Piletilevi TV – культура - не выходя из дома

When private love affairs become entangled in public political intrigue, the outcome is often tragic. The protagonists have no choice but to watch helplessly as they suddenly become a pawn in a game they thought they could control.

With Love & Politics, Dan Turdén embarks on his position as artistic director of Norrlandsoperan. The opera performance compellingly combines four Verdi operas based on Friedrich Schiller's plays - Don Carlo, I masnadieri, Luisa Miller and Giovanna d’Arco - into a reflection on the many faces of love caught up in political power games.

Phelim McDermott, whose productions include the hugely successful Satyagraha by Philip Glass, returns to the Met with a new staging of Glass’s Akhnaten, conducted by Karen Kamensek in her Met debut. Anthony Roth Costanzo sings the title role of the Egyptian pharaoh who attempted to inspire his people to adopt a new religion, abandoning the worship of the old gods for that of a single deity. 

In her Met debut, J’Nai Bridges sings the role of Nefertiti, Akhnaten’s bride, and Dísella Lárusdóttir is Queen Tye, the pharaoh’s mother. One of the staging’s distinctive visual features is provided by the Gandini Juggling Company, whose movements are perfectly choreographed with the orchestral score. 

This production of Akhnaten was originally created by LA Opera, Improbable, and English National Opera, where it premiered, winning the 2017 Olivier Award for Best New Opera Production.

A stellar cast brings Puccini’s spellbinding opera to life, seizing every opportunity to thrill the audience. Luciano Pavarotti is Cavaradossi, the painter and political revolutionary in love with the beautiful and famous singer Tosca (the riveting Shirley Verrett). 

Rome’s diabolical chief of police, Baron Scarpia (Cornell MacNeil), wants Tosca for himself—but he underestimates the fury of a woman in love. With torture, murder, and a suicide in its final moments, Tosca packs more dramatic punches than most other operas—and this classic telecast captures them all. James Conlon conducts in a production by the incomparable Tito Gobbi, one of the great Scarpias of the 20th century.

The Gershwins’ Porgy and Bess returns to the Met for the first time since 1990, in a new production directed by James Robinson in his company debut. America’s “folk opera,” as the 1935 creators described it, tells the story of disabled beggar Porgy, sung by Eric Owens, and his love for the drug-addicted Bess, portrayed by Angel Blue. 

David Robertson conducts a stellar cast that also includes Donovan Singletary as fisherman Jake, Golda Schultz as his wife Clara, Latonia Moore as the bereaved widow Serena, Frederick Ballentine as drug dealer Sportin’ Life, Alfred Walker as the brutal stevedore Crown, and Denyce Graves as Maria, town matriarch and operator of the local cook-shop. 

Infused with the timeless melodies of the much-loved classics “Summertime,” “It Ain’t Necessarily So,” “Bess, You Is My Woman Now,” “I Got Plenty o’ Nuttin,” and “My Man’s Gone Now,” the new co-production with English National Opera and Dutch National Opera was hailed as a triumph at its premiere in London earlier this year.

MEGALOPOLIS, die globalisierte Stadt: Hier herrschen ungezügeltes Wachstum, Zerfall und Auflösung. Dichte und Enge der Stadt bringen die Grenzen zwischen privaten und öffentlichen Räumen zum Verschwinden. Gleichzeitig sind die Menschen gezwungen, die Stadt als ein System wahrzunehmen, das aus unzähligen biografischen Fragmenten besteht. Der Kampf zweier Straßenverkäufer um den besten Platz stellt heute eine existentielle Konfrontation dar und ist morgen schon vergessen. Megastädte stehen paradigmatisch für Räume, in denen Menschen zusammenleben, ohne sich zu kennen. Ihre Körper sind Instrumente, die Systeme und Regeln erschaffen und wieder zerstören. Die immer präsente Überwachung erzeugt eine neue Art der Selbstwahrnehmung. Wird die urbane Entwicklung Prinzipien folgen, die uns völlig unbekannt sind? In welcher Beziehung steht der Verfall zwischenmenschlicher Beziehungen zu dem der Städte?

