Olympia of Gdańsk

Zygmunt Krauze

An Olympia of Gdańsk is an opera that falls outside traditional theatre narration. A real world where Stanisława lives and creates blends with a literary world that is traced to a novel being written by her. The novel plot takes place during the French Revolution, in fact during its pathological last stage. These two worlds blend creating a new world – the world of theatre magic. Stanisława’s room is visited by both real characters like for instance her father with artistic bohemia from the 20’s and characters from the French Revolution times including M. Robespierre. Sometimes there is another world induced by drugs which is implication of the real and literary ones and creates a vision of something surreal, even cosmic. These worlds are inhabited by people who regardless of time, present or past, have the same relationships. One might say that as the time flows we repeat the same stories and situations. It is almost as if we got stuck in some vicious circle of repetitions. Stanisława, similarly to Olimpia, cannot reach an agreement with her Father and Robespierre. She is still harnessing the same emotions: love, hatred, anger, revenge. But there is a spirit of freedom hovering over. Everyone dreams of freedom – social or personal. Stanisława wants to be free of her Father and later of her blind love for Robespierre. Olimpia fights for rights and freedom for women. Idea of revolution brings strength and conviction that everything can be changed if you go to streets and manifest your independence and freedom. However, can the revolution really bring freedom? Perhaps a death brings freedom? Or does life with its absurdity paradoxically give us a chance for freedom? And perhaps it only depends on us whether it happens or not? These are questions that are being asked in the finale by the authors of libretto. I think it is really fortunate that no one tries to answer since “everything is an illusion ".
Jerzy Lach


20 November 2015


80 min


Giuseppe Verdi

It is a story about getting old and struggle against its implications. Othello is a charismatic leader, hero and a fighter who finds himself at the turning point of his life when the career, power and faithfulness of people connected to him undergo sudden erosion and turn out to have as impermanent value as health, physical power and fidelity of the beloved. Loneliness of the dark skinned Othello in Shakespeare’s tragedy and the based on it opera by Verdi is in this production devoid of its racial aspect, is a loneliness of an old chief who is surrounded by young challengers waiting for his mistake or a sign of weakness to replace and dismiss him. This weakness is found in his love for his wife, the love full of jealousy and suspicions. This weakness is also found in his impetuous character and penchant for rows. Othello shall pay for them the highest price. A tragedy he encounters does not usually rouses our sympathy because what is a curiosity when this opera is staged, the main character tends to have his face painted black and be rather repulsive in most cases. We bridle at idiotic stubbornness of this husband who is so easily convinced by this obvious scoundrel Iago and starts to believe a clear lie. Let’s try to be more untrusting towards these stereotypical characters and search in this production for some fascinating Shakespeare’s complications of good and evil entanglement. Let’s also attempt focus our attention on this incredible woman who becomes a victim of men’s foolishness and chauvinism – the very fruit of testosterone constantly ruling the world with impunity even now.


25 April 2015


3 h (with one break)


Richard Strauss


15 April 2011


duration 110' (without break)

Rothschild's violin

Benjamin Fleischmann

Shostakovich had a beloved pupil, Fleishman, whom he considered a genius and for whom he prophesied a great career. He persuaded him to write an opera based on a literary text of his liking. Fleischmann chose a short story by Chekhov,Rothschild’s Violin, and proceeded to sketch a few fragments of the score. Meanwhile, the war broke out. The young, belligerent composer volunteered for the front and soon died there. Distraught, Shostakovich took Fleischmann’s work with him into exile in Siberia, where amongst many other activities he was also writing his new opera The Gamblers, based on a play by Gogol. Paradoxically, he never managed to finish his own work, but he did complete and orchestrate his pupil’s score.


26 January 2013


45 min


Giacomo Puccini


25 May 2014


2 h 25'

Ubu Rex

Krzysztof Penderecki

Krzysztof Penderecki's opera, directed by Janusz Wiśniewski. Music direction: Wojciech Michniewski. Premiere: 27 September 2013.


27 September 2013


2 h 35' (with one break)

The Bat

Johan Strauss



31 December 2015




Audition for the Ballet Ensamble

Baltic Opera in Gdańsk announces audition for the Ballet Ensamble for the 2018/19 season.

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