{"id":892,"date":"2025-05-22T22:52:44","date_gmt":"2025-05-22T21:52:44","guid":{"rendered":"https:\/\/festivalbaroko.cz\/2025\/?page_id=892"},"modified":"2025-10-12T20:25:10","modified_gmt":"2025-10-12T19:25:10","slug":"tomas-hanzlik-1972-rimska-lukrecie","status":"publish","type":"page","link":"https:\/\/festivalbaroko.cz\/2025\/tomas-hanzlik-1972-rimska-lukrecie\/","title":{"rendered":"Tom\u00e1\u0161 Hanzl\u00edk (*1972): \u0158\u00edmsk\u00e1 Lukr\u00e9cie"},"content":{"rendered":"\n

Premi\u00e9ra nov\u00e9 verze neobarokn\u00ed opery na parodick\u00fd Rademin\u016fv text v \u010desk\u00e9m p\u0159ekladu Kate\u0159iny Bohadlov\u00e9<\/em><\/h3>\n\n\n\n

\u00fater\u00fd 10. 6. 2025 \/ 19:00 \/ Vlastiv\u011bdn\u00e9 muzeum v Olomouci, s\u00e1l V\u00e1clava III.<\/h4>\n\n\n\n
\n\n\n\n

\u00da\u010dinkuje Ensemble Damian<\/strong><\/p>\n\n\n\n

Kamila \u0160krachov\u00e1 \u2013 Lukr\u00e9cie
Hana Holod\u0148\u00e1kov\u00e1 \u2013 Lesbie
Jan Miku\u0161ek \u2013 Tarquinius
Bed\u0159ich L\u00e9vi \u2013 Sextus
Martin Pt\u00e1\u010dek \u2013 Collatinus
Ji\u0159\u00ed Pol\u00e1\u010dek \u2013 Brutus<\/p>\n\n\n\n

Martin Dost\u00e1l, Daniel Podrou\u017eek \u2013 housle
Mariana T\u016fmov\u00e1 \u2013 violoncello
Martin Smutn\u00fd \u2013 cembalo
Ji\u0159ina Mare\u0161ov\u00e1 \u2013 hudebn\u00ed nastudov\u00e1n\u00ed
Vendula Johnov\u00e1, Tom\u00e1\u0161 Hanzl\u00edk \u2013 kost\u00fdmy<\/p>\n\n\n\n

Martin Dost\u00e1l \u2013 sc\u00e9na, re\u017eie<\/p>\n\n\n\n

\n\n\n\n

\u0158\u00edmsk\u00e1 Lukr\u00e9cie<\/em> jako parodie na operu<\/h2>\n\n\n\n

Kdy\u017e psal Heinrich Rademin (1674\u20131731), n\u011bmeck\u00fd herec, impres\u00e1rio, dramatik a p\u0159ekladatel evropsk\u00e9ho form\u00e1tu, \u0158\u00edmskou Lukr\u00e9cii <\/em>(1731), zb\u00fdvalo mu do konce \u017eivota u\u017e jen velmi m\u00e1lo. Napsal v\u0161ak d\u00edlo dosud nej\u00fasp\u011b\u0161n\u011bj\u0161\u00ed a nejorigin\u00e1ln\u011bj\u0161\u00ed, v n\u011bm\u017e z\u00faro\u010dil znalost divadeln\u00edho prost\u0159ed\u00ed dvora i ni\u017e\u0161\u00edch vrstev obyvatelstva, jazyk\u016f a kultur, cenn\u00e9 zku\u0161enosti divadeln\u00edho autora i talent. V\u010das pochopil, kter\u00fdm sm\u011brem se divadeln\u00ed formy vyv\u00edjej\u00ed i co vy\u017eaduje publikum.<\/p>\n\n\n\n

