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From Shostakovich's initial project - devoting a trilogy to the tragic fates of Russian women through the ages - remained only an opera-fist: Lady Macbeth of Mzensk. If it is one of the powerful springs of the work, the Shakespearian intertext here is very bitter: unlike Lady Macbeth, Katerina Ismailova - who in deep Russia of the nineteenth century, falls in love with an employee of his husband and will eventually be driven to suicide - is less manipulative than victim of a violent and patriarchal society. Krzysztof Warlikowski today releases the subversive force of this burning and scandalous work that marked the early years of the Opéra Bastille
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