Warsaw Grand Theatre - Polish National Opera (Teatr Wielki): Cardillac Tickets | Event Dates & Schedule | GoComGo.com

Cardillac Tickets

Warsaw Grand Theatre - Polish National Opera (Teatr Wielki), Warsaw, Poland
Important Info
Type: Opera
City: Warsaw, Poland
Acts: 3
Sung in: German
Titles in: Polish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Cast
Performers
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Overview

Paul Hindemith’s Cardillac is one of the most compelling 20th-century operas, a true thriller based on Das Fräulein von Scuderi, a story by the master of fantasy and Gothic fiction, E.T.A. Hoffmann.

An elusive murderer is on the loose in Paris. He preys on the clients of a renowned jeweller by the name of Cardillac. Following the latest murder, the city’s residents are frustrated to the point of erupting into riot. The young detective at the helm of the investigation has a lead suggesting the involvement of the maker of desirable jewellery himself. At the same time, Cardillac’s daughter is planning to run away from home with her beloved. Her work-obsessed father is unimpressed with the idea. A confrontation between the girl’s sweetheart and her father reveals the identity of the murderer, who is lynched by the angry crowd. 

Young Hindemith was a daringly original music writer, a remarkable innovator. Around 1925, however, he made a U-turn towards German baroque and romantic tradition. Far from becoming an imitator though, he remained an independent artist looking for fresh inspiration in the olden forms.

There’s not a iota of its literary prototype’s historicism in Cardillac. The opera is an example of New Objectivity that rejected the pathos and sentimentality towards the past. The story becomes even more relevant in this day and age. After all, fascination with and fetishisation of valuable objects is the essence of present-day capitalism. Socially mandated productivity calls for glorification of work and perfectionism. Feeling empty inside, the opera’s protagonists try to fill the void with ersatz love or the fantasy of death. There is also a clash of generations, with the jeweller’s daughter embodying triviality and her father being the personification of seriousness and seeming ethos. At its core, the story is an attempt to understand a serial killer – an individual who puts themself above morality and the society. In their take on the opera, director Mariusz Treliński and set designer Boris Kudlička approach it as film noire that poses as great entertainment but in fact offers insight into a killer’s mind. They move the action the present time, or perhaps near future.

It is probably due to its interpretative ambiguity and excellent vibrant polyphonic music that Paul Hindemith’s Cardillac is so eagerly staged internationally. In Poland, however, the composter of the opera Matthis der Maler has been consistently absent from opera listings. This production from Treliński and Kudlička goes against the trend. This is also the first time Hindemith’s music will be heard at the Polish National Opera since the ballet Theme with Variations: The Four Temperaments was shown here in 1962. The opera is a co-production with the Oper Köln and Teatro Real Madrid. Excellent baritone Tomasz Konieczny stars as Cardillac, a role he regularly performs at the Wiener Staatsoper.

A co-production with: Oper Köln; Teatro Real, Madrid

History
Premiere of this production: 09 November 1926, Staatsoper, Dresden

Cardillac is an opera by Paul Hindemith in three acts and four scenes. Ferdinand Lion wrote the libretto based on characters from the short story Das Fräulein von Scuderi by E.T.A. Hoffmann.

Synopsis

Act 1
Scene 1

The crowd is agitated about a series of recent mysterious murders. The police calm the crowd. The goldsmith Cardillac enters the scene and the atmosphere becomes hushed. The Lady asks the Cavalier about the goldsmith Cardillac, and the Cavalier tells of the goldsmith and his priceless jewelry. The Lady promises the Cavalier a tryst that evening if he can bring her Cardillac's most beautiful work.

Scene 2

The Lady and the Cavalier enjoy their tryst and the Cavalier delivers one of Cardillac's belts. A masked figure steals into the bedroom and fatally stabs the Cavalier. The Lady faints and the mysterious figure leaves with the belt.