2010 erhielt Constanza Macras den »Faust« Theaterpreis für die Choreografie von »MEGALOPOLIS«.

Bühne: Alissa Kolbusch
Kostüme: Gilvan Coelho De Oliveira, Sophie du Vinage
Video: Constanza Macras
Musik: Santiago Blaum, Almut Lustig, Kristina Lösche-Löwensen
Ton: Stephan Wöhrmann
Dramaturgie: Carmen Mehnert
Licht: Sergio de Carvalho Pessanha

Mit: Fernanda Farah, Anouk Froidevaux, Hyoung-Min Kim, Ronni Maciel, Ana Mondini, Franz Rogowski, Denis Kuhnert, Johanna Lemke, Miki Shoji, Damir Žiško

Band: Santiago Blaum, Almut Lustig, Kristina Lösche-Löwensen

Eine Produktion der Schaubühne am Lehniner Platz Berlin und Constanza Macras | DorkyPark in Koproduktion mit dem Europäischen Zentrum der Künste Hellerau und MESS Sarajevo.

Wir danken allen beteiligten Künstler_innen sowie allen Verlagen und Sendeanstalten für die Kooperation, die dieses Angebot an unser Publikum erst möglich macht!

On her way to the convent, a joy-loving young woman falls head over heels in love with a handsome stranger and decides to flee with him. Yet aspiring to a life of wealth and luxury, she ends up throwing herself into the arms of a rich nobleman. But can she forget her true love?

German stage director David Bösch, known for his modern, enigmatic productions which uncover the psychological depths of their characters, makes his Hamburg debut with Jules Massenet's Parisian Belle Époque masterpiece, featuring shooting star Elsa Dreisig in the title role.

A young count is in love with a shrewd woman who returns his feelings. But her guardian harbours his own plans for her. When jack-of-all-trades Figaro rushes to the young couple's aid, bribery, deceit and comic entanglements ensue. Will he succeed in saving the day - and love?

Bursting with exuberant music, captivating comedy and ingenious disguises, Rossini’s masterpiece is the ultimate feel-good opera. In Den Norske Opera’s new production, director Jetske Mijnssen takes the story seriously - didn’t Count Almaviva and Rosina’s union turn out unhappy in Mozart’s The Marriage of Figaro? - and shows how comedy is always close to tragedy.

“The question of what is real and how it can be represented in theatre, has always interested us” write Deflorian and Tagliarini. They have been working together as authors, actors, performers, and directors since 2008. In 2016, their research took them in the direction of the obsessive nature of the rhythms of contemporary life, and this “hyperactive efficacity” which constantly prompts us to see more and more, but which increasingly prevents us from looking around us, without any immediate objective in mind - and from simple contemplation… What do we mean by “to live in”? If it is true that “we have traded-in our interior life for an indoor life”, in what way do our various forms of shelter let us think about those left “out in the rain”? The Sky is not a Backdrop aims to strengthen the dialogue between make-believe space and the external space.

A production A.D., Sardegna Teatro, Fondazione Teatro Metastasio di Prato, Emilia Romagna Teatro Fondazione

in coproduction with Odéon – Théâtre de l’Europe, Festival d’Automne à Paris, Romaeuropa Festival, Théâtre Vidy-Lausanne, Sao Luiz - Teatro Municipal de Lisboa, Festival Terres de Paroles, théâtre Garonne, scène européenne – Toulouse
with the support of Teatro di Roma
in collaboration with Laboratori Permanenti/ Residenza Sansepolcro, Carrozzerie NOT/Residenza Produttiva Roma, Fivizzano 27/ nuova script ass.cult. Roma

with the support of Teatro di Roma
in collaboration with Laboratori Permanenti/San Sepolcro, Carrozzerie NOT/Roma, Fivizzano 27/Roma

with the Festival d’Automne, Paris

Eva Lyberten, an icon of Spanish softcore in the 1970s and 1980s, is appearing on stage to tell us her story. Now 60 years old, she shares her past with the audience, narrating the story recounted by the images of her that still survive: her erotic films. Identity, desire and fiction is analysed through her films from the 1970s, the period when Spain was beginning to open up.

