The National Theatre of Cluj-Napoca is looking forward to welcoming you at the event dedicated to National Culture Days and to the Romanian national poet, Mihai Eminescu, organized in partnership with the Town Hall of Cluj-Napoca and the Romanian National Opera, which will take place Monday, 15 January 2018, at 11.00 a.m., in the foyer. You can hear then a recital of lieds and poems from Mihai Eminescu's work, held by actors Elena Ivanca and Ruslan Bârlea, along with members of TOA (Transylvanian Opera Academy) - the only Romanian program meant to train and improve young opera artists: Diana Gheorghe (guest), Viktória Cormoș, Andrei Manea (guest), Andrei Nicoară, Bianca Murariu (piano), directed by: Andreea Iacob. The lieds played are composed on Eminescu's verses from poems: Dorință [A Wish], Ce te legeni... [Why Swingest...], Și dacă... [What If], La steaua... [To the Star...]. Actors Elena Ivanca and Ruslan Bârlea will read poems Floarea albastră [The Sky-Blue Flower], Glossă [Glossa], Ce-ți doresc eu ție, dulce Românie [What I Wish for You, Sweet Romania], Gândind la tine [Thinking of You], a fragment from Scrisoarea I [First Letter], as well as fragments from the correspondence between Eminescu and Veronica Micle, but also verses written by Marin Sorescu, as an homage to "The Star of Romanian Poetry": Trebuiau să poarte un nume [They Had to Have a Name].
In the exquisite setting of the foyer, the musical chords will merge with the poems read, in a sound fusion meant to delight viewers.
We would like to let you know the Theatre's Ticket Agency is closed between 24 December 2017 - 2 January 2018.
We also want to inform you that between 22 December 2017 - 2 January 2018, tickets for January performances can be purchased solely online, through the platform www.biletmaster.ro. Starting with 3 January 2018, they will also be available at the Ticket Agency.
We wish you Happy Holidays and a New Year full of inspiration!
Ada Milea's musical collaboration with the National Theatre of Cluj-Napoca began seven years ago, when director Alexandru Dabija came here with the production of Gellu Naum's I am Florence. Other productions by Alexandru Dabija followed: Sânziana and Pepelea by Vasile Alecsandri, Mein Kampf by George Tabori and Linoleum by the Presniakov Brothers. Then came Apolodor after Gellu Naum and Ubuzdup! by Alfred Jarry, directed by Tompa Gábor. The Island after Gellu Naum enjoyed great success, winning several prizes and superlative acclaim from the public and from critics in the domain. Marina Constantinescu wrote about her unconditional admiration for this performance: "Ada Milea has genius. Just like that. And she does what she wants with our minds... I stopped (...) on hers and Gellu Namu's Island (...), the melancholy poem about the freedom of the human being, about the Robinson and the Mermaid lying within each of us, about Friday, the Pirate, and Selkirke Grandmas, a poem which hints at each of us' travel towards the centre of the earth. A foam of words, meanings and revelations leading us through waves of boundless fantasy. There we find Ada Milea. There takes shape her stunningly wonderful performance (...) A burst of laughter on the sky of loneliness. Rigour and joy".
I took the opportunity of Ada Milea's presence at the production of the concert-performance Švejk in concert after Jaroslav Hašek to ask her some questions about the future premiere.
Eugenia Sarvari: Ada Milea, you are developing a new collaboration with the National Theatre of Cluj. After getting through Gellu Naum's surrealism, how did you find soldier Švejk's realism?
Ada Milea: With Mr. Alexandru Dabija's help. He directed the first part of the book at the Odeon Theatre, and I wrote three songs for that performance.
The "Lucian Blaga" National Theatre of Cluj-Napoca announces the premiere ŠVEJK IN CONCERT after THE FATEFUL ADVENTURES OF THE GOOD SOLDIER ŠVEJK by Jaroslav Hašek, translated in Romanian by Jean Grosu, which will take place in the Main Hall, Thursday December 21, 2017, from 7.00 p.m.
Here's what Ada Milea tells us about the idea of the in-progress performance: "I wanted it to look like a train journey towards the front line, with the possibility of «derailing» from what it seems to be. I chose a few characters and situations, and placed them in the train, even if they got nothing to do with the travel from Hašek's book. I was interested in the different attitudes each one has towards destruction and death. The book (and I hope also the concert) fully exploits the humour of the situations and proves that war is an utter madness with nothing to do with us (unless, of course, it kills us)".