{"id":6468,"date":"2025-10-16T22:11:22","date_gmt":"2025-10-16T22:11:22","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6468"},"modified":"2025-10-16T22:12:54","modified_gmt":"2025-10-16T22:12:54","slug":"teatri-i-operes-se-romes-rifillon-me-adriana-mater-amesine-si-pergjigje-ndaj-luftes","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/lopera-di-roma-riparte-con-adriana-mater-maternita-come-risposta-alla-guerra\/","title":{"rendered":"Teatri i Operas s\u00eb Rom\u00ebs rihapet me "Adriana Mater": am\u00ebsia si p\u00ebrgjigje ndaj luft\u00ebs."},"content":{"rendered":"

Vepra m\u00eb e r\u00ebnd\u00ebsishme e<\/em> <\/em>Kaija<\/em> <\/em>Saariaho<\/em>, <\/em>me regji nga Ernest Martinez <\/em>Majtas<\/em>, me regji nga Peter <\/em>Sellars<\/em>, <\/em>propozon<\/em> <\/em>nj\u00eb histori <\/em>arketipi q\u00eb i flet koh\u00ebs son\u00eb<\/em>P\u00ebr<\/em> mos harroni se e keqja nuk \u00ebsht\u00eb gjenetike dhe e mira <\/em>\u00cbsht\u00eb akti m\u00eb i madh i guximit. Pra, <\/em>Teatri i Operas s\u00eb Rom\u00ebs pohon thirrjen e saj t\u00eb dyfisht\u00eb, midis bashk\u00ebkohores dhe tradit\u00ebs <\/em><\/p>\n\n\n\n

Nga Rosalba Panzieri<\/p>\n\n\n\n

\u201cDua t\u00eb shkruaj nj\u00eb oper\u00eb p\u00ebr nj\u00eb n\u00ebn\u00eb, sepse n\u00eb historin\u00eb e oper\u00ebs nuk ka pasur kurr\u00eb nj\u00eb vep\u00ebr teatrale p\u00ebr nj\u00eb n\u00ebn\u00eb t\u00eb shkruar nga nj\u00eb grua.\u201d K\u00ebshtu, Kaija Saariaho i besoi regjisorit Peter Sellars d\u00ebshir\u00ebn e thell\u00eb q\u00eb lindi \u201cAdriana Mater\u201d, nj\u00eb oper\u00eb e fuqishme dhe intime, e v\u00ebn\u00eb n\u00eb sken\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb n\u00eb Itali n\u00eb Teatro dell'Opera n\u00eb Rom\u00eb nga 9 deri m\u00eb 16 tetor 2025. Kaija Saariaho, nj\u00eb kompozitore finlandeze q\u00eb nd\u00ebrroi jet\u00eb n\u00eb vitin 2023, ishte nj\u00eb nga artistet m\u00eb me ndikim n\u00eb muzik\u00ebn bashk\u00ebkohore, e vler\u00ebsuar me Luanin e Art\u00eb n\u00eb Bienalen e Venedikut Musica 2021. \u201cAdriana Mater\u201d \u00ebsht\u00eb, p\u00ebr sa i p\u00ebrket gjer\u00ebsis\u00eb dhe koh\u00ebzgjatjes s\u00eb saj, vepra e saj m\u00eb mbres\u00ebl\u00ebn\u00ebse, dhe muzika e saj ngrihet si nj\u00eb katedrale nga nj\u00eb frym\u00ebzim aq i thjesht\u00eb sa \u00ebsht\u00eb thelb\u00ebsor: dy rrahje zemre q\u00eb pulsojn\u00eb brenda nj\u00eb trupi t\u00eb vet\u00ebm gjat\u00eb am\u00ebsis\u00eb. <\/p>\n\n\n\n

\"imazhi<\/figure>\n\n\n\n

Dy zemra q\u00eb rrahin n\u00eb nj\u00eb trup<\/strong><\/p>\n\n\n\n

Vepra trajton tem\u00ebn e am\u00ebsis\u00eb n\u00eb nj\u00eb kontekst kohe lufte, ku Adriana, protagonistja, zgjedh t\u00eb vazhdoj\u00eb nj\u00eb shtatz\u00ebni q\u00eb vjen si pasoj\u00eb e p\u00ebrdhunimit nga Tsargo, nj\u00eb ushtar i varur nga dhuna dhe alkooli. Pavar\u00ebsisht p\u00ebrpjekjeve t\u00eb motr\u00ebs s\u00eb saj Refka p\u00ebr ta bindur, Adriana vendos ta sh\u00ebroj\u00eb aktin vdekjeprur\u00ebs q\u00eb p\u00ebsoi me nj\u00eb akt jet\u00ebsor - dh\u00ebnien e jet\u00ebs. Djali i saj, Yonas, rritet i pavet\u00ebdijsh\u00ebm, me nj\u00eb hije n\u00eb shpirtin e tij, deri n\u00eb momentin e s\u00eb v\u00ebrtet\u00ebs shp\u00ebrthyese. Adriana p\u00ebrjeton nj\u00eb konflikt midis dashuris\u00eb dhe frik\u00ebs, midis d\u00ebshir\u00ebs p\u00ebr t\u00eb mbrojtur dhe frik\u00ebs se e keqja mund t\u00eb transmetohet si nj\u00eb virus i heshtur, duke u pyetur n\u00ebse \u00ebsht\u00eb e mundur t\u00eb trash\u00ebgosh dhun\u00ebn.<\/p>\n\n\n\n

