mala voadora ‧ 2024
It’s not over until the soprano dies.
Many operas end with women dying. They shine on stage, full of charisma, and then they die, almost always victims of their relationship with men – either because men kill them, or because the love they devote to men leads them to their deaths. And the audience applauds. The audience applauds the virtuosity of the singers, the quality of the music and, with it, the death to which they are subjected. It’s not over until the soprano dies. This is a feminist opera that points to the paradox of this applause of death. In the context of a house inhabited by several families who act without seeing each other, we will recreate the endings of operas . Until, despite the musical and lyrical delight, the killing cannot be seen as natural anymore.
Many operas end with women dying. They shine on stage, full of charisma, and then they die, almost always victims of their relationship with men – either because men kill them, or because the love they devote to men leads them to their deaths. And the audience applauds. The audience applauds the virtuosity of the singers, the quality of the music and, with it, the death to which they are subjected. It’s not over until the soprano dies. This is a feminist opera that points to the paradox of this applause of death. In the context of a house inhabited by several families who act without seeing each other, we will recreate the endings of operas . Until, despite the musical and lyrical delight, the killing cannot be seen as natural anymore.
directed by Jorge Andrade with assistance of Mariana Magalhães ‧ orchestral arrangements and direction Nuno Côrte Real ‧ featuring Bárbara Barradas, Cátia Moreso, Eduarda Melo, Inês Simões, Joana Seara, Marco Alves dos Santos, Patrícia Quinta, Tiago Matos (singers) and António MV, Carlota Lagido, Cecília Matos Manuel, Danilo da Matta, Mariana Magalhães, Pedro Tavares, Tânia Alves, Vítor d’Andrade, among other actors ‧ orchestra Lisbon Metropolitan Orchestra ‧ flutes Nuno Inácio, Janete Santos ‧ oboes Sally Dean, Carla Pereira ‧ clarinets Nuno Silva, Jorge Camacho ‧ bassoons Lurdes Carneiro, Rafaela Oliveira ‧ horns Daniel Canas, Jérôme Arnouf ‧ trumpets Sérgio Charrinho, João Moreira ‧ trombone to be announced ‧ timpani Marco Fernandes ‧ first violins Ana Pereira; José Pereira; Alexei Tolpygo; Diana Tzonkova; Joana Dias and Luís Tonicher, among others ‧ second violins Ágnes Sárosi, José Teixeira, Anzhela Akopyan, Daniela Radu, Mariana Moita, Nonna Manicheva ‧ violas Joana Cipriano, Santiago Medina, Sérgio Sousa, Leonel Andrade, Andrei Ratnikov ‧ cellos Nuno Abreu, Ana Cláudia Serrão, Jian Hong, Alessio Cunha, Hugo Estaca ‧ double basses Vladimir Kouznetsov, Ercole de Conca ‧ stage design José Capela ‧ costume design José Capela, with the support of Carlota Lagido ‧ light design Wilma Moutinho ‧ research support Isabel Novais and Pedro Moldão ‧ technical direction João Fonte ‧ technical support Luís Rabaçal ‧ production team Joana Mesquita Alves, Inês Soares Lopes, Sofia Freitas ‧ co-production Coliseu do Porto, São Luiz Teatro Municipal, Landesbühnen Sachsen ‧ support ArtWorks, Comuna Teatro de Pesquisa ‧
January 12, 13 and 14 ‧ São Luiz Teatro Municipal (Lisbon)