Faust

Faust is the archetype of human pride, and it is Gounod's opera that reminds us of this. Garden scenes, duels and sentimental plays of the seducer give way to the metaphysics of Walpurgia night, angelic choirs over Margaret and the farewell to the world of Velentine. We also begin our performance with a text by Goethe. However, it will be the Dedication and dialogue of the Theater Director with the Poet. The surprising tradition of romantic dramas, right on the first pages of the original editions, gives away the keys of interpretation. It combines the spiritual dimension with journalism, that is, with the daily life of the author, his views and historical context. It already sounds like a commentary on an opera convention that, although built on artificiality, refers to the “here and now” and to “you and us”, that is, the contemporary viewer and his idol on stage. Our Faust is the struggles of an old, fading director, his attempt to confront the past, muses, inspiration, professional burnout. It is he who tries to resurrect Goethe's text in the empty auditorium of the theater, after an unsuccessful attempt, before the future premiere. And so begins the game with quotes, the history of Krakow masters, famous performances, important events, theater, Poland. To return to them and “feel something” again, the only solution is to buy time - Youth. However, Mephisto directs our hero to carnal, mindless, easy escapes. Our Faust, however, will not be tempted and will abandon Margaret to seek other depths of existence. His journey into the world of classics will lead him to a new frustration and return to Margaret to save her: against himself, against the world, but not against God and his angelic hosts.

This opera opens us to many worlds. The tangible ones and the ones in the dream. Will the rejuvenated hero find solace? Will entering the world of memories compensate us for our inability to cope with the passing of time and with our own pride, the hybris that makes us forget that we are but a grain of sand in this great metaphysical reality called life?

Michał Znaniecki director, set designer