Act 2
The Gold Merchant mentions to Cardillac the latest murder that involved the theft of a recent work of Cardillac. The Gold Merchant has his suspicions about the identity of the murderer. Cardillac orders his daughter to watch over his work. She does so and awaits her lover, the Officer. Cardillac returns, and it becomes clear that he values the articles he has crafted more than he does his daughter. He then meets the King and offers to create his greatest work of art for him. The Officer enters to ask Cardillac for his daughter's hand in marriage, and Cardillac consents. Though the Officer realizes how much Cardillac values his creations over his own daughter, he offers money for one of the goldsmith's chains. After the Officer leaves, Cardillac indicates that he himself is the murderer.

Act 3
In a tavern, the Officer wears the chain, presenting himself as a target for the murderer. Cardillac enters and wounds the Officer, but the Officer beats back the attack and holds on to the chain. He advises Cardillac to flee. The Gold Merchant then brings on a crowd and accuses Cardillac of the murders. Cardillac is brought in, followed by his daughter. The Officer defends Cardillac, rebuts the Gold Merchant's accusation, and accuses the Gold Merchant of being the murderer's accomplice. In the ensuing ensemble, Cardillac's daughter realizes her father is the murderer. The crowd sings Cardillac's praises, but as they continue, his words make them wonder about the identity of the murderer. Finally, Cardillac reveals to the crowd that he is the murderer. They demand he repent his crimes, but he makes no such gesture. The crowd then lynches Cardillac. With his final gesture before dying, he reaches out for the chain around the Officer's neck, not his daughter. The Officer and Cardillac's daughter swear mutual devotion.

Venue Info

Warsaw Grand Theatre - Polish National Opera (Teatr Wielki) - Warsaw
Location   plac Teatralny 1

The Grand Theatre in Warsaw is a theatre and opera complex situated on the historic Theatre Square in central Warsaw. The Warsaw Grand Theatre is home to the Polish National Ballet and is one of the largest theatrical venues in the world.

The Theatre was built on Theatre Square between 1825 and 1833, replacing the former building of Marywil, from Polish classicist designs by the Italian architect Antonio Corazzi of Livorno, to provide a new performance venue for existing opera, ballet and drama companies active in Warsaw. The building was remodeled several times and, in the period of Poland's political eclipse from 1795 to 1918, it performed an important cultural and political role in producing many works by Polish composers and choreographers.

It was in the new theatre that Stanisław Moniuszko's two best-known operas received their premieres: the complete version of Halka (1858), and The Haunted Manor (1865). After Frédéric Chopin, Moniuszko was the greatest figure in 19th-century Polish music, for in addition to producing his own works, he was director of the Warsaw Opera from 1858 until his death in 1872.

While director of the Grand Theatre, Moniuszko composed The Countess, Verbum Nobile, The Haunted Manor and Paria, and many songs that make up 12 Polish Songbooks.

Also, under Moniuszko's direction, the wooden Summer Theatre was built close by in the Saxon Garden. Summer performances were given annually, from the repertories of the Grand and Variety (Rozmaitości) theatres. Józef Szczublewski writes that during this time, even though the country had been partitioned out of political existence by its neighbors, the theatre flourished: "the ballet roused the admiration of foreign visitors; there was no equal troupe of comedians to be found between Warsaw and Paris, and Modrzejewska was an inspiration to drama."

The theatre presented operas by Władysław Żeleński, Ignacy Jan Paderewski, Karol Szymanowski and other Polish composers, as well as ballet productions designed by such choreographers as Roman Turczynowicz, Piotr Zajlich and Feliks Parnell. At the same time, the repertoire included major world opera and ballet classics, performed by the most prominent Polish and foreign singers and dancers. It was also here that the Italian choreographer Virgilius Calori produced Pan Twardowski (1874), which (in the musical arrangement first of Adolf Sonnenfeld and then of Ludomir Różycki) has for years been part of the ballet company's repertoire.

During the 1939 battle of Warsaw, the Grand Theatre was bombed and almost completely destroyed, with only the classical façade surviving. During the Warsaw Uprising of 1944 the Germans shot civilians in the burnt-out ruins. The plaque to the right of the main entrance commemorates the suffering and heroism of the victims of fascism.

Important Info
Type: Opera
City: Warsaw, Poland
Acts: 3
Sung in: German
Titles in: Polish

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

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