Rademinova \u0158\u00edmsk\u00e1 Lukr\u00e9cie<\/em> se zapsala do d\u011bjin jako historicky prvn\u00ed parodie na operu v n\u011bm\u010din\u011b a sou\u010dasn\u011b p\u0159edstavovala prvn\u00ed vrchol cesty k v\u00edde\u0148sk\u00e9mu singspielu. Parodie spo\u010d\u00edv\u00e1 p\u0159ev\u00e1\u017en\u011b v kontrastu v\u00e1\u017en\u00e9ho n\u00e1m\u011btu a komicky n\u00edzk\u00e9ho a zkratkovit\u00e9ho vyjad\u0159ov\u00e1n\u00ed postav, jejich my\u0161len\u00ed a jedn\u00e1n\u00ed. V p\u0159\u00edpad\u011b Rademina, \u010dinn\u00e9ho od roku 1726 ve v\u00edde\u0148sk\u00e9m Divadle U Korutansk\u00e9 br\u00e1ny, \u0161lo o novinku po v\u0161ech str\u00e1nk\u00e1ch. Do t\u00e9 doby p\u0159ev\u00e1d\u011bl v\u00edce m\u00e9n\u011b v\u011brn\u011b cizojazy\u010dn\u00fd text libret a hauptakc\u00ed do n\u011bm\u010diny, maxim\u00e1ln\u011b je obohatil o komick\u00e9 postavy z \u017e\u00e1nru komedie dell\u2019arte. Tentokr\u00e1t v\u0161ak vytvo\u0159il na z\u00e1klad\u011b opern\u00edho libreta Bartholda Feinda (1678\u20131721) d\u00edlo vlastn\u00ed. V\u00fdborn\u011b zapadalo do hudebn\u011b orientovan\u00e9ho dramaturgick\u00e9ho pl\u00e1nu tehdej\u0161\u00edch italsk\u00fdch \u0159editel\u016f divadla (dvorn\u00ed zp\u011bv\u00e1k Francesco Borosini a dvorn\u00ed tane\u010dn\u00edk Joseph Carl Sellier), kte\u0159\u00ed novou produkc\u00ed \u00fasp\u011b\u0161n\u011b obch\u00e1zeli cenzuru, z\u00e1kazy a v\u0161emo\u017en\u00e1 omezov\u00e1n\u00ed v provozov\u00e1n\u00ed popul\u00e1rn\u00edho hudebn\u00edho divadla. Italsk\u00e1 opera seria byla toti\u017e ve V\u00eddni k vid\u011bn\u00ed pouze u dvora pro vybran\u00e9 publikum, kde\u017eto n\u011bmeck\u00e9 divadlo italskou operu uv\u00e1d\u011bt nesm\u011blo. U Korutansk\u00e9 br\u00e1ny proto zavedli pasti\u0161, kter\u00fd spojoval \u00faryvky z italsk\u00e9 v\u00e1\u017en\u00e9 i komick\u00e9 opery s n\u011bmeckou improvizovanou komedi\u00ed. Z v\u00fd\u0161e uveden\u00fdch d\u016fvod\u016f se d\u00edlo nemohlo jmenovat opera, a proto se schov\u00e1vala za v\u00e1gn\u00ed a nejednotnou terminologii (intermezzo musicale, opereta, hudebn\u00ed divadlo, hudebn\u00ed burleska, musica bernesca, apod.). P\u0159esto se jednalo o kvalitn\u00ed hudebn\u00ed divadlo s v\u00fdborn\u00fdmi zp\u011bv\u00e1ky a herci, kte\u0159\u00ed dok\u00e1zali improvizovat, performovat i parodovat. Rademinovi, zdej\u0161\u00edmu \u00fasp\u011b\u0161n\u00e9mu princip\u00e1lovi, se tak\u0159ka z nutnosti poda\u0159ilo spojit operu, burlesku a hrdinskou akci s parodi\u00ed, \u010d\u00edm\u017e dos\u00e1hl vzniku nov\u00e9ho divadeln\u00edho tvaru. Parodie na operu je d\u016fle\u017eit\u00fdm mezn\u00edkem ve v\u00fdvoji hudebn\u00ed burlesky a p\u0159edch\u016fdcem vaudevillu.<\/p>\n\n\n\n

