The director of Medeamaterial, Barbara Wysocka, is valued in the opera world for “seeing music” and “hearing theatre” as well as searching for new aesthetic qualities. This time she has taken on the innovative work by Pascal Dusapin, the darling of opera audiences. He is a composer who receives commissions from such opera houses as La Scala, the Paris Opera, and the Deutsche Oper in Berlin. The fabric of his oeuvre is culture in a broad sense, from antiquity to contemporary times, and his most famous works include Roméo et Juliette, Medeamaterial, and Faustus the Last Night. He composes arias and large forms originating from the 20th-century music drama tradition. He is also an expert on literature, the arts, and philosophy and chooses the texts for his operas carefully to make them attractive also in literary and theatrical terms. The opera Medeamaterial from 1992 is based on a text by Heiner Müller, the greatest 20th-century German playwright after Brecht. It is a contemporary take on the myth of Medea and Jason.


TERYTORIA (TERRITORIES). A series of meetings with contemporary music - meetings in which we try to discover and sketch a new image of opera. The genre is changing its definition today, conquering new territories, drawing new meanings, proposing a new aesthetic. In this cycle we present the greatest works of contemporary music alongside debuts of Polish composers, works that are completely unknown next to classics of the avant-garde, debuts of Polish directors juxtaposed with productions staged by top European names. Opera is alive, doing well, and winking at us with Fenics’ cybernetic eye.


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