{"id":2972,"date":"2018-04-30T09:42:27","date_gmt":"2018-04-30T08:42:27","guid":{"rendered":"http:\/\/muzickaomladina.org\/?post_type=event&#038;p=2972"},"modified":"2026-04-11T14:02:08","modified_gmt":"2026-04-11T13:02:08","slug":"legenda-o-nevidljivom-gradu-kitez-nikolaja-rimskog-korsakova","status":"publish","type":"events","link":"http:\/\/muzickaomladina.org\/?events=legenda-o-nevidljivom-gradu-kitez-nikolaja-rimskog-korsakova","title":{"rendered":"&#8222;Legenda o nevidljivom gradu Kite\u017e&#8220; Nikolaja Rimskog Korsakova"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"><p>Opera<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Koncertno &#8211; poluscensko izvo\u0111enje<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>Dirigent: <strong>Tamara Adamov Petijevi\u0107<\/strong><\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>Solisti\/Uloge:<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Knez Jurij&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Plamen Bejkov, bas (Sofija, Bugarska)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Kne\u017eevi\u0107 Vsevolod&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Vanja Biser\u010di\u0107, tenor (Beograd)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fevronija&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;..Jasmina Mihajlovi\u0107, sopran (Beograd)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fjodor Pojarok&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Atila Moku\u0161, bariton (Be\u010d\/Novi Sad)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fri\u0161a Kutjerma&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.LJubomir Popovi\u0107, tenor (Zrenjanin\/Beograd)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pa\u017e&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Dragana Popovi\u0107, mecosopran (Zrenjanin\/Beograd)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Guslar (narodni pripoveda\u010d)&#8230;&#8230;&#8230;&#8230;..Branislav Jati\u0107, bas (Novi Sad)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Krotitelj medveda&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Nenad Marinkovi\u0107, tenor (Be\u010d)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ptica Alkonost&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Ivana Srbljan, mecosopran (Rijeka\/Zagreb)<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ptica Sirin&#8230;&#8230;&#8230;&#8230;&#8230;Radoslava Vorgi\u0107 \u017dur\u017eovan, sopran (Majnc\/Novi Sad)<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>U\u010destvuju: Simfonijski orkestar ORFELIN, Filharmonija mladih, Veliki zdru\u017eeni hor, u\u010denici Muzi\u010dke \u0161kole &#8222;Isidor Baji\u0107&#8220;.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>Trajanje koncerta: iz dva dela po 60 minuta, sa pauzom izme\u0111u 2. i 3. \u010dina opere.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>*Prodaja ulaznica za koncert u Muzi\u010dkoj omladini Novog Sada (Katoli\u010dka porta 2, tel.021\/452-344) radnim danima od 8 do 14h, kao i dva sata pred po\u010detak koncerta na mestu odr\u017eavanja.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>Cene ulaznica: 600,00 dinara parter sredina i galerija; 400,00 dinara parter sa strane<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>Dirigent Tamara Adamov Petijevi\u0107 o &#8222;Kite\u017eu&#8220;:<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>1. MESTO KITE\u017dA U RUSKOJ KULTURI<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Opera Nikolaja Rimskog Korsakova Legenda o nevidljivom gradu Kite\u017eu i djevi Fevroniji (napisana 1903.\/4. a postavljena na scenuMarinskog teatra u Sankt Peterburgu 1907. godine) zauzima posebno mesto u ruskoj kulturi.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Muzika Kite\u017ea naslanja se i nadovezuje na sve prethodne ruske opere, te ga nazivaju i \u201etestamentom ruske nacionalne tradicije XIX veka i njenim sumiranjem\u201c. U muzi\u010dkoj i dramskoj strukturi Kite\u017ea ogledaju se i drugi, strani uticaji, posebno iz stvarala\u0161tva Riharda Vagnera, zbog \u010dega ova opera nosi naziv &#8222;ruski Parsifal&#8220;.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">2. SINKRETIZAM<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Tematika &#8222;Kite\u017ea&#8220; obiluje sinkretizmom &#8211; me\u0111usobnim pro\u017eimanjem paganskih i hri\u0161\u0107anskih elemenata, kako u drami, tako i u muzici. Rimski Korsakov \u010desto me\u0161a ova dva sveta me\u0161aju\u0107i i muzi\u010dke elemente; tako se isti motivi pojavljuju i u realnom i u nestvarnom svetu, i u zemaljskim i u nebeskim epizodama. Time ova partitura postaje simbol mogu\u0107e i lake komunikacije izme\u0111u dve razli\u010dite dramske oblasti.