Rademin v\u0161ak parodii na operu nevymyslel, ale n\u00e1sledoval p\u0159\u00edklad ben\u00e1tsk\u00fdch hudebn\u00edch satir na v\u00e1\u017enou operu. Aby v\u0161ak mohl tento inovativn\u00ed pasti\u0161 vytvo\u0159it v n\u011bm\u010din\u011b, pot\u0159eboval jako p\u0159edlohu v\u00e1\u017enou operu, a proto si vybral Feindovu hudebn\u00ed truchlohru s hudbou uzn\u00e1van\u00e9ho skladatele Reinharda Keisera (1674\u20131739). N\u00e1m\u011btem Feindovy hudebn\u00ed truchlohry i Rademinovy opern\u00ed parodie je p\u0159\u00edb\u011bh \u0159\u00edmsk\u00e9 aristokratky Lukr\u00e9cie (500 p\u0159.n.l.) a jej\u00ed tragick\u00e9 smrti, jak ho zaznamenali \u0159\u00edm\u0161t\u00ed historikov\u00e9 Titus Livius a Dion\u00fdsos z Halikarnasu zhruba o 500 let pozd\u011bji. Nedochovala se dobov\u00e1 sv\u011bdectv\u00ed. V\u011bt\u0161ina historik\u016f se klon\u00ed k n\u00e1zoru, \u017ee se nejedn\u00e1 o m\u00fdtus, ale o legendu. Cudn\u00e1 Lukr\u00e9cie, v\u011brn\u00e1 man\u017eelka Collatina, se odm\u00edt\u00e1 podvolit cht\u00ed\u010di panova\u010dn\u00e9ho Sexta, syna posledn\u00edho \u0159\u00edmsk\u00e9ho kr\u00e1le, Lucia Tarquinia Superba. Sextus ji v noci p\u0159epadne v lo\u017enici a n\u00e1sil\u00edm dos\u00e1hne sv\u00e9ho. Osobn\u00ed drama zn\u00e1siln\u011bn\u00e9 \u017eeny, kter\u00e1 neunesla n\u00e1sledky toho \u010dinu a vzala si v rodinn\u00e9m kruhu \u017eivot, pak m\u011blo p\u0159\u00edm\u00fd dopad na politickou situaci v \u0158\u00edm\u011b. Sextus spustil sv\u00fdm \u010dinem ji\u017e dlouho chystanou vzpouru, kter\u00e1 vedla k vyhn\u00e1n\u00ed kr\u00e1le i s rodinou, svr\u017een\u00ed monarchie a zalo\u017een\u00ed \u0158\u00edmsk\u00e9 republiky. P\u0159\u00edb\u011bh \u0159\u00edmsk\u00e9 Lukr\u00e9cie vyzdvihovala c\u00edrkev a op\u011bvovala Lukr\u00e9cii jako symbol cudnosti. Stala se inspirac\u00ed pro um\u011blce z r\u016fzn\u00fdch obor\u016f, p\u0159edev\u0161\u00edm mal\u00ed\u0159\u016f (Tizian, Rembrandt, D\u00fcrer, Botticelli), zaujala tak\u00e9 Shakespeara (epick\u00e1 b\u00e1se\u0148 The Rape of Lucrece<\/em>, 1594) a dal\u0161\u00ed dramatiky. Ve 20. stolet\u00ed t\u00e9ma zpracoval jako operu Benjamin Britten (The Rape of Lucretia<\/em>, 1946).<\/p>\n\n\n\n

Rademin vytv\u00e1\u0159\u00ed zvl\u00e1\u0161tn\u00ed synt\u00e9zu vysok\u00e9ho a n\u00edzk\u00e9ho charakteristickou pro pozdn\u00ed hauptakci a zejm\u00e9na burlesku, kterou Rademinova parodie na operu bezesporu je. Z tituln\u00ed strany Rademinovy \u0158\u00edmsk\u00e9 Lukr\u00e9cie<\/em> se d\u00e1le dozv\u00edme, \u017ee se p\u0159edstaven\u00ed o t\u0159ech d\u011bjstv\u00edch odehr\u00e1v\u00e1 b\u011bhem n\u011bkolika sc\u00e9nick\u00fdch prom\u011bn a je obohaceno dv\u011bma balety \u201ekulhav\u00fdch\u201c a \u201eslepc\u016f\u201c.<\/p>\n\n\n\n

\n\n\n\n

Fotografie z p\u0159edpremi\u00e9ry p\u016fvodn\u00ed verze \u0158\u00edmsk\u00e9 Lukr\u00e9cie v pod\u00e1n\u00ed Geisslers Hofcomoedianten (2021)<\/em><\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n
\n\n\n\n