This piece hovers between documentary and fiction and reflects on the erotic image projected in the female body, on how we believe and how we look at these images – both public and more private ones – and on the tensions between the individual and collective spheres, desire and fiction, and sexual icons and women. It is a study of looking and being looked at, of what is visible and what stubbornly refuses to be seen.

Una [One Woman] is a product of the Empremta (Imprint) Project of the Teatre Lliure, a theatrical transferral between Carlota Subirós and Raquel Cors.

Lost in a forest, a prince meets a mysterious woman and takes her home to a dark castle haunted by repressed longings. There she grows fonder of her new husband's half-brother, sparking a fatal love triangle between the three of them.
In a perfect synergy of the arts, choreographers Sidi Larbi Cherkaoui and Damien Jalet, together with the legendary performance artist Marina Abramovic, stage Pelléas et Mélisande as a cosmic dream. Like Debussy through his impressionistic music, the performers and creators of this production dispense with any illustration and instead bring out the hidden emotions of the characters.

Endspiel in eisiger Kälte: Klaus Michael Grüber inszeniert Dezember 1977 im einschüchternden Riesenrund des Stadions, das sich Hitler 1936 für seine Olympischen Spiele auf das Reichssportfeld bauen ließ, mit acht Sportlern, mit Handwerkern, Kameraleuten, Fotoreportern und zwanzig Mitgliedern des Ensembles der Berliner Schaubühne am Halleschen Ufer ein echtes deutsches Trauerspiel. Szenen aus Wort und Sport, Licht und Klang, Theater und Politik und Textfragmenten »Hyperion«. Ein inzwischen legendäres Theaterereignis. 

To save his protegé from a fatal destiny, a magician has imprisoned knights and ladies in an enchanted labyrinthine palace and mystifies them to the point of delirium.
Luigi Rossi's first opera - boasting sixteen soloists, double and triple choirs for 6 and 12 voices, numerous ballets  - marked the last surge of Roman opera before the Eternal City forsook it for a long time. For the Argentine conductor Leonardo García Alarcón, who rediscovered the opera in the Vatican Library neglected for 380 years, Il Palazzo incantato is "the missing link in the history of opera and the metaphor of our lives". 

In love with an exiled count turned pirate, a young woman has been forced into a marriage with his worst enemy. Is there a way out of this dramatic love triangle?
Il pirata marked the beginning of young Bellini's fruitful collaboration with the librettist Felice Romani, called 'the Dante of his time', and of an international career as dazzling as it was short. Abandoning the tradition of happy endings, the gothic plot culminates in one of the first ‘mad scenes’ in the history of opera.

How many lives can a person live in just 34 years? Before her early death, the French-Jewish philosopher and mystic Simone Weil took part in the Spanish Civil War, worked in a refugee camp, in a factory and as a teacher. Forever on the move in search of new truths.
The oratorio La Passion de Simone is the third of four collaborations between the Finnish composer and Polar Prize laureate Kaija Saariaho with the French-Lebanese author Amin Maalouf, starting with the highly acclaimed L’amour de loin. On the structure of Bach’s Passions, Saariaho’s unique and suspenseful score, performed by court singer Anne Sofie von Otter as a soloist, immerses the listener in the life and thoughts of Simone Weil.

«Серебряное копытце» принадлежит перу потрясающего писателя и фольклориста Павла Бажова, который первым литературно обработал уральские сказы и превратил их в настоящие произведения искусства, переведенные на множество иностранных языков.

Театр под руководством режиссера и художника Павла Овсянникова создал новый зимний спектакль о волшебстве и вере в чудеса, которые обязательно случаются, если очень сильно захотеть. История о девочке Дарёнке, кошке Мурёнке и старике Коковане известна и любима многими поколениями, и точно очарует и современных детей. Легкость, красота и лиричность этой сказки найдут своё отражение в куклах и сказочных декорациях.