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">3. IZVORI ZA OPERU KITE\u017d<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Partitura Kite\u017ea je sinkreti\u010dka-ona spaja hri\u0161\u0107anske i panteisti\u010dke rituale, balansira izme\u0111u istorijskih i fantasti\u010dnih doga\u0111anja. Operu Kite\u017e mo\u017eemo tuma\u010diti i razumeti kroz prizmu ekumenisti\u010dke religiozne filosofije Vladimira Solovjeva, koja je uticala i na misti\u010dne simboliste i na teosofiste. Najva\u017eniji od svih tekstualnih izvora za tu operu, Hronika Kite\u017ea iz 1223., dovodi se u vezu sa sinkretizmom: procesom kojim se komponente jedne religije ili jednog uverenja asimiliraju u drugu religiju kao izraz duhovnog jedinstva. Glavnilik u operi poti\u010de delimi\u010dno od agiografije (\u017eitija) iz XVI veka o Sv. Fevroniji iz Muroma.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">4. GLAVNI LIKOVI U OPERI<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Glavni likovi u operi \u2013 grad i devojka \u2013 dolaze iz dve kontrastne legende, obe zasnovane na drevnom ruskom folkloru. Fevronija je mlada, prosta devojka koja obo\u017eava prirodu, isceljuje ranjenog kneza i spasava zli grad Murom od haosa. Kite\u017e je veri veoma odan hri\u0161\u0107anski grad, toliko odan, da kada do\u0111e do opsade, njegovi stanovnici se brane samo molitvom, i grad, zahvaljuju\u0107i molitvama \u010distog srca djeve Fevronije, nestaje pred licem napada\u010da.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">5. MUZI\u010cKI JEZIK RIMSKOG KORSAKOVA<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">De\u0161avanja u operi intenzivno su prikazana posebnim muzi\u010dkim jezikom majstora orkestracije, koji obiluje lajt-motivima. Dobro poznat kolorit Rimskog Korsakova u primeni ruskog folklora, ovde je isprepleten sa veli\u010danstvenim i duboko izra\u017eajnim horskim segmentima, zasnovanim na starim ruskim crkvenim napevima.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">6. OPERA KAO ORATORIJUM<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Iz filosofskog \u2013 a mo\u017eda i iz teolo\u0161kog \u2013 ugla gledanja, jedno od najinteresantnijih pitanja je transformacija kroz koju prolaze liturgijski elementi postaju\u0107i elementi opere. \u0160ta se de\u0161ava kada se mit i ritual pretvaraju u poeziju i teatar, \u0161ta se dobija a \u0161ta gubi takvom<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">transformacijom-neka su od klju\u010dnih pitanja, koja stoje na putu razumevanja i tuma\u010denja ovog dela i kreiranja njegove interpretacije. Verujem darazmatranje ovih pitanja vodi do interpretacije ove opere kao oratorijuma.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">7. ADAPTACIJA PARTITURE ZA KONCERTNO IZVO\u0110ENJE<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mom izvo\u0111enju opere Kite\u017e prethodilo je izvesno sa\u017eimanje partiture, odnosno redakcija notnog teksta i adaptacija za koncertnu ilipolu-scensku postavku, \u0161to predstavlja veoma odgovoran zadatak za dirigenta, s obzirom na vrhunsku orkestraciju Nikolaja Rimskog<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Korsakova. Premijerno izvo\u0111enje Kite\u017ea u Srbiji, 110 godina nakon smrti kompozitora, Nikolaja Rimskog Korsakova, kao i njegova koncertna ili polu-scenska postavka, zasnovana na obra\u0111enoj i adaptiranoj partituri, daju poseban zna\u010daj ovom umetni\u010dkom projektu.<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">8. O KONCERTNOM I POLU-SCENSKOM IZVO\u0110ENJU OPERE<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Koncertna ili polu-scenska postavka opere danas nije retkost. U svetu postoje i muzi\u010dke institucije, koje su specijalizovane upravo za tajvid izvo\u0111enja najkompleksnije muzi\u010dke forme, a neretko se i veliki, renomirani operski ansambli opredeljuju za ovakav vid interpretacije opere. Naj\u010de\u0161\u0107e se na taj na\u010din izvode manje poznata i manje izvo\u0111ena operska dela, a razlog je jednako ekonomski (koncertna postavka ne tra\u017ei sredstva za kostime i scenografiju, a \u010desto podrazumeva i smanjeni vokalno-instrumentalni ansambl), kao i umetni\u010dki (stvara se prilika da se dobra muzika ipak \u010duje, ako ve\u0107 nema materijalnih mogu\u0107nosti da se delo postavina scenu).<br \/><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mi\u0161ljenja o ovoj izvo\u0111a\u010dkoj praksi su ambivalentna, ali se i kriti\u010dari i publika sla\u017eu da je opera na koncertu izlo\u017eena \u010distom muzi\u010dkom do\u017eivljaju, bez nemuzi\u010dkih elemenata kao sastavnog dela operskog spektakla, koji mogu da odvrate pa\u017enju od kvaliteta same muzike. Do\u017eivljajopere u potpunosti potaknut njenim muzi\u010dkim sadr\u017eajem mo\u017ee da stvoriintimniji odnos sa slu\u0161aocem, pokrene njegovu ma\u0161tu i omogu\u0107i mu sopstvenu, samostalnu i nenametnutu viziju.<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>&nbsp;<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>&nbsp;<\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p>&nbsp;<\/p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Opera Koncertno &#8211; poluscensko izvo\u0111enje Dirigent: Tamara Adamov Petijevi\u0107 Solisti\/Uloge: Knez Jurij&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;Plamen Bejkov, bas (Sofija, Bugarska) Kne\u017eevi\u0107 Vsevolod&#8230;&#8230;&#8230;&#8230;&#8230;&#8230;.Vanja Biser\u010di\u0107, tenor 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