D\u011bj opery<\/h2>\n\n\n\n

D\u011bj za\u010d\u00edn\u00e1 p\u0159i shrom\u00e1\u017ed\u011bn\u00ed na \u0159\u00edmsk\u00e9m Campidogliu. Kr\u00e1l Tarquinius Superbus slibuje pomstu obyvatel\u016fm m\u011bsta Ardey, kte\u0159\u00ed chystaj\u00ed rebelii. P\u0159\u00edsah\u00e1 na pivo, v\u00edno a tab\u00e1k, \u017ee si m\u011bsto podrob\u00ed. V\u0161ichni mu\u017ei v arm\u00e1d\u011b se chystaj\u00ed do boje proti povstalc\u016fm \u2013 gener\u00e1l Brutus, kr\u00e1l\u016fv syn Sextus i vojev\u016fdce Collatinus. Lou\u010d\u00ed se se sv\u00fdmi \u017eenami, kter\u00e9 mus\u00ed nechat doma v \u0158\u00edm\u011b. Brutus fale\u0161nou Lesbii, kterou tajn\u011b miluje Sextus i s\u00e1m Tarquinius, a Collatin Lukr\u00e9cii. Brutus se chyst\u00e1 vyu\u017e\u00edt p\u0159\u00edle\u017eitost rebelie ke svr\u017een\u00ed kr\u00e1le a jen naoko p\u0159edst\u00edr\u00e1 loajalitu. Stejn\u011b i Lesbie p\u0159edst\u00edr\u00e1, \u017ee ji Brutus bude chyb\u011bt a o samot\u011b vychvaluje man\u017eelstv\u00ed, kter\u00e9 j\u00ed d\u00e1v\u00e1 svobodu d\u011blat si, co chce. L\u00e1ska Collatina a Lukr\u00e9cie je naproti tomu up\u0159\u00edmn\u00e1 a stejn\u011b tak i jejich lou\u010den\u00ed.<\/p>\n\n\n\n

Ve druh\u00e9m d\u011bjstv\u00ed si Brutus a Sextus vyslechnou v\u011b\u0161tbu: Kdo prvn\u00ed pol\u00edb\u00ed matku, stane se n\u00e1sledn\u00edkem tr\u016fnu. Sextus pol\u00edb\u00ed svou biologickou matku, ale Brutus l\u00e9pe pochop\u00ed h\u00e1danku a pol\u00edb\u00ed matku Zemi. T\u00edm se strhne velk\u00e1 h\u00e1dka, kterou Tarquinius zprvu pova\u017euje za vzpouru v Ardee. Kdy\u017e zjist\u00ed, o co jde, uvrhne Bruta do v\u011bzen\u00ed zato, \u017ee usiluje o jeho korunu i hol\u00fd \u017eivot. Tresty za v\u00e1\u017en\u00e9 proh\u0159e\u0161ky a selh\u00e1n\u00ed jsou v cel\u00e9 h\u0159e neadekv\u00e1tn\u00ed a sm\u011b\u0161n\u00e9. Kdy\u017e se kr\u00e1l Tarquinius dozv\u00ed, \u017ee ho chce Brutus svrhnout a nastoupit na jeho m\u00edsto, nech\u00e1 ho spoutat a zav\u0159\u00edt. P\u0159i v\u00fdslechu ho obvi\u0148uje z p\u0159\u00edpravy spiknut\u00ed a jako d\u016fkaz pou\u017e\u00edv\u00e1 osobn\u00ed p\u0159edm\u011bty ka\u017edodenn\u00ed pot\u0159eby, kter\u00e9 u n\u011bho najde: bal\u00ed\u010dek tab\u00e1ku jako zak\u00e1zan\u00fd spis a n\u00e1vod na vra\u017edu, kousek chleba, aby ho mohl otr\u00e1vit, fajfku jako zdroj v\u00fdbu\u0161nin nebo n\u016f\u017e. N\u00e1sleduje v\u00fd\u010det absurdn\u00edch n\u00e1vrh\u016f trest\u016f, kter\u00e9 vz\u00e1p\u011bt\u00ed ze stejn\u011b nere\u00e1ln\u00fdch d\u016fvod\u016f zam\u00edt\u00e1, aby nakonec vynesl rozsudek: \u201e\u017eivot v\u0161ak bude\u0161 krut\u00fd \u017e\u00edt \/ pivo a v\u00edno nesm\u00ed\u0161 p\u00edt \/ na tab\u00e1k si nech zaj\u00edt chut\u011b \/ d\u011blej si co chce\u0161, dostanu t\u011b<\/em>.\u201c<\/p>\n\n\n\n

