Opening April 2018 on the Main Stage

To define the genre of the book, upon which the libretto for our new musical is based, is almost impossible. The author herself subtitled it »a biography«, and her prose style indeed sticks to the manner of biographical accounts. Many literary scholars have argued that the novel is an early case of magic realism. The novel could easily endure a comparison with politically-nuanced writing and provide a starting point for a variety of socio-psychological studies. Its subject matter has elicited an overwhelming number of theoretical studies. Nonetheless, it is Nigel Nicolson’s definition, claiming that Orlando is »the longest and the most charming love letter in literary history« that is probably the most accurate.
Orlando travels through time.
The story begins in Renaissance England and ends three hundred years later. Orlando, who is constantly with us, undergoes various transformations, but ages only for about twenty years.
Imagination is more important than reality.
Life is a dream. Whoever steals one’s dreams, steals one’s life.
During travels, spanning centuries, Orlando meets a number of important figures of various periods, including Elizabeth I and Queen Victoria.
The world is constantly changing, and so is Orlando. Only two things remain intact: a poetic knack and noble character.
In the context of our repertoire, emphasizing the topics of intimacy, the libretto outline and the director’s conception of Orlando represent its extreme limit: how to use music to conjure up something that seems unattainable at first sight, and how to present something that is on the face of it invisible to the eye.