustavo Ariel Vita: I’m exited by the idea of presenting this story in a natural place, similar to the original setting that Skakespeare proposes in “summer night dream”, and he challenges a singer to adapt in a place that is not prepared for this, unlike an opera house. At the same time contact with nature creates a close connection with the characters and the audience who are on stage living through the scene with us.

Renzo Longobucco: As an actor, what kind of challenges do you think you have to overcome, as this is not a classic theatre?

Tomas Rivera: There is always a challenge when you get out of the conventional stage setting; the “geographical” limits and the safety of a stage disappear, and other risks appears. It requires a great level of hearing, perception of the moment, which is very exiting for me. The level the physical closeness with the audience is different; we are all mixed up, sharing the same space. It could present us different problems than “normally”. The challenge consists of using this entire element as a positive fact, and if we can do that, the experience is more intense for the audience as wall as the actors.

Renzo Longobucco: What kind of a relationship do you have with baroque music and with your character when you perform?

Gustavo Ariel Vita: I have performed baroque repertoire before, I was liturgical, symphonic, oratory; with baroque opera I bonded just recently. I have the chance to sing Re di Scozia  from Ariodante  Haendel opera, finding myself working with a beautiful language. In this play I have the role of Oberon (king of fairies) that I have been already working at the Colon superior music institute, it combines opera and prose theatres, creating an interesting performance. This is a challenge that I think I can undertake with confidence.

Renzo Longobucco: What does it mean for you to be part of this play and perform amongst opera singers, acrobats and water dances?  
Tomas Rivera: It means I face a great challenge as an actor and a very unique opportunity that I am very grateful for. It s a classical, beautiful play, and we are working with a great, original adaptation of it. It fascinates us; it’s something new, a different way to tell the same story. We have the certainty of being directed by a great, passionate and talented director and of working with a talented group of amazing people.

Interview with Pablo Mainetti and Jon Paul Laka

Spanish version spain flag


On the musical adaptation of  Purcell's THE FAIRY QUEEN in the upcoming production for the FESTIVAL OPERA TIGRE (FOT).

Interview by Renzo Longobucco.

Pablo Mainetti photo (c) published by courtesy of the Festival Opera Tigre Jon Paul Laka photo (c) published by courtesy of the Festival Opera Tigre
Pablo Mainetti and Jon Paul Laka
photo published by courtesy of the Festival Opera Tigre
click to magnify

The upcoming Festival Opera Tigre presents a new production of Henry Purcell's The Fairy Queen with texts from Shakespeare's A Midsummer Night's Dream. These performances face several challenges, from presenting the play outdoors on an island surrounded by canals of the Delta of Tigre, only accessible by river transport or dealing with a natural stage set in the very jungle of the island where the couples of lovers escape to mingle with the world of fairies and elves. The audience becomes another participant in the performance following the action through different scenarios where the consecutive scenes are presented, guided by an original instrumental ensemble performing Baroque music with instruments which are not very common in this repertoire: bandoneon, accordion and electric guitar. Pablo Mainetti and Jon Paul Laka have adapted the work for this ensemble together with the invaluable collaboration of Pedro Chalkho, a great virtuoso of the electric guitar. We gather today with them to talk about this adaptation of Purcell's music for the Festival Opera Tigre. Pablo Mainetti is without question one of the most outstanding artists playing the bandoneon in Argentina. His musical excellence embraces both his career as bandoneon player as his extensive work as composer and arranger of music for various instrumental formations. His catalogue includes original pieces of chamber music, opera and symphonic arrangements of works by other composers. The proof of its versatility lies in the number of projects of different styles in which he has been involved throughout the world. No need to say that tango music plays an important role in his life, performing with the best tango orchestras and ensembles, among them the Astor Piazzolla Foundation Quintet. But he keeps strong links with other musical styles like jazz and contemporary music, and as a soloist playing often Piazzolla's Concert for bandoneon and Orchestra with symphonic orchestras around the world. He has been on stage with a wide roster of artists ranging from the best singers of tango to Joan Manuel Serrat and Ute Lemper, playing in cities like New York, Leipzig, London, Madrid... His numerous recordings, among which we can find his own compositions, have been the subject of awards and distinctions including the nomination to the Grammy Awards. A breathtaking tour.