V\u011brn\u00e1 Lukr\u00e9cie mezit\u00edm jako hospody\u0148ka \u0159\u00edd\u00ed chod dom\u00e1cnosti a v\u011bnuje se ve spole\u010dnosti d\u00edvek p\u0159eden\u00ed vlny. Z \u00fakrytu ji pozoruj\u00ed Collatin a Sextus, kter\u00fd se do n\u00ed na prvn\u00ed pohled zamiluje a je odhodl\u00e1n dob\u00fdt ji. Collatin vysv\u011btluje p\u0159ekvapen\u00e9 \u017een\u011b d\u016fvod jeho n\u00e1vratu dom\u016f. Vsadil se se Sextem, \u017ee ji doma zastihne v pln\u00e9 pr\u00e1ci. N\u00e1sledn\u011b vychvaluje jej\u00ed schopnost postarat se o dom\u00e1cnost. Po odjezdu Collatina zp\u00e1tky do vojensk\u00e9ho t\u00e1bora vyu\u017eije Sextus situace a p\u0159ekvap\u00ed Lukr\u00e9cii v lo\u017enici. Lukr\u00e9cie je zrovna pono\u0159ena do my\u0161lenek na sv\u00e9ho man\u017eela. Sextus j\u00ed vyzn\u00e1 l\u00e1sku, ale ona se br\u00e1n\u00ed a nakonec ute\u010de. Sextus v\u0161ak sebejist\u011b prohl\u00e1s\u00ed, \u017ee ne\u017e se rozedn\u00ed, dostane, co chce. V tomto nejdramati\u010dt\u011bj\u0161\u00edm okam\u017eiku n\u00e1sleduje st\u0159ih, se kter\u00fdm Rademin \u010dasto pracuje, a pozornost se obr\u00e1t\u00ed k Lesbii, kter\u00e1 varuje p\u0159ed fale\u0161nost\u00ed mu\u017e\u016f. Samotn\u00fd akt zn\u00e1siln\u011bn\u00ed Lukr\u00e9cie je vynech\u00e1n. Dozv\u00edd\u00e1me se o n\u011bm a\u017e z monologu Sexta na za\u010d\u00e1tku t\u0159et\u00edho d\u011bjstv\u00ed, ve kter\u00e9m popisuje sv\u016fj triumf. V n\u00e1sleduj\u00edc\u00ed \u00e1rii zatracuje man\u017eelsk\u00fd stav. Ze sv\u00e9ho mu\u017esk\u00e9ho pohledu ho na rozd\u00edl od Lesbie pova\u017euje za svazuj\u00edc\u00ed. Vz\u00e1p\u011bt\u00ed jsme sv\u011bdky sc\u00e9ny, ve kter\u00e9 zhrzen\u00e1 Lukr\u00e9cie za p\u0159\u00edtomnosti Collatina, Bruta i n\u011bkolika p\u0159\u00edbuzn\u00fdch prozrad\u00ed p\u0159\u00ed\u010dinu sv\u00e9ho z\u00e1rmutku a pot\u00e9 se probodne d\u00fdkou. Rademinova Lukr\u00e9cie nejprve pop\u00edr\u00e1 vlastn\u00ed vinu, ale vz\u00e1p\u011bt\u00ed za\u010dne pochybovat a vy\u010d\u00edtat si, \u017ee Sextovi nakonec podlehla. Za jedin\u00e9 v\u00fdchodisko pova\u017euje svou smrt, jedin\u011b ta m\u016f\u017ee od\u010dinit \u201eprovin\u011bn\u00ed\u201c, kter\u00e9ho se dopustila. A\u010dkoli se boj\u00ed vz\u00edt si \u017eivot, pom\u016f\u017ee ji v\u011bdom\u00ed, \u017ee je hrdinkou a jej\u00ed osud je nezvratn\u00fd. Po\u010detn\u00e1 skupina p\u0159\u00edtomn\u00fdch mu\u017e\u016f nedok\u00e1\u017ee zabr\u00e1nit deklamovan\u00e9 sebevra\u017ed\u011b \u017eeny, kter\u00e1 z na\u0161eho pohledu nic neprovedla, ba naopak stala se ob\u011bt\u00ed trestn\u00e9ho \u010dinu. Z dobov\u00e9ho hlediska v\u0161ak ne\u0161lo o zlo\u010din proti \u017een\u011b, ale proti cti man\u017eela a jeho rodiny. Nen\u00ed \u010das na truchlen\u00ed, Collatin i Brutus slibuj\u00ed pomstu Sextovi a jeho rodu, vz\u00fdvaj\u00ed moci pekeln\u00e9 i samotn\u00e9ho Radamanta. Lesbie stihne varovat kr\u00e1le Tarquinia, kter\u00fd se zrovna chyst\u00e1 za\u00fato\u010dit na Ardeu. Zasko\u010den zpr\u00e1vou o Sextov\u011b \u010dinu se Tarquinius upne k Lesbii a oba si slibuj\u00ed v\u011brnost v l\u00e1sce, a\u0165 se stane cokoliv. Ne\u010dekan\u011b modern\u00ed rozuzlen\u00ed p\u0159in\u00e1\u0161\u00ed v z\u00e1v\u011bru t\u00e9to burleskn\u00ed opery p\u0159\u00e1n\u00ed odstupuj\u00edc\u00edho kr\u00e1le Tarquinia, aby se v budoucnu ji\u017e \u017e\u00e1dn\u00fd mu\u017e nezlobil na svou \u017eenu, kter\u00e1 by se jako Lukr\u00e9cie m\u011bla st\u00e1t ob\u011bt\u00ed zn\u00e1siln\u011bn\u00ed a aby si zn\u00e1siln\u011bn\u00e1 \u017eena ji\u017e nikdy nes\u00e1hla na \u017eivot.<\/p>\n\n\n\n