Takimi midis babait dhe birit do ta zgjidh\u00eb \u00e7\u00ebshtjen. "Polifonia e gjeneruar nga rrahjet e nj\u00ebkohshme t\u00eb dy zemrave", shkroi kompozitori, "\u00ebsht\u00eb b\u00ebr\u00eb konstante n\u00eb nivelin muzikor. K\u00ebto ritme t\u00eb ndryshme kan\u00eb formuar baz\u00ebn e kompozimit muzikor, me t\u00eb cilin un\u00eb kam karakterizuar muzikalisht personazhet e ndrysh\u00ebm dhe koh\u00ebn e tyre". Opera, n\u00eb dy akte, shpaloset n\u00eb shtat\u00eb tablo muzikore, t\u00eb cilat e shtyjn\u00eb rr\u00ebfimin n\u00eb nj\u00eb tension marramend\u00ebs q\u00eb nuk ofron asnj\u00eb pushim apo pushim. \u00cbsht\u00eb nj\u00eb zbritje e pafundme, nga nj\u00eb tmerr n\u00eb tjetrin, duke u kapur pas trapit t\u00eb shpres\u00ebs. Kontradiktat e brendshme t\u00eb personazheve, emocionet e ndryshme q\u00eb bashkohen brenda tyre, p\u00ebrkthehen n\u00eb nj\u00eb kontrast q\u00eb i flet t\u00eb tashmes.<\/p>\n\n\n\n

\"imazhi<\/figure>\n\n\n\n

Sfida e shpres\u00ebs <\/strong>p\u00ebrtej tmerrit<\/strong><\/p>\n\n\n\n

\u201cAdriana Mater\u201d \u00ebsht\u00eb nj\u00eb vep\u00ebr q\u00eb futet m\u00eb thell\u00eb se zakonisht n\u00eb natyr\u00ebn njer\u00ebzore, duke v\u00ebn\u00eb n\u00eb pik\u00ebpyetje kalimin e koh\u00ebs, duke l\u00ebn\u00eb nj\u00eb hendek 18-vje\u00e7ar midis aktit t\u00eb par\u00eb dhe t\u00eb dyt\u00eb. Mbi t\u00eb gjitha, ajo ngre nj\u00eb pyetje thelb\u00ebsore: a ka gjaku ligjin e vet p\u00ebr t'iu bindur, apo dashuria e marr\u00eb \u00ebsht\u00eb m\u00eb e fort\u00eb? Adriana pyet: \u201cA \u00ebsht\u00eb nj\u00eb i huaj ai q\u00eb banon brenda meje? Gjaku i viktim\u00ebs dhe i xhelatit rrjedhin t\u00eb p\u00ebrziera n\u00eb venat e saj. A do t\u00eb jet\u00eb f\u00ebmija im Kaini apo Abeli?\u201d Sot, tragjikisht, kjo pyetje na shqet\u00ebson t\u00eb gjith\u00ebve. T\u00eb zhytur n\u00eb zona lufte, t\u00eb m\u00ebsuar me dhun\u00ebn, viktima t\u00eb logjik\u00ebs dhe veprimeve brutale, ne jemi t\u00eb thirrur t\u00eb zgjedhim me guxim t\u00eb sh\u00ebrojm\u00eb n\u00eb vend q\u00eb t\u00eb shkat\u00ebrrojm\u00eb. Dhe muzika e endur nga kompozitori, duke p\u00ebrdorur kund\u00ebrpik\u00eb t\u00eb vazhdueshme, nd\u00ebrton me forc\u00eb t\u00eb jasht\u00ebzakonshme betej\u00ebn e hidhur t\u00eb brendshme t\u00eb personazheve, e cila zgjidhet vet\u00ebm n\u00eb harmonizimin e finales. <\/p>\n\n\n\n

Fjal\u00eb q\u00eb tregojn\u00eb p\u00ebr humner\u00ebn dhe shpres\u00ebn<\/strong><\/p>\n\n\n\n

