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  • ID: TA511450
  • Name : Krystian Lada

    Biography

    BIOGRAPHY

     

    Polish stage director Krystian Lada is establishing himself as one of the major artists of his generation. He is the first recipient of the “Mortier Next Generation Award” and he was a finalist and prizewinner in the 2021 Ring Award.

    Krystian’s current and future commitments include: Il ritorno d’Ulisse in patria for Theater Basel; Nabucco and Il trionfo del Tempo e del Disinganno for Nationaltheater Mannheim; Król Roger for Staatstheater Cottbus; the World Premiere of Iain Bell’s Comfort Starving for the Bach Festival in Świdnica and the Opera Rara Festival, Krakow and The Mysteries of Desire - a pastiche - created for the Royal Danish Opera in collaboration with the World Pride Festival.
    Further into the future, Krystian will direct new productions for Göteborg Opera; Kunstfest Weimar; Theater St Gallen and La Monnaie, Brussels.

    Recent new productions include: Vivaldi’s Bajazet for Theater an der Wien; Daniel Catán’s Florencia en al Amazonas for Theater St Gallen; Nabucco and I Capuleti e i Montecchi for Opera Wroclaw and Rossini’s Sigismondo for the Opera Rara Festival, Krakow.
    Cancellations due to the Covid19 Pandemic include a double bill of Schoenberg's Erwartung and Berio's Sinfonia for the Opera Ballet Vlaanderen, Antwerp and Klara Festival, Brussels.

    Krystian was the Director of Dramaturgy, Communication and Empowerment, and Artistic Adjunct at La Monnaie, Brussels between 2013-17, and since May 2017, he has been General and Artistic Director of The Airport Society: a Brussels-based cooperative of opera artists and social game changers, and for the company he has directed an developed the Premieres of Aria di Potenza and Unknown I Live with You.  

     

    Biography not for publication, for an up to date version please contact Oliver Clarke.

    Press

    PRESS

    "A wonderfully intense evening. Krystian Lada has created an intensive staging that leaves plenty of room for your own thoughts."
    Jan Krobot, Merker    

    "This production of Tamerlano quickly turns out to be one of the most enjoyable opera performances of the year and holds up this high standard up to the triumphant final sextet. The staging of an opera as a recording of the same is strongly reminiscent of Christof Loys Salzburg's "Frau ohne Schatten", but without its overloaded complexity - which is good for the performance and also enables a corona-related non-stop implementation"
    Jens F. Larson, Wiener Zeitung

    "Intriguing, innovative stage directing style!"
    J. Marczyński, Rzeczpospolita

    "The staging, which made the emotions of the stage characters clear even without the Amazon steamship, had obviously drawn the Swiss audience into the vortex of these sound and emotional sensations and had not released them from the grip of tension until the end of longing."
    Bernd Feuchtner, Klassik Info

    "Opera love in times of cholera. (...) Director Krystian Lada optically inflates the images from the depths of consciousness. The video sequences show a backdrop of dreamily ailing charm, a counter-image to the constantly changing jungle landscape. No engine room on an old steamer would be better suited for this. The fact that Florencias Cristóbal has not only disappeared as a butterfly hunter in the jungle, but has changed like a butterfly, from man to trans woman, one will gradually make up from the film images in XXL. It is not in the library like this, but it fits in perfectly with the Swiss premiere at the St. Gallen Theater. Sam Taskinen, singer and trans woman with a multifaceted bass, gives the transformed lover, hidden behind the figure of the Capitano, an extremely attractive figure."
    Bettina Kugler, St. Galler Tagblatt

    "This was a truly amazing spectacle, full of class, director’s glamour, cinematic nerve, realised with a deep sense of taste and space. Krystian Lada with much of talent showed the timelessness of Verdi’s opera. In his Nabucco he put on stage a huge sculpture of the dictator’s head, some surprising explosions, dancers that entered the stage in a mini bus, a soloist on a bicycle. But he didn’t litter the stage with any unnecessary props – in his staging everything was needed.”
    Dorota Olearczyk in PIK Wroclaw

    "Lada and his artistic team achieved their goal in creating a dystopian combination of times and aesthetics. He created a spectacle that is both brilliant and intelligent, moving and inspiring. As for a Verdi’s opera – a true revelation. In this production we wander to a completely different universe that is extremely close to our times and weaknesses. This production is cognitively and aesthetically exciting. The librettist Solera’s intellectual accents and punches seem theatrically pathetic, but – in this interpretation – they let us free ourselves from illusions. In no way are we better or wiser today, 176 years after the world premiere of the opera.”
    Leszek Pułka, Teatralny.PL

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