Romeo and Juliet the Musical on 21,22 and 23 February at the Opera House
News публикувана на: 16.01.2025
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The summer hit of 2024 Stara Zagora Opera - the musical "Romeo and Juliet" based on Shakespeare's tragedy of the same name and on the music of Gerard Presgurvik will be on stage again on 21,22 and 23 February 2025. The show experienced its triumphant premiere in several consecutive evenings in July at the Antique Forum "Augusta Traiana". Now you will see it in a version for the Opera House stage.
The arrangement for symphony orchestra, rock band and chorus is by Miroslav Georgiev and Viktor Krumov, directed by Violeta Gorcheva, choreography by the great Italian ballet master and choreographer Mario Piazza, assistant choreographer Ludovic Parti, set and costume design by Denis Ivanov, chorus master Mladen Stanev, translation and adaptation by Snezhina Zdravkova.
On 21 February at 19:00 - Dimitrina Germanova, on 22 February at 16:00 - Mihaela Fileva and on 23 February at 16:00 - Dari Brakalova /Debut in this role/.
Alexander Panayotov will be Romeo on 22 and 23 February, and Viktor Ibrishimov on 21 February. The other roles will be performed by the magnificent soloists Nikolai Motov, Bogomil Spirov, Tereza Brakalova, Boris Taskov, Ivaylo Yovchev, Ivan Kabamitov, Paolina Maleshkova, Borislav Vezhenov and others, the choir, orchestra and ballet of the State Opera-Stara Zagora, representatives of the Pre-Bulgarian School of Survival "Baga-Tur".
"Romeo and Juliet - From Hate to Love" is a musical by French musician and singer-songwriter Gerard Presgurvik, inspired by William Shakespeare's play "Romeo and Juliet" and created in 2001 at the Palais des Congrès in Paris.
The composer became very well-known after the great success of the musical Romeo and Juliet in 2001, although he has been known as a performer since the 1980s and as a songwriter and musician since the 1990s. He has created some of the best-known hits by Patrick Bruel, Florent Pagni, Elsa, Henri Salvador, Mireille Matthieu, Leanne Foley and others. He has written the music for many films, TV series and TV shows. The success of Romeo and Juliet gave him the confidence to go ahead with a new musical, the adaptation of the novel Gone with the Whirlwind, written in 2003 for his daughter Laura.
"Love Wins! Eternity outlives!"
The beloved story of the triumph of love over hate, not only thrills, moves, makes us dream, think, but also take responsibility for our actions and morals. To change and grow in our humanity through our love - that is what the musical Romeo and Juliet calls for.
Violeta Gorcheva, director
"When we started working on these arrangements, we made the orchestrations to be more symphonic. I can boldly say that we didn't look for the music to resemble only the original - the French musical. To have a symphony orchestra in front of us dictated that we think in a different way, that we not just use it as an accompaniment, but that it should have an extended symphonic function. That's something that Miroslav Georgiev and I added - two classical musicians and arrangers."
Viktor Krumov, conductor
"Two 'crystal children', a projection of Providence, descend to earth to atone for the sin of humanity. Two children dressed in purple, the color of God. Two children, bearers of the new, of the Renaissance. Two children full-blooded men, amidst all the inhumanity around them. Romeo and Juliet..."
Denis Ivanov, set and costume design
"In my vision of contemporary work, I try to break down the barriers that may limit the expression of one's emotion or the essence of the subject matter involved. And here in this tragedy of love in this wonderful musical we find the fundamental elements that are the common denominator of many musical works and dances merged into one: 'love and death'.
I have tried above all to convey the atmosphere of Verona through choreographies that incorporate the aspect of gestural dance, drawing on the typical Italian culture of gesture. The dance gesture is an important characteristic of this work: because it takes us into the emotional and literary climate of the drama, with respect for the Aristotelian principles of tragedy, always connoting dance expression with a rich and imperfect character that makes the dance expression "moving and close to the heart of the spectator.""
Mario Piazza - choreographer