Henry Purcell (c) Robert White; source Sotheby's; from wikipedia - commons.wikimedia.org/wiki/File:Purcell_portrait.jpg
Henry Purcell
Photo - Wikipedia / Click to magnify

Renzo Longobucco: Baroque music with bandoneon, accordion and guitar. The first question seems very clear, why?

Pablo Mainetti: The answer seems even clearer: why not? As an instrumentalist, Baroque music is part of the training for any student, and I have spent many hours of my life playing and studying for example the music of Bach, among other baroque composers. It is obvious that as a bandoneonist I do not play this music often in public and I keep this playing mostly for myself. But in the case of the bandoneon is due more to a question of tradition than adequacy from the artistic point of view. Music is music whatever the instrument playing, and I understand music styles in a very broad sense where any experimentation may be considered. No need to say that you may discuss the stylistic suitability and the artistic level of the result, as in any musical interpretation either Baroque or contemporary music or jazz, but I am convinced that this depends more on the interpreter than the possible limitations of the instrument itself. In the case of the bandoneon, which by the way shares many common features with the accordion, it allows implementing some of the characteristics required from keyboard instruments: precision in the attack of the sound, fast virtuoso passages with space for ornamented lines. But at the same time it has to be considered that the sound is continuously sustained by the air and we may play on the dynamics of the sound, so we may produce a crescendo or diminuendo on a single sustained note or chord as string and wind instruments may do. In fact, it shares some of the characteristics which made the organ one of the emblematic instruments of Baroque music.

At this time Jon Paul Laka joins our conversation. He studied accordion in Bilbao in one of the great schools of accordion of Spain, initiated by a visionary musician and virtuoso of the accordion: Josu Loroño. He taught accordion to his students requiring all the discipline and musical rigour he himself endured in his musical training as pianist or composer. In those days the accordion was not part of the instruments included in the official studies traditional conservatories of music offered, and Josu Loroño founded the Symphony Orchestra of Accordions of Bilbao. This orchestra has recently celebrated its fiftieth anniversary with an unquestionable prestige in its field. Jon Paul Laka played with them for nearly twenty-five years. He also worked for the last eight years as Artistic Director of the Opera of Bilbao ABAO in Spain, and currently he is in charge of the artistic direction of the Festival Opera Tigre, showing his strong links with operatic repertoire.

Jon Paul Laka: Bringing unusual instruments to this world of baroque music is a logical consequence of the search for new sounds and possibilities that composers of the time simply did not have. Many composers in those times created music for the instruments engaged for a given performance, so it was not necessarily a composer's firm decision to have an exclusive type of instruments playing the music. But the music itself created a demand for certain instruments and players, starting a tradition which in turn generates trained instrumentalists for that same tradition. Anyway we do not see the need to justify an instrumental option which is not intended as something exclusive and unique, since there is no need to choose one of the options against the others. In any case, exploring the catalogue of baroque music recordings, one may find some excellent versions of the Goldberg Variations and a long list of other works by Bach or Scarlatti's Sonatas with accordion. As Pablo said, it's a work of experimentation aiming at artistic excellence, as it always should be.

Nymphs photo (c) Teresa Grotowska published by courtesy Festival Opera Tigre
Nymphs photo (c) Teresa Grotowska published by courtesy Festival Opera Tigre
Photo (c) Teresa Grotowska
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Pablo Mainetti: I would say even more: purism, as a principle which follows and repeats the tradition blindly, may place the music itself in a cul-de-sac, in a reduced and sterile atmosphere devoid of oxygen weakening the music itself. In the end audiences would grow accustomed to a rigid tradition without space for fantasy and the initiative of the interpreter. If one examines it with some perspective, the assumptions about the ways and means of interpreting certain styles end up turning into certainties by the mere fact of repeating them. Certainly it is important to know what fits the tradition and we must study these principles and be fully aware of them, but just knowing that it is a tradition and not an untouchable totem. Questioning this tradition from the knowledge is the only thing that has made develop the music itself.

