PORTRAIT OF A WOMAN

Great opera arias — what is their emotional power really? In a beautiful melody? In words? In a moving creation? In the precision of execution? Or rather, in the fact that they expose what usually takes place in secret. Perhaps it is about that most intimate moment, when together with the heroes we touch the deepest corners of the human soul. We invite you to listen to three moving female stories together with Adriana Ferfecka, who returns to our stage to once again delight with her voice and stage magnetism.

In love, Tatiana writes a letter to Onegin, in which she reveals her feelings. It's impulsive, it's risky, it's unreasonable, but it can't do anything else at this particular moment. Tchaikovsky in his opera convinces us that this is the most sincere and true feeling. Wagner already builds tension in the first chord of the opera Tristan and Isolde, which foreshadows the tragic end of the story of the title characters, and yet in the second act we want to believe that they will live happily ever after. The composer must follow the lead of the story and there can be no question of a happy ending, but in return we get the most beautiful musical and love death in history. In a short scene and aria Ah! We accompany the perfido to Deidamia abandoned by Achilles. We observe how her mood changes - she is deeply touched, immersed in sadness, and in a moment close to fury and a desire for revenge, to lament again in a few dozen bars and beg her beloved to return. Emotionally unstable, or maybe just real. These magnificent vocal scenes in the concert program will be juxtaposed with instrumental compositions by Tomasz Sikorski. The music of this 20th century composer can be a mirror for sensitive heroines. Or maybe for us as well?

Fig. Marlena Saczkowska