Волшебный сказ Павла Бажова для детей от 4 лет.
Автор - Павел Бажов
Режиссер, художник - Павел Овсянников
Композитор - Глеб Успенский
В спектакле заняты: Андрей Железняк, Ольга Сидоренко, Светлана Трегуб

In a poet's feverish imagination, the staging of Don Giovanni sets him off on a frenzied journey into nightmarish worlds. Can Mozart himself offer him salvation as he loses himself in his fearful dreams?
Barrie Kosky tells Offenbach's fantastic story as a disturbing nightmare of an artist who increasingly loses his sense of identity. As we dive into the obsessions of a deranged mind, the title role itself is shared by three performers - including an actor - while a single soprano embodies all four female lead roles.

On Christmas Eve, a young girl has a dream. She stumbles upon a magical adventure when she is given an enchanted Nutcracker doll. Can she break the spell that turned him from a boy to a toy?
Ballet Company of the National Opera of Ukraine's staging of Nutcracker has won the hearts of children and adults all around the world. Behind the charming tale capturing the festive spirit, emerges journey from childhood to adulthood with much virtuosity along the way; all set to Tchaikovsky's immediately recognisable magnificent music.

Helped by his shrewd servant, a serial seducer flaunts society's rules until he brings about his own downfall.
Mozart's audacious opera combines enchanting music with a central character of fascinating psychological complexity, an archetypal figure who continues to provide food for thought 230 years after its creation. Christof Loy's production stars Christopher Maltman as Don Giovanni, now a desperate and lonely anti-hero, always eluded by success.

In a soup kitchen, the recipients take turns mocking and supporting, lying and loving each other, spicing up the reality of their lives with a pinch of fantasy.

La Soupe Pop invites its audience to share a bowl of soup among the actors and singers on Montpellier's Opera Comédie stage. Halfway between theatre and cabaret, the immersive experience unfolds in a series of raw yet poetic scenes accompanied by the joyously melancholy music of British cult band The Tiger Lillies.

When a passionate poet falls for a young woman, she is stirred by his ardent declaration of love. Yet she is promised to another and ends up rejecting him, prompting him to make a fatal gesture. 

With some of the most gorgeously romantic music ever written, Jules Massenet’s Werther adapts Goethe's wildly successful epistolary novel into one of the finest accomplishments in French opera. This production stars the winners of the 71st AsLiCo Singing Competition in 2020, whose youthful passion rivals Werther's own.

National Opera Studio creation - arias & a documentary, produced almost entirely in quarantine, exploring creative processes, isolation and digital connections. Each singer was partnered with a diverse, handpicked team; composer, librettist and pianist – teams of four. Through Zoom, telephone, e-mail and Whatsapp the teams nurtured ideas drawn from the singer’s past life, future ambitions or dreams and through collaboration, moulded these ideas into arias for operas in development.

Мультижанровая программа Александринского театра «Другая сцена»

Драматург — Маша Всё-Таки  
Режиссер — Олег Христолюбский  
Актеры — Полина Теплякова, Александр Мицкевич  

Главный герой ходит и ходит по лестнице, по кругу, по временам года, мимо череды соседей. Строит кормушку, ждет птицу. Мы не знаем, дождется ли он, и важно ли это.

Маша Всё-Таки — выпускница мастерской Н.С. Скороход 2019 года. Пьесы участвовали в фестивалях «Любимовка», «Первая читка», «Ремарка» и других. Пьеса «Говорение», написанная в соавторстве с Полиной Коротыч, готовится к постановке в петербургском ТЮЗе.

Олег Христолюбский — режиссер, автор спектаклей по всей России. Экс-главный режиссер лесосибирского театра «Поиск», победитель театрального фестиваля «АртМиграция – детям» и многих других.

Спектакль «Перед заходом солнца» по пьесе нобелевского лауреата Герхарта Гауптмана рассказывает историю одной загадочной семьи, глава которой — тайный советник Маттиас Клаузен — потерял при печальных обстоятельствах свою жену. Тяжелая утрата заставляет его прибегать к довольно странным и неожиданным способам заполнения образовавшейся пустоты...

