Henrik Ibsen, Edward Clug
Peer Gynt
Foto: Tiberiu Marta
Opera and Ballet of the SNT Maribor
A contemporary ballet in two acts
Running time 2 hours 5 minutes. One intermission.
Première: 6. 11. 2015, SNG Maribor
Libretto Edward Clug
Music Edvard Grieg
Conductor Simon Robinson
Choreographer Edward Clug
Piano solo Maja Gombač
Costume designer Leo Kulaš
Set designer Marko Japelj
Authors of sculptures Ivo Nemec, Milena Greifoner
Assistant to choreographer Matjaž Marin, Miloš Isailović
Concert-mistress Oksana Pečeny Dolenc
Choir-mistress Zsuzsa Budavari Novak
Stage managers Peter Krajnc, Iztok Smeh
Cast
Peer Gynt Miloš Isailović as guest
Solveig Evgenija Koškina
Death Gaj Žmavc
Åse, Peer's mother Tanja Baronik
A deer Sytze Jan Luske
Ingrid, bride Tijuana Križman Hudernik
Aslak, the blacksmith Sergiu Moga
Woman in green Tetiana Svetlična
Mads Moen, the groom Matjaž Marin
Daughter of a Bedouin's chief Asami Nakashima
Little Helga Alena Medič
Begriffenfeldt, a doctor Sergiu Moga
Four lunatics Tetiana Svetlična, Mirjana Šrot, Matjaž Marin, Tiberiu Marta
Three dairymaids Klavdija Stanišič, Blaga Stojčeva, Hristina Stojčeva
A troll chief Vadim Kurgajev
Ballet Ensemble SNG Maribor
Symphony Orchestra of Slovene National Theatre Maribor
Opera Choir of Slovene National Theatre Maribor
As a complex character from the dramatic-epic poem of the same title, Peer Gynt ranked Ibsen among the leading playwrights of the end of the 19th century, while at the same time Grieg, with his delicate Nordic music idiom, established himself as one of the most significant representatives of Romanticism. Both artists took part at the first staging of Peer Gynt in Kristiania (today’s Oslo) in 1876. Hence Edward Clug had at his disposal both Ibsen’s text and Grieg’s music: while Ibsen’s complex text in its hermetic phantasy appears timeless and universal, Grieg’s music materialises the romantic imagery that arises spontaneously in a parallel world and independently of Ibsen’s dramatic universe. Ibsen and Grieg, each in his own creative essence, found their own Peer Gynt. Clug’s staging, however, abridged the limits of both artworks and created a new one. Clug hascreated a dance performance, a new entirety, an autonomous theatrical experience.
Foto: Tiberiu Marta
Foto: Tiberiu Marta
Foto: Tiberiu Marta