\n\n\n\n

Hudba<\/h2>\n\n\n\n

Hudba k \u0158\u00edmsk\u00e9 Lukr\u00e9cii<\/em> se nedochovala, autorem mohl b\u00fdt Frantz Pircker nebo Ignaz Beyer, kte\u0159\u00ed pat\u0159ili k Rademinov\u00fdm spolupracovn\u00edk\u016fm.<\/p>\n\n\n\n

P\u0159edpremi\u00e9ra nov\u00e9ho zhudebn\u011bn\u00ed Tom\u00e1\u0161e Hanzl\u00edka v pod\u00e1n\u00ed souboru Geisslers Hofcomoedianten se uskute\u010dnila 25. srpna 2021 v r\u00e1mci festivalu Theatrum Kuks. Sc\u00e9nick\u00e1 premi\u00e9ra pak 3. z\u00e1\u0159\u00ed 2021 v r\u00e1mci \u0161est\u00e9ho ro\u010dn\u00edku festivalu Antick\u00e1 \u0160tvanice v Praze. Pro novou inscenaci Ensemble Damian Hanzl\u00edk p\u016fvodn\u00ed partituru po\u010d\u00edtaj\u00edc\u00ed se saxofony a amplifikovan\u00fdmi n\u00e1stroji p\u0159einstrumentoval do barokn\u00edho h\u00e1vu. V p\u016fvodn\u00edm Geisslerovsk\u00e9m obsazen\u00ed hr\u00e1li mu\u017ei \u017eensk\u00e9 postavy a \u017eeny mu\u017esk\u00e9. V nov\u00e9 verzi je tato travestie opu\u0161t\u011bna, nicm\u00e9n\u011b v\u011bt\u0161ina mu\u017esk\u00fdch postav je koncipovan\u00e1 pro kontratenory, kte\u0159\u00ed v sou\u010dasn\u00fdch opern\u00edch inscenac\u00edch nahrazuj\u00ed barokn\u00ed kastr\u00e1ty. Operu otev\u00edr\u00e1 nov\u00e1 ouvertura a p\u0159ed z\u00e1v\u011bre\u010dn\u00fd sbor je vlo\u017eena na p\u0159\u00e1n\u00ed re\u017eis\u00e9ra sc\u00e9nick\u00e1 hudba, jako podkres jeho v\u00fdkladu rozuzlen\u00ed p\u0159\u00edb\u011bhu \u0158\u00edmsk\u00e9 Lukr\u00e9cie.<\/p>\n\n\n\n

\u2014Kate\u0159ina Bohadlov\u00e1<\/em><\/p>\n\n\n\n

\n\n\n\n

Fotografie z p\u0159edstaven\u00ed<\/h3>\n\n\n\n

Autorem fotografi\u00ed je Michal M\u00e1lek.<\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n\n\n\n
\n\n\n\n

Z\u00e1znam p\u0159edstaven\u00ed<\/h2>\n\n\n\n
\n