According to announcements we present third part of triptych of Mozart's masterpieces. After Don Giovanni and Marriage of Figaro time has come for most mysterious piece. It seems to be just light singspiel telling a story of adventures of group of rescuers of abducted princess. In fact it is a poetic variation on theme of world without god in which people established code of values and try, in the midst of everyday worries, to defend this system, to give it a meaning in the meantime trying to give meaning to their own fragile existence.

In our spectacle we tell of those who wait, of the tension which builds up while we wait. Tensions complicate human relations. Being together evolves constantly. Nothing can be stable if each monad expects more than it has been given, more than it can win fighting desires of another monad. Yet, our spectacle is not a philosophical treatise about Leibnitz’s and Hegel’s ideas. We use the Hegellian triad only to observe how love between two people bears its own contradictions. These contradictions create, using other people involved in the lovers lives, triangles which calm the senses and combinations of such triangles.

One of the most beautiful operas in the world literature telling a story of missing the most important opportunity, failing to take that one crucial decision. Of missing the right moment when we meet that one, most important person who could give us happiness. Of wasting the only wealth you have, dismissing values that could save you.  It is about the most painful squandering of love and friendship that fate gives us with generous hand while we chase after trifles.

Halka by Moniuszko is associated by many with compulsory visit to opera. Only if we give chance to Halka and listen to her story with open mind and real attention. Only then we can see this work as it is - brave, universal in message - and emotions of main characters come to be close to us. Heroine of this score, when honestly read, appears to be no less heroic then her predecessors, great heroins of opera: Tosca, Madama Butterfly, princess Turandot. One can even see in her character traits of mythical Medea, analyse her in context of modern gender studies of sociocultural gender identity, analyse her dilemmas as a Christian and Catholic. One can tell through Halka ancient story of love, betrayal and jealousy induced madness.

Recently a lot of publications about her came out where authors  try to polish her statue and bring back to peoples' memory the human part of Marie Curie's life. We have decided to join these truth seekers and tell in our own, opera way about this extraordinary woman who conquered the world overcoming numerous obstacles such as human aversion, hostility and her own weaknesses. Her strong character and ingenious mind grew in a delicate body, brought to a test by passions, desire and temptation, that were a  far cry from the puritan image of a workaholic straight from laboratory. A beautiful, dramatic character – a human through and through. That is how we would like to present her and how we want to love her.

Out is a story about alienation and its certain aspects ine the life of a modern person. Alienation, and certainly female alienation, has been a pejorative term for a long time now.It is something indisputably reprehensible in the light of the attainments of culture which has always been built under male lead. But that is it! The lucrative leadership, the reprimands, the certainty that alienation negates any and all values - they all end now. Just a little bit more effort now and the obligation to acquiesce to male ideologies will be punishable. This feministic tone does not mean that we treat it seriously. We make fun of both male chauvinists and feminists because exaggeration into any direction and the lack of any reasonable balance are ridiculous.

The story of mythical lovers takes place in modern Baghdad. Juliet comes from rich, local family and is enmeshed in contradictions between her modern education and desires and imposed on her by her tradition and culture very strictly defined rules and prohibitions. Her mother and father have no doubts that obedience is her most important duty because it is them who represent will of society and God. Her brother Tibalt, with whom she grew up, is a strict, jealous guardian who does not take into account that her desires and opinions can differ from commonly accepted norm.

Dreams can be wise or stupid, prophetic or dadaistic, they can represent silly fear and extraordinary apocalypses. Where can you dream the most beautiful dreams if not in the theatre? Where do fantasy and impunity and human being intertwine? Numerous questions follow us on the way to the Baltic Opera where one of the most secretive of Polish modern producers presents his latest work.

Igor Stravinsky’s Rite Of Spring is a work commonly known as the most difficult one in repertoires of respectable ballet companies in the entire world. It takes many years of a choreographer’s work with the dancers to create a basis for an attempt to produce the massed score once proposed to Sergei Diaghilev’s company by the genius composer. Vatslav Nijinsky, the first choreographer of this ballet, created a certain movement and interpretation standard which could not be discussed almost at all for a long time.

During Musiuro’s performance we learn, among other things, how it feels to be a mute witness of seppuku, a Japanese ritual suicide by disembowelment. According to the Japanese tradition the soul houses in the stomach and cutting it open symbolizes innocence of the suicide and showes the honesty of their intentions. The brave samurai created by Misiuro are accompanied by strong and charismatic women.

Marriage of Figaro is one of three most important of Mozart operas. It was interpreted in wide range of styles, fashions and tendencies. It is commonly perceived as a comedy work. In the same time it is most sexual and most lyrical of all Mozart operas. Main drive of characters in this work is a tension between sexuality and longing for a true love. Music sustains this tension so beautifully that audience does not feel the passage of time. Love affairs of main characters provoke a bitter conclusion of spuriousness of sexual pleasures. It may seem too obvious and banal but no less bitter when individually experienced. When search for pleasure becomes a desperate remedy for lack of love it may look comical to external observer. Human affairs do not change. Love, desire, hatred and guilt. These are all the same problems, all the same despair no matter the times. Only clothes, technologies are different, pace of this life and customs ...