Mega-productions for art's sake

Andrzej Wróbel: The Wrocław Opera seems to have a penchant for staging spectacular productions. How did it start?

Ewa Michnik: I had such major performances in mind a long time ago. They resulted from my numerous trips across Europe. Usually, such events are organized in countries with a good climate, not only a financial climate. I have always been infatuated with Verona because of this common experience of listening and watching together with a few thousand people. The silence, the blow of the wind, the surroundings have an enormous meaning in the perception process. I searched for similar places in Poland. I even produced an opera in the Wieliczka Salt Mine. When I came here to Wrocław I wanted to do it here because of the beautiful views, the rivers, canals, hills and the Hala Ludowa building. The other reason was the renovation of the opera house.

So the first production was staged in Hala Ludowa?

Yes, that was Aida in 1997. It was very risky because we didn't have experience. I knew other productions in Europe so I asked Hungarian producers for help. They brought 12 lorries of scenery and a director. The singers were ours. The audience amazed us because crowds came to see the production. Then came Carmen, again with the Hungarian producers. We would be working with them even today but for our difficult financial situation then. But they were more and more expensive. We wanted to do it ourselves so we went for it. Nabucco was the first fully Polish production.

How many performances have already been made?

So far there have been 12 operas including Gioconda on the Oder river but soon there will be others such as Boris Godunov and another Gioconda. These shows, with animals from the zoo and hundreds of extras, including soldiers and children, have evoked great enthusiasm from the audience.

However, after some time people started saying that the Wrocław Opera produces opera for the masses, and takes it off the artistic pedestal with some cheap special effects. I decided to prove something to those who believed the productions were just a cheap way of showing off. Despite being afraid, I believed I had to do it, I had to show Wagner's Ring with a contemporary message. Even my fellow directors were skeptical, especially because Wagner hasn't been performed in Poland since the Second World War. These performances are difficult and there are no effects but the audience didn't let us down.