Jon Paul Laka: We should also mention that even the musical event in itself faces an audience so different from the audiences four hundred years ago. The audience today has already heard languages and unimaginable forms of music for the audience who listened to Purcell in his time, they have seen films, they have exposed their aesthetic appreciation to abstract painting, to jazz, to pop music... You cannot deny of all those influences when listening to this amazing music by Purcell. Not to mention the fact that attending an opera today is very different from what the public expected at other times. The tradition of listening to music sitting in the dark in a closed and silent environment is a habit that starts in the late XIX century. Therefore, the kind of Fitzcarraldo experience we offer to the public - outdoors in the middle of the jungle walking between scenarios following the consecutive scenes - the proposal of our instrumental ensemble has a coherence. In addition, in this most original experience it was important to have instruments which could move easily around the vegetation of the island, and it would have been difficult to do that with a harpsichord, cellos, or more delicate instruments so sensitive to the change of temperatures at night in the Delta of Tigre (laughs) and having the bandoneon seemed also like a unavoidable choice, considering we are in Argentina and Pablo was a luxury item available for the project!

Renzo Longobucco: From the technical point of view, how did you deal with the adaptation of the work?

Jon Paul Laka: First of all studying, studying, studying the score... and listening to the music incessantly until we knew it by heart. It was also very comforting to hear how different interpretations dealt with this music, in such different ways and always so convincing, reinforcing the idea that we could also dare to play with this music. It is striking to compare the number of musicians engaged in different recordings or the different style options. As one clear example, Purcell includes in this piece - as in so many of his works - a long scene with a drunk character, in this case a drunken poet, continuously interrupted by the fairies and the choir. The melodies of the drunk are catchy and very popular, surely the audience came to sing with him and laugh about the whole thing, since this kind of scene aimed always for a great popular success. There are recordings dealing with this scene in a very static and almost cold way while others go for a more unacademic and popular interpretation. Another example is the famous Lament sung by Titania, one the longest and most beautiful moments in this work. It seems like time is stopped for a while and the melody has a kind timeless quality so it could belong to different music styles, closely related to another great achievement by Purcell which is the death of Dido. The dramatic power of the vocal line and the intrinsic beauty of the music allow for any type of adaptation based on a deep respect for the essence of the music. We play this scene with the electric guitar instead of the obligato violin solo and accordion for the support of basso continuo. But the result seems to be equally beautiful. I would like to mention at this moment the beautiful and original treatment of this music by such great musician as Christina Pluhar. In her last recording, she plays this same piece with L'Arpeggiata together with some other pieces by Purcell,  a very innovative and beautiful recording full of inspiring ideas.

Pablo Mainetti: I totally agree with you, the most important thing is to guarantee a solid respect not necessarily for a tradition but for the essence of the music itself. I understand that even this so called aessence can be debatable, but we do it from a deep respect for this essence as we want to reach an audience which is not necessarily familiar with Baroque music. But it is important to say that we have worked reading from the original score and considering various alternatives in the distribution of the different voices. We did not impose rigid criteria about who takes which part and who takes the basso continuo. Therefore at some points it was necessary to transcribe and rewrite the score we would use in performance, as I myself did in some of the instrumental sections like the opening numbers where Purcell makes intensive use of counterpoint. What we achieved with this long instrumental introduction would have been enough to make me happy about my participation in this project.

Jon Paul Laka: The guitar also participates in this game of alternating roles. In some numbers it plays strictly as basso continuo, some other times exposes the melody or plays a crucial soloist role, like in The Lament by Titania which we mentioned before. The truth is that in this adaptation, where a constant dialogue and understanding is needed among musicians while we explore different options, it is a privilege to collaborate with such gifted colleagues. Once more a new chance to learn from musicians where complicity becomes a key factor for successful music making.

 Nymphs photo (c) Teresa Grotowska published by courtesy Festival Opera Tigre
Photo (c) Teresa Grotowska
Click to magnify

Renzo Longobucco: You have already offered a concert with most of the music in The Fairy Queen. Are you happy of the result? what did the singers feel and how did the audience react to your proposal?

Pablo Mainetti: The result was really great. We had an audience of more than four hundred people, very spontaneous and with few exceptions, I would say that many of them were listening to this music for the first time in their life. One of the measures of success for me, although it may seem a paradox, is the kind of attentive silence coming from the audience in some of the most intimate and intense moments during the concert. It was so great to see that no one was staring at the cell phone sending text messages (laughs), feel that silence which participates in the tension built by the silence in the music itself. Of course I do not complain either about the big applause we got at the end breaking the silence.

Jon Paul Laka: We must consider that all singers working with us have also a great experience in Baroque music, naturally with more orthodox instrumental ensembles. But right from the beginning there was no disagreement, and in no time we felt comfortable working altogether. From the first note we played together, it seemed that we had always done it like that. I think that can be attributed to the respect we share for the very essence of the music, so hard to define but easy to feel.

