pravo kao rođene sestre. Otkada je pr- vi put videla film Fantom iz Opere , a potom počitala knjigu i pogledala sni- mak predstave sa Vest Enda, Marta je znala da intimno već poznaje Kristin. – Ona mi je veoma bliska jer smo veoma slične. Kao ja, veoma je oset- ljiva i emotivna, ali bih ipak volela da malo očvrsne – kaže Marta kroz smeh, a onda ozbiljno dodaje da je odnos s Fantomom nešto što ozbiljno kores- pondira sa svetom u kojem živimo. – Kristin je u početku fascinirana tim misterioznim čovekom, za koga misli da je anđeo muzike. Kad shva- ti da je opsesivni ubica, počinje da ga se plaši. Ali ne zbog njegove fizičke unakaženosti, što je nešto što ni Fan- tom ne shvata u početku. On joj pe- va da ga ne voli zbog ožiljka s kojim se rodio, kako je taj lik za njega kazna. A onda Kristin iskreno kaže da je nje- gov lik blag, ali da u duši nosi zlo. Ka- ko bi mogla da ga voli uprkos nedosta- cima tela da nije loš čovek i ubica. U katarzi koju svi na kraju doživljavaju u veoma dirljivom momentu kada je on pušta da ode, ona ga poljubi, opra- šta se od njega dajući mu ono što naj- više želi. Da ga neko voli. Možda, da su se ranije sreli – priča nam emotiv- na Marta objašnjavajući da je svet već dovoljno opsednut fizičkim izgledom i da bi svi trebalo da se vratimo unu- trašnjoj lepoti bića i stvari. – To je velika ljubavna bajka koja podseća da je snaga ljubavi tako važ- na za čoveka danas. Ljubav budi ono najbolje u nama i pokazuje da mi sa- mi odlučujemo kakvi ćemo biti ljudi – slaže se i reditelj Jug Radivojević. – Fantom je najkomplesniji mju- zikl u istoriji žanra. Svojim partitura- ma hrabro se približio operi. Izuzetno intrigantna priča u spoju sa izvanred- nim melodijama Endrua Lojda Vebera stvaraju začudnu i bajkovitu estetiku koja vas sve vreme drži u neizvesno- sti i emociji. Čitav autorski tim našeg Fantoma trudio se da ne izneveri sa- držaj originala, ali da ostavi poseban pečat u poetskom i konceptualnom izrazu – zaključuje Radivojević. Poseban kvalitet u mjuziklu, ko- ji je odigran u Pozorištu na Terazi- jama, predstavlja zvuk orkestra ko- jim je upravljala Vesna Šouc, a koji je bio na nivou svetskih produkcija, baš kao i balet u koreografiji Konstantina Kostjukova. Predstava se igra svakog meseca u Pozorištu na Terazijama i postoje dve podele za najvažnije li- kove - Kristin, Fantom, Karlota, Ma- dam Ziri, Meg.
and emotional, but I would still like to harden a little - says Marta with a laugh, then adds with seriousness that her rela- tionship with the phantom is something that seriously corresponds with the world in which we live. - Christine is initially fascinated by the mysterious man who she thinks is an angel of music. When she realises he is an obsessive killer, she starts fear- ing him. But not because of his physi- cal deformity, which is something that the phantom doesn’t even understand at first. He sings to her that she does not love him because of the scars he was born with, how his face is his pun- ishment. And then Christine sincerely says that it is not his face but the evil he carries in his soul; that she could love him despite his physical shortcomings, if he weren’t a bad man and a killer. In the catharsis that everyone experienc- es in the end, at the very touching mo- ment when the Phantom let’s her go, Christine kisses him, making her good- byes while giving him what he wants the most: for someone to love him. Per- haps, had they met earlier… - we are told by the emotional Marta, who ex- plains that the world is already obsessed enough with physical appearances and that everyone should return to the in- ner beauty of beings and things. - This is a great love fairy tale which reminds us that the power of love is so important to man today. That’s because love awakens the best in us and shows that we decide for ourselves what kind of people we will be – agrees director Jug Radivojević. - The Phantom is the most complex musical in the history of the genre. It bravely approaches opera with its musi- cal score. An extremely intriguing story, combined with the extraordinary melo- dies of A.L. Webber, creates a wondrous and fairy-tale-like aesthetic that hold you constantly in uncertainty and emotion. The entire production team of our Phan- tom endeavoured not to betray the orig- inal, but to leave a special stamp on its poetic and conceptual expression – con- cludes Radivojević. The special quality of this musical performed at Terazije Theatre was rep- resented by the sound of the orchestra led by Vesna Šouc which attained the highest level of production, as did the ballet choreography of Konstantin Ko- styukov. The performance plays every month in Terazije Theatre and there are two divisions for the most important characters - Christine, the Phantom, Car- lotta, Madame Giry, Meg.
Ovo je ljubavna bajka koja nas podseća šta je važno za čoveka danas This is a love fairy tale which reminds us what is so important to man today
heart with her beautiful, gentle sopra- no. And not only the phantom’s... Mar- ta Hadžimanov, a 17-year-old student of two music schools, who is the daughter of Vasil Hadžimanov and the granddaugh- ter of Senka Velentalić, Zafir Hadžimanov and Brankica Vasić Vasilisa, became the youngest professional actress in Serbia with this role, but also the world’s young- est Christine. - I turned up for the audition among all those singers, actresses and talented peo- ple, without any expectations whatsoev- er. I just wanted to see what it was like to stand on the stage of my favourite thea- tre and view it from another perspective. And then I sang flawlessly and got the role. We all jumped for joy around the house for days, not believing that my dream had come true during these years... – says the beau- tiful Marta, who reigned supreme on the stage in her first appearance as though she has hundreds of performances behind her. Youth, inexperience, growing up in a musical family - these are just a few of the things that ensure Marta and Chris- tine are actually like sisters. That’s because since she first saw the film version of the Phantom of the opera, then read the book and watched a recording of a West End performance, Marta felt that she was al- ready intimately familiar with Christine... - She is very close to me, as we are very similar. Like me, she is very sensitive
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