Libreti, n\u00eb fr\u00ebngjisht, u shkrua nga gazetari Amin Maalouf, nj\u00eb bashk\u00ebpun\u00ebtor i hersh\u00ebm i Saariaho. Dramaturgjia e Maalouf thellohet n\u00eb intimitetin fem\u00ebror, n\u00eb zgjedhjen radikale p\u00ebr t\u00eb gjeneruar jet\u00eb edhe kur trupi \u00ebsht\u00eb dhunuar. Nd\u00ebrsa kompozitori filloi me polifonin\u00eb e rrahjeve t\u00eb zemr\u00ebs, dramaturgu mori dhun\u00ebn e luft\u00ebs si horizont t\u00eb tij. Maalouf ofron nj\u00eb libreto me fuqi t\u00eb rrall\u00eb dramatike, n\u00eb t\u00eb cil\u00ebn lart\u00ebsia e ndjenj\u00ebs gjen nj\u00eb forc\u00eb verbale q\u00eb t\u00eb kujton tragjedin\u00eb greke. <\/p>\n\n\n\n

Orkestra dhe<\/strong> <\/strong>Kori n\u00eb sken\u00eb <\/strong>p\u00ebr nj\u00eb vep\u00ebr ringjalljeje<\/strong><\/p>\n\n\n\n

Peter Sellars, nj\u00eb regjisor vizionar dhe mik i ngusht\u00eb i kompozitorit, ka krijuar nj\u00eb prodhim t\u00eb ri q\u00eb gjithashtu kujton struktur\u00ebn e tragjedis\u00eb greke: kat\u00ebr personazhe, nj\u00eb tension moral q\u00eb shpaloset pothuajse n\u00eb fjal\u00eb dhe shikime, duke i reduktuar gjestet n\u00eb thelbin e thjesht\u00eb. Por efekti shp\u00ebrthyes, edhe vizualisht, vjen nga Orkestra dhe Kori, t\u00eb dirigjuar nga Ciro Visco, n\u00eb sken\u00eb. <\/p>\n\n\n\n

N\u00eb podium, Ernest Mart\u00ednez Izquierdo, bashk\u00ebpun\u00ebtori i hersh\u00ebm i Saariahos, udh\u00ebheq nj\u00eb kast interpretuesish q\u00eb ka fituar tashm\u00eb nj\u00eb \u00e7mim Grammy p\u00ebr regjistrimin e oper\u00ebs n\u00eb San Francisko. Fleur Barron si Adriana, Axelle Fanyo si Refka, Nicholas Phan si Yonas dhe Christopher Purves si Tsargo, t\u00eb gjith\u00eb u duk\u00ebn po aq t\u00eb besuesh\u00ebm dhe vokalisht t\u00eb shk\u00eblqyer. <\/p>\n\n\n\n

Nga pik\u00ebpamja teknike, pavar\u00ebsisht performanc\u00ebs s\u00eb shk\u00eblqyer n\u00eb p\u00ebrgjith\u00ebsi, muzika shquhet si protagonistja e v\u00ebrtet\u00eb e v\u00ebnies n\u00eb sken\u00eb. <\/p>\n\n\n\n

Shp\u00ebtim n\u00eb vend t\u00eb hakmarrjes<\/strong><\/p>\n\n\n\n

N\u00eb nj\u00eb koh\u00eb kur lufta po troket p\u00ebrs\u00ebri n\u00eb der\u00ebn e Evrop\u00ebs, Adriana Mater na pyet urgjentisht: \u00e7far\u00eb do t\u00eb thot\u00eb t\u00eb jesh n\u00ebn\u00eb n\u00eb nj\u00eb koh\u00eb dhune? Dhe mbi t\u00eb gjitha, a mund t'i edukojm\u00eb ata q\u00eb kan\u00eb lindur nga lufta p\u00ebr paqen?<\/p>\n\n\n\n

Kur Jonasi nuk arrin ta zbatoj\u00eb planin e tij p\u00ebr hakmarrje kund\u00ebr babait t\u00eb tij torturues dhe ia kursen jet\u00ebn, Adriana do t\u00eb thot\u00eb fjal\u00eb q\u00eb duhet t\u00eb jen\u00eb nj\u00eb sinjal p\u00ebr secilin prej nesh: "Ai njeri meritonte t\u00eb vdiste, por ti, biri im, nuk meritoje t\u00eb vrisje. Ne nuk jemi hakmarr\u00eb, por jemi t\u00eb shp\u00ebtuar." <\/p>","protected":false},"excerpt":{"rendered":"

La pi\u00f9 importante opera di Kaija Saariaho, diretta da Ernest Martinez Izquierdo, per la regia di Peter Sellars, propone una storia archetipica che parla ai nostri giorni. Per ricordare che il male non \u00e8 genetico e il bene \u00e8 il pi\u00f9 grande atto di coraggio. Cos\u00ec il Teatro dell\u2019Opera di Roma afferma la sua doppia vocazione, tra contemporaneit\u00e0 e tradizione  Di Rosalba Panzieri \u201cVoglio scrivere un\u2019opera su […]<\/p>\n","protected":false},"author":16,"featured_media":6469,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","iawp_total_views":24,"footnotes":""},"categories":[446],"tags":[],"class_list":["post-6468","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cultura-2"],"_links":{"self":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6468","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/comments?post=6468"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6468\/revisions"}],"predecessor-version":[{"id":6472,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6468\/revisions\/6472"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6469"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6468"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6468"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6468"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}