Last time: Tue
October 8, 2013
Krzysztof Penderecki

Opera in three acts
Libretto: Krzysztof Penderecki based on Aldous Huxley’s novel The Devils of Loudun and John Whiting’s play The Devils in the German translation by Erich Fried
English version adapted from John Whiting’s play The Devils and translated by Desmond Clayton
English language version with Polish surtitles

World Premiere: Hamburgische Staatsoper, 20/06/1969
Premiere of the composer’s new version:
Det Kongelige Teater, Copenhagen 12/02/2013
Polish premiere of the composer’s new version:
Teatr Wielki - Polish National Opera, 2/10/2013

Duration: 2 hrs 15 min. (without intermission)

Conductor: Lionel Friend
Director: Keith Warner
Stage Designer: Boris Kudlička
Costume Designer: Kaspar Glarner
Lighting Designer: Marc Heinz
Video projections: Bartek Macias
Chorus Master: Bogdan Gola

A co-production with Royal Danish Theatre using the recording of the Royal Danish Opera Chorus
Performances with the consent of: SCHOTT MUSIC GmbH & Co KG

Poster for the production designed by Adam Żebrowski, photo: Per Morten Abrahmsen
Photo: Krzysztof Bieliński


Jeanne: Tina Kiberg
Claire: Anna Bernacka
Gabrielle: Katarzyna Trylnik
Louise: Małgorzata Pańko
Philippe: Silja Schindler
Ninon: Sylwia Złotkowska
Grandier: Louis Otey
De Laubardemont: Paul McNamara 
Father Barré: Adrian Clarke
Father Rangier: Radosław Żukowski
Father Mignon: Karol Kozłowski
Adam, a chemist: Krzysztof Szmyt
Mannoury, a surgeon: Robert Gierlach
d'Armagnac: Tomasz: Piotr Beluch  
Father Ambrose:  Robert Dymowski
Bontemps: Czesław Gałka
Town judge: Adam Szyszkowski
Asmodeus, Leviathan, Beherit: Dariusz Górski

Chorus and Orchestra of Teatr Wielki - Polish National Opera, Extras

When Krzysztof Penderecki wrote the St. Luke Passion in the mid-1960s, he was concurrently engrossed with reading about the Inquisition. Out of this fascination, an opera about demonic possession was born. These “Satanic Verses” of Penderecki are the quintessence of what’s best about the composer’s work: biting sounds straight from opera buffa, dramatic arias and ariosos as if taken from the greatest examples of opera seria, dense instrumental spaces anticipating the Polish Requiem, electronic processing as a trademark of Polish sonorism. Simply put, this is a musical interpersonal cosmos. The strength of Keith Warner’s version is the image of evil crawling from person to person, engulfing all without exception, including people of faith. The premiere is part of the celebration of the Polish composer’s 80th birthday; on this occasion, he has prepared a new version of the score of The Devils of Loudun.

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