Prom at the opera. Leszek Możdzer. JulianTuwim.

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Artistic Pool of the Warsaw Chamber Opera

PERFORMANCE FOR ADULT VIEWERS

STROBE LIGHTS

EVENING WEAR IS REQUIRED

Leszek Mozdzer
Ball at the Opera

Libretto | Julian Tuwim

Realizers

Director | Agnieszka Płoszajska

Music management | Leszek Możdżer

Scenography | Katarzyna Gabrat-Szymańska

Costumes | Małgorzata Słoniowska

Choreography | Santiago Bello

Sound design | Piotr Taraszkiewicz

Lighting design | Adam Tyszka

Multimedia | Karolina Jacewicz

Vocal preparation | Paulina Stekla

Assistant director | Jeremiasz Gzyl

Assistant Choreographer | Darya Melekh

Accompanator/tutor | Krzysztof Brzeziński

Something is going to happen in the Artistic Pool that cannot be categorized.

Not a recital. Not a concert. Not “guest participation”.

Leszek Możdzier in the opera. In the show. In the middle of the stage element.

“Ball in the Opera”, based on a poem by Julian Tuwim, returns in a new, uncompromising version — as a musical and theatrical spectacle at the junction of opera, performance and contemporary theater. A grotesque that is funny until the moment when it ceases to be funny. An apocalyptic vision of the world under the guise of glamor. A ball that lasts, although everything trembles.

Leszek Możdżer not only creates a musical layer and directs an instrumental ensemble. He enters into the structure of the spectacle. He is present. Reacts. It creates the tension between the word and the sound.

This is a show for adult viewers.

It is a ball in which the audience becomes a participant.

It's a mirror. Not necessarily comfortable.

“The Ball in the Opera” — the most famous satirical poem by Julian Tuwim — returns in a new, uncompromising version as a musical and theatrical spectacle at the junction of opera, performance and contemporary theater. It is an apocalyptic vision of the world in which the grotesque intertwines with a penetrating diagnosis of the social condition. Created in the 1930s, a sharp satire on the decadence of the elites and the foreboding of impending catastrophe, today sounds surprisingly topical — it reveals the mechanisms of collective illusion and moral decay hidden under the mask of glamor.

The new musical layer of the work is created by Leszek Możdżer — an artist with unlimited imagination and exceptional sound sensitivity. His composition and musical direction give the show a contemporary pulse and dramatic depth, building tension between word and sound.

Welcome to the Opera Ball! Evening dresses apply.

Reviews

Oh, mother, what an evening it was...

Dress code: gala, so the man in sequins, glitter and with a fly - and still felt a little unfocused. The ball had not yet begun, and the foyer was already boiling: girls, gentlemen in cylinders, musicians in white tailcoats and varnishes shining like a mirror. Entering, slightly confused guests hear someone buzzing Polonaise in A major. Provocation? Yes, and by no means the only one.

Surprisingly, the whole remains essentially faithful to the original Julian Tuwim. In his poem — and here, on the stage (or rather: on the catwalk) — the poet, using a language of strong emotional tension, accounts for the mighty of his time: people who, instead of dealing with the impending disaster, play as if there were no tomorrow. It is hard to resist the impression that Leszek Możdżer invited the contemporary Warsaw elite to his ball precisely so that they could see themselves in the same, merciless mirror.

www.rafalturow.ski

Attentive to the surrounding reality, director Agnieszka Płoszajska skillfully introduces viewers into the labyrinth of meanings, under a grotesque costume and seemingly clownish tone, hiding serious questions about the imposing role of society and culture, as well as the common game of appearances and the cult of money. The focus is added by quotes from the Revelation of St. John, which foretell total destruction and an imminent end. There is not a shadow of hope for change, and the only solution seems to be the total annihilation of this world. Katarzyna Gabrat-Szymańska ingeniously adapts the scenography to the possibilities of the new stage and, keeping in mind the dreamlike art form, mixes glamor and glitter with kitsch and cabaret, exaggerated style, emphasized by the sophisticated costumes of Małgorzata Słoniowska. Choreographer Santiago Bello highlights and exposes Tuwim's phrases: “tempo: champagne, satan, shantane”

Anna Czajkowska/www.teatrdlakich.pl

Thus, “Ball in the Opera”, the most famous satirical poem by Julian Tuwim, returns in a new, uncompromising version as a musical and theatrical spectacle at the junction of opera, performance and contemporary theater. It is an apocalyptic vision of the world in which the grotesque intertwines with a penetrating diagnosis of the social condition. Created in the 1930s, the text — a sharp satire on the decadence of elites and the foreboding of impending catastrophe — sounds surprisingly topical today, revealing the mechanisms of collective illusion and moral decay hidden under the guise of pomp.

Leszek Możdżer not only creates a musical layer and directs an instrumental ensemble. It is part of the structure of the show. He is present. Reacts. It creates the tension between the word and the sound. His composition gives the show a contemporary pulse and dramatic depth, building an intense, multidimensional stage space.

www.wirtualnemedia.pl