Pablo Mainetti: Of course as any artist in any genre, you always think that there are things to improve, changes which could improve a given passage... but that is a fundamental feeling to move forward as an artist. Satisfied with the work already done but considering where is that space where you may contribute something more valuable, where you may be more expressive and in the end how to improve the process of bringing out that emotion and share it with the audience. If we get that under the light of the moon in a starry night, I will consider myself more than satisfied.

"I love overstepping boundaries in the opera" - interview with Ewa Biegas

Polish version Flaga polska


Ewa Biegas talks to Renzo Longobucco, Festival Opera Tigre correspondent.

Ewa Biegas - photo published by courtesy of the Festival Opera Tigre
Ewa Biegas

Renzo Longobucco: The 2015 edition of Festival Opera Tigre, a proprietary program of Miachał Znaniecki that takes place on Kaiola Blue – the musical island, approaches fast. You will be a special guest of this event, with your own recital as well as playing the role of Titania in Mr. Znaniecki’s adaptation of “The Fairy Queen”. But this is not Your first artistic journey to Argentina… What were your experiences while discovering the bustling streets of Buenos Aires, a city where the theatrical and musical presence can be felt on every street and in every house?

Ewa Biegas: My fist encounter with the beautiful city of Buenos Aires was 2 years ago while I was preparing for the role of Hagith, form “ Hagith” by Karol Szymanowski, in Teatro Colon. Staying in Buenos is a breathtaking experience. The city never sleeps and music is always keeping you company- being played on the streets, in theatres, clubs, bars.
But the thing that really creates this amazing atmosphere are the kind, sincere and very open inhabitants. They are the embodiment of the saying “ carpe diem”. They work to live and not live to work, as so many Europeans these days.  

Szukajac Leara: Verdi zdjęcie (c) Teresa Grotowska opublikowane dzięki uprzejmości Festivalu Opera Tigre
"Szukając Leara: Verdi"
zdjęcie (c) Teresa Grotowska
click to magnify...
Milość do trzech pomarańczy zdjęcie (c) Ryszard Kornecki opublikowane dzięki uprzejmości Festivalu Opera Tigre
"Miłość do trzech pomarańczy"
zdjęcie (c) Ryszard Kornecki
click to magnify...

I’m very curious as to how the Argentinian audience received polish music and how was the character of Hagith interpreted?

I must admit that at first I was very skeptical as to the realization of Szymanowski’s “Hagith” in Argentina in polish. But the moment I heard the fantastically prepared choir, singing with so much passion and pronouncing the very difficult polish words perfectly, and the orchestra, who perfectly captured the essence of Szymanowski’s music, all my doubts went away in a flash. All of the ellements I was just talking about combined with genius directory, that was compatible with the musical aspect, resulted in an amazing and unforgettable performance. The real proof of how successful “Hagith” was were the great reviews and the reaction of the viewers. Hagith, the main character, was compared to Eva Peron – actress loved in the whole of Argentina.

You worked with Michał Znaniecki in a few of his productions. “Hagith” that we already talked about, “ Eugeniusz Oniegin”, “Miłość do trzech pomarańczy”… but also on some of his proprietary projects such as “ Searching for Lear : Verdi”, a project for Wroclaw’s European capital of culture, and “Desconocidos” in Argentinian Villa Ocampo. Which of these spectacles is colsest to your heart ?

Each of these productions was a different musically-emotional challenge, as well as a study in the complexity of human psychology. I get emotionally attached to every character I play but If I had to choose one I’m closest to it would be Tatiana from “ Eugeniusz Oniegin” – playing her gave me an immense feeling of artistic satisfaction.

"Eugeniusz Oniegin" w Operze Krakowskiej zdjęcie (c) Ryszard Kornecki opublikowane dzięki uprzejmośco Festiwalu Opera Tigre
"Eugeniusz Oniegin" Opera Krakowska
zdjęcie (c) Ryszard Kornecki
click to magnify...

This time the audience will have the privilege of hearing you sing as Titania from “ The Fairy Queen” by Henry Purcell. The staging of this spectacle will be unique as it will incorporate the natural space of the island as well as it’s aquatic surroundings. The audience will be a vital element of the show. The lack of a safe opera stage that has it’s own rules that you are familiar with, the depletion of the barriers between an actor and the audience… is it motivating or terrifying?

