Dark Matter(s) | Mykietyn & Peszat

Tuesday, December 19, 2017, 7:00 PM

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  • Tuesday, December 19, 2017, 7:00 PM
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“Contemporary music (art), frequently overlooked, forms an essential part of our existence; it is a crux of culture as art which belongs to us, in contrast to other forms of art, created in the past for people living in different eras, sensitive to other forms of expression and perceiving art in a wholly different context,” says the conductor Wiktor Kociuban. He also draws comparisons between art and dark matter: invisible, existing only hypothetically yet apparently responsible for holding the Universe together. It’s no accident, then, that the series of concerts featuring orchestral and operatic works from the 20th and 21st centuries resounding across Poland is titled Dark Matter(s).

In Kraków, the Juliusz Słowacki Theatre hosts a multimedia concert on 19 December: we will see and hear (featuring 3D Audio technology) world premieres of works by Polish composers Piotr Peszat and Paweł Mykietyn. The visual setting is provided by Grzegorz Mart, illustrating Peszat’s The Artist’s Way for symphonic orchestra, audio playback and video, and Mirosław Bałka who has prepared the stage settings and video for Mykietyn’s latest stage work Herr Thaddäus for electronics and symphonic orchestra. The Beethoven Academy Orchestra is led by Wiktor Kociuban, with the recorded voices of Lukas Konieczny (bass) and Barbara Sieroslawski (recitation) featuring in Herr Thaddäus. (Barbara Skowrońska)

Piotr Peszat The Artist’s Way (2017) for symphonic orchestra, audio playback and video, video – Grzegorz Mart
Paweł Mykietyn Herr Thaddäus (2017) for electronics and symphonic orchestra in spatial arrangement, set design/video – Mirosław Bałka

Beethoven Academy Orchestra
Wiktor Kociuban – conductor
recorded voices (Herr Thaddäus):
Lukasz Konieczny (bass)
Barbara Sieroslawski (recitation)

The Juliusz Słowacki Theatre

pl. Świętego Ducha 1

One of the most famous and most recognised Polish stages, it has operated continuously since 1893. The building of the Juliusz Słowacki Theatre is counted among the most precious examples of theatre architecture in Europe.

The building was erected in 1891–93 and it replaced the demolished church and monastery of the Holy Spirit. This resulted in quite an uproar among Kraków historians, conservationists, and artists: as a sign of protest, the painter Jan Matejko, who fervently fought to have the medieval architecture remain, gave up his title of honorary citizen of the city.

The new building of the Municipal Theatre designed by Jan Zawiejski was the largest architectural investment in 19th century Kraków, and – which is notable in itself – the first building in the city to receive electric lighting. Built in the eclectic style, it is dominated by neo-Renaissance and neo-baroque elements. In 1901, it was here that Stanisław Wyspiański’s seminal play about the predicament of partitioned Poland Wesele / The Wedding premiered in 1901.

Originally, the Municipal Theatre was to be named after Poland’s most celebrated writer of comedies, Count Aleksander Fredro, as attested by his bust standing before the main entrance, yet eventually it was named after Juliusz Słowacki in 1909, on the centenary of the birth of the Polish poet prophet.

The first presentation of the cinematograph in Poland was held on 14 November 1896 in what at the time was the Municipal Theatre. The invention of the Lumière brothers was used for screening a set of 12 films. Projections were held before the evening performance and enjoyed great popularity. At least 10,000 people saw them in the two following months, which means they attracted more or less every eighth resident of the city.

The contemporary Juliusz Słowacki also operates on the Miniatura Stage active in the former building of the theatre’s power plant since 1976, the modern Małopolska Garden of Arts on Rajska Street, House of Theatrical Crafts.

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