Olympia of Gdańsk

Zygmunt Krauze


20 November 2015


80 min


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


original libretto Krystyna i Blaise de Obaldia
music direction Maja Metelska
staging and direction Jerzy Lach
set design Hanna Szymczak
costumesMarlena Skonaczko
choreographyElżbieta Czajkowska-Kłos
lightsPiotr Miszkiewicz
Chorus Master Anna Michalak
musical colaborationJakub Kontz
director's assistantMagdalena Szlawska
set designer's assistantMonika Ostrowska
preparation of soloists Liana Krasyun-Korunna, Yaryna Rak, Karolina Szweda
language consultationAlina Żołnierkiewicz



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Dofinansowano ze środków Ministra Kultury i Dziedzictwa Narodowego

Projekt dofinansowany ze środków Miasta Gdańska.

Spektakl współorganizowany i współfinansowany w ramach programu Instytutu Muzyki i Tańca 'Artysta-rezydent'. Artystą - rezydentem Opery Bałtyckiej w Gdańsku w sezonie 2015 / 2016 jest Przemysław Baiński.

Strategic partner

Partner strategiczny Opery Bałtyckiej

Patroni Medialni



Audition for the Ballet Ensamble

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

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