I, personally, love overstepping boundaries in the opera, that aim to the depletion of the barrier between an actor and his audience. Michał Znaniecki is a master in shattering this invisible wall. When I played in his proprietary projects, “ searching for Lear : Verdi” and “Desconocidos” I had the opportunity to interact with the audience. I can hardly wait for more of his crazy ideas and to see how the audience reacts to them.

And Baroque? How familiar is it to Tatiana? My question is quite perfidious, as from the role of Tytania to the role of  Tatiana leads a very long musically challenging way.

Kaiola Blue zdjęcie opublikowane dzięki uprzejmości Festiwalu Opera Tigre
Kaiola Blue

Every musical epoch demands a different use of your voice, I mean the tone, dynamics, articulation – everything that makes the broad definition of an epoch. From baroque to Romanticism lead a very long way. The thing that both these characters have in common is the discovery of scenic truth, the thing that suma summarum is the most important aspect for the audience.

Both “ The Fairy Queen” and “ Nimfy, Rusałki i Goplany” recitals are thematically focused on nature, water, magic…. Did you look for inspiration in nature while you were preparing for your parts? What music compositions will we have the privilege of listening to at your recital?

All of the titles I will be singing are interconnected through nature- mostly water, so that the magical surroundings of the island with the music will create an irresistible atmosphere. Amongst other performances you’ll be able to hear the aria of Rusałki fom A. Dvorzka’s opera , „Pieśń o wierzbie” form „Otello” G.Verdiego, songs from S. Rachmaninow’s „Wiosenne wody” i „Krzk bzu”, - also I will perform some polish songs. „Smutną rzekę” F. Chopina, and  I.J. Paderewskiego „Nad wodą wielką”.

Autorzy: Renzo Longobucco

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Tickets: www.sturlaviajes.com.ar



Nymphs, Fairies and Sirens

Nymphs Fairies Sirens - Festival Opera Tigre photo published by courtesy of the Festival Opera Tigre

Concert by Ewa Biegas (soprano)

The Program

The soprano voice has been the source of inspiration for many composers when giving voice to supernatural entities such as fairies, mermaids and nymphs. Not only in opera, but also in the field of concert song, a clear association is found between these supernatural beings and water. In this concert, a thematic selection of these arias and songs is presented, defining an interesting tour through different styles, periods and composers.

The Artist

Ewa Biegas photo (c) published by courtesy of the Festival Opera Tigre
Click to magnify...

Since the onset of her career Ewa Biegas has been successful at national and international competitions, and her awards include among others the 1st prize at the Polish National Vocal Competition in Wrocław, the first class honor award at the Ada Sari International Vocal Art Competition in Nowy Sacz, a competition award at the Internationale Sommerakademie Mozarteum in Salzburg (1997), the 2nd prize at the Anton Dvořák International Vocal Competition in Karlovy Vary (1997), and the 3rd prize and four awards beyond regulations at the Stanislaw Moniuszko International Vocal Competition in Warsaw (2004).
She has appeared in many opera productions in Poland and in Europe, and her most important parts include operas by Verdi, Tchaikovsky, Moniuszko, Bizet, Puccini…. She made her debut in Buenos Aires in a production of Szymanoski’s Hagith at Teatro Colón (2012).
She has also performed at many concerts and recitals, and recorded Joseph Haydn, Puccini and Stanisław Moniuszko for Polish Radio and Television as well as for CD labels. Alongside opera appearances, she is regularly invited to perform oratorio concerts in Czech Republic, Slovakia, Austria, Spain, Germany, Switzerland with notable Polish and European orchestras
She has been supported by scholarships from the Polish Ministry of Culture and Art, from the Thyll-Dur Swiss Foundation, and since 2000 on a scholarship from the Austrian government.

Date: January 26 2015
Kaiola Blue, Arroyo Gélvez

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The Fairy Queen

The Fairy Queen - Festival Opera Tigre photo published by courtesy of the Festival Opera Tigre


Texts from "Midsummer Night’s Dream" by William Shakespeare
Music by Henry Purcell
Production by Michal Znaniecki

Midsummer’s Night Dream in Tigre

A production of theatre and music based on Midsummer Night’s Dream by William Shakespeare y and the music written for this play by Henry Purcell. The production takes place in a magical open air forest where the audience witnesses the adventures of the young lovers and the fight between Oberon and Titania, the Fairy Queen. A celebration of singing, acting and dancing for an eternal masterpiece sorrounded by nature.