Обитатели дома Клаузена существуют и действуют не только по условно мистическим законам хоррора, но и провоцируют на размышления о природе человеческого сознания, свойствах памяти, любовной одержимости, иррациональных желаниях, непреодолимой иронии по поводу страданий отдельного «я» на фоне вечности. Роль Маттиаса Клаузена исполняет заслуженный артист России Владимир Лемешонок.

В субботу, 20 июня, в 15:00 в рамках программы «Большие гастроли-онлайн» пройдет виртуальная экскурсия по музею Государственного академического Центрального театра кукол им. С.В. Образцова.

Музей театра, начавшийся когда-то с выставки на балконе в первом здании театра на площади Маяковского в Москве, стал крупнейшим в России и одним из крупнейших в мире. В нем собран богатейший фонд театральных кукол и атрибутов кукольных представлений более чем из 50 стран мира. Уникальную коллекцию составляют более чем 4000 театральных кукол всех известных систем от античности до наших дней.

Ритуальные маски и рыцарский театр, античные марионетки и гиньоль цесаревича Алексея, волшебный фонарь и мимирующие куклы, старинный вертеп и иностранные братья Петрушки, история создания театра и рассказ о Сергее Образцове – все это ждет зрителей экскурсии.

Экскурсовод – Ольга Шестерикова, заслуженный работник культуры РФ, заведующая экскурсионным бюро

Продолжительность экскурсии 1 час 5 мин. 6+

Kohtume otse-eetris neljapäeval kell 19!
Järgmisena on facebook laivis meie loominguline juht Peeter Raudsepp.

"Teatrimõte on väljaspool lava üsna eklektiline, nii on ka minu mõtted teatrist, ühiskonnast, tunnetest, näitlemisest, inimkonna saatusest ja paljust muust hüplikud, aga ehk saavad nad mulle endalegi selgemaks, kui ma neist teile räägin. Proovis näitlejate ees rääkides on seda juhtunud. Nagu ütles Eesti kuulsaim rääkija polkovniku lesk: „Ma ju ei tea, mida ma mõtlen, enne kui ma seda öelnud ei ole”. Mina nii kuulus rääkija ei ole, nii et mõned mõtted on mul ka ette välja mõeldud.

Imre Õunapuu räägib väikestest ja suurtest

Rakvere Teatri Live’i sarja neljandas osas astub 7. mail kell 19 otseeetris vaatajate ette Valgas sündinud, Viljandis õppinud ja Rakvere Teatris töötav Imre Õunapuu.

Vähem kui 10 aasta jooksul on Imre Õunapuu jõudnud end lavadel näidata mitmest küljest – muusikat luues ja esitades nii solistina kui ansamblites RAMMM ja Eneseimetlejate Klubi, ning näitlejana nii draamalavastustes kui muusikalis „Hüljatud”. Ta on olnud osaline Renate Keerdi ja Kompanii Nii füüsilise teatri lavastustes „PUNG” ja „Pure mind”. Rakvere Teatri uuslavastuses „Lihtsalt, rõõmuks” oli Õunapuu muusikaline kujundaja.

Oma vestlusõhtut tutvustades ütleb Imre Õunapuu: „Väike võib olla suur!” Mida ta täpselt selle lausega silmas peab, saab uurida juba sel neljapäeval kell 19 otseülekandes Rakvere Teatri Facebooki lehel.

Küsimusi saab ette saata Rakvere teatri Facebooki kaudu, kirjutades ürituse postituse kommentaaridesse või teatri sõnumitesse. Otseeetri ajal on võimalik küsimusi postitada live’i kommentaaridesse. Järgmistel nädalatel tulevad vaatajate ette Tiina Mälberg ja Peeter Raudsepp.

Rakvere Teater läheb otse-eetrisse läbi Facebook live rakenduse igal neljapäeval kell 19. 
Järgmine live toimub neljapäeval, 23. aprillil ning otsekanalis on näitleja Elar Vahter. 

Unknown T performing "Fresh Home" live. The Homerton MC won Best Rap Track at the DJ Mag Best of British Awards 2020 for "Fresh Home" which landed in February. The track also featured on Unknown T's debut mixtape, "Rise Above Hate", which landed via Island Records in July and peaked at No. 14 in the Official UK Albums Chart.