The Performance

Summoned to celebrate a magical night, the audience welcomes Oberon, Titania, and the other characters on their arrival by boat through the canals of the Delta. The audience walks in the open air from one location to the next one, following the development of the story, under the stars and sorrounded by the flowers and the trees of the enchanted forest where this dream of a summer night takes place.

The Artists

Baroque music through a careful instrumental adaptation for bandoneon, accordion and electric guitars giving musical support for the team of singers, choir, actors, dancers and acrobats performing in this production. The staging will ask for the participation of children of local schools and members of theatre workshops in the area.

Dates: January 28 / 29 January 2015
Kaiola Blue, Arroyo Gélvez

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FOT - Festival Opera Tigre

Festival Opera Tigre photo published by courtesy of the Festival Opera Tigre
Click to magnify...

Opera, music and theatre

• A pioneering cultural movement in the area
• Combining in its programme the popular spirit of the great cultural events with the exclusivity of the most intimate performances
• Positive economic impact over the geographical area of the Delta of Tigre promoting local businesses through cultural tourism

Popular and elitist

• A festival with a popular orientation including big concerts and operas based on the most popular repertoire, without forgetting a more exclusive side focused on audiences eager to enjoy chamber music concerts, gala concerts and small scale performances
• Potential public includes the population from Delta and the islands, frequent visitors, citizens from Buenos Aires and tourists, ranging from the usual, occasional and future cultural tourists fond of theatre and music

Citizens of the islands and young artists

• Participation of local communities based on workshops and training courses
• Integration of children in the local schools in educational, participatory activities in the spectacles of the Festival
• Residence for national and international artists
• Masterclass taught by international artists in various artistic areas

Artists and colaborators

• Participation in international networks sharing experiences with other festivals, Delta of Tigre becoming a meeting place with other organizers
• Presence of artists with international careers
• Exchange experiences with other festivals and artists: orchestras, singers and choirs
• Provide the backbone of a project around artists linked to Parana river (Argentine, Brazil, Uruguay, Paraguay)


Themes, atmosphere and environment

• Integrate the performances and productions with the geography of Delta of Tigre, so the landscape naturally designed by water becomes a characteristic element of the mise en scene
• Use the boats as part of the set design, and in some other cases to accommodate the public from where the performance is attended
• Create performances on the surface of the water, promoting and respecting the characteristics of the ecosystem
• Programme built on water based themes in music and opera: Otello (Verdi), Russalka (Dvorak), Madama Butterfly (Puccini), Il Tabarro (Puccini), Water Music (Händel), The flying Dutchman (Wagner), Platée (Rameau), Swan Lake (Tchaikovsky), The pearl fishers (Bizet), Simon Boccanegra (Verdi)
• Increase awareness for conservation and sustainability of the ecosystem

The boat of culture

• Creating touring productions, from educational activities and small scale performances to open air megaproductions of opera in Tigre, and taking them to other neighbouring regions such as Brazil, Uruguay and Paraguay travelling through the Paraná River.

Festival Opera Tigre - Pamphlet October.pdf - download
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FOT – Festival Opera Tigre - introduction

Polish version Flaga polska


The Festival Opera Tigre on the island Kaiola Blue (Buenos Aires) is an international project of Michał Znaniecki. The Festival aims to be extended along several countries around the River Paraná - Brazil, Paraguay, Uruguay, Argentina - with a significant emphasis and references to Polish culture. The Festival will offer theatre and opera performances using the natural area of the island and the aquatic environment of the Paraná River.

Audiences will be able to enjoy both small scale performances and concerts as well as open air opera megaproductions. Festival Opera Tiger becomes part of the group of important festivals in which the water is an essential framework. Renowned international singers from around the world have already announced their intention to participate in the upcoming productions of "The Fairy Queen" and "Carmina Burana" staged on the water. Theatre and music workshops will complete and support the activities of the Festival, aimed at an international spectrum of young artists.

The first edition last December 2013 which announced the creation of the Festival took place on a single and intense day structured around a great number of small scale performances, concerts, workshops and plays where Witold Gombrowicz became a kind of leitmotif of the event. Singers and actors as  Maria Bayo, Enrique Folger, Gabo Ferro, Marilu Marini, Nacho Gadano, Cecilia Milone, Ruben Fernandez, Daniela Taberning, Ensamble Tropi among other great artists - friends of the FOT.


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