Due to an acute low back pain during rehearsals, Oksana Lyniv, Music Director of the Teatro Comunale di Bologna, will not be able to be on the podium for Pyotr Ilyich Tchaikovsky’s opera Iolanta, proposed in concert form on 7 and 9 April. To replace it is called the conductor Michael Güttler, recently guest of prestigious musical realities such as the Glyndebourne Festival, the Paris Opera and the Teatro Real in Madrid.



Performance in concert form

Tchaikovsky’s last work is characterized by purity and innocence: the young protagonist, inspired by the figure of Iolanta d’Angiò (Duchess of Lorraine), is blind from birth but has lived her life without being aware of it. The inevitable romantic encounter with Vaudémont will lead the girl to recovery.

Extract from

On the Ukrainian roots of Tchaikovsky by Oksana Lyniv

“In the last year of his life, Tchaikovsky conducted his symphonies in the most important cities of Ukraine: Kiyv, Kharkov, Odessa, land where he was always loved («Also in Paris, the noisy celebrations in honor of Tchaikovsky vanished in front of the popular love demonstration in Ukraine» split the brother).

At the time of the Russian Empire’s brutal attack on the Ukrainian language, Tchaikovsky attempted to stage Lysenko’s Taras Bulba in Saint Petersburg in the Ukrainian language.

Tchaikovsky was one of the founders of the Kiyv Conservatory which now bears his name in memory of his decisive participation in the charter and the use of Ukrainian folk themes in at least 30 of his works.”

7 | 9 April 2022

Teatro Comunale


Teatro Comunale di Bologna Orchestra

On the occasion of the performances of Iolanta, the European Premiere of the Stabat Mater by the Ukrainian composer Hanna Havrylets will be performed.


Michael Güttler


Mihail Mihaylov

Petar Naydenov

Serban Vasile

Yulia Tkachenko

Victoria Karckacheva

Marina Ogii

Olga Dyadiv

Rafal Siwek

 Andrei Bondarenko

Arnold Rutkowski

Gea Garatti Ansini

7 | 9 April 2022




Pëtr Il'ič Čajkovskij

Pyotr Ilyich Tchaikovsky (1840 – 1893) Russian composer of late Romanticism, brilliant and versatile, forged his own style by consolidating the use of compositional conventions of classical music alongside traditional Russian music.
Very important is his production dedicated to the ballet of which he is considered father under the musical aspect. His masterpieces, among which Il lago dei cigni (1876), La bella addormentata nel bosco (1890), Schiaccianoci (1892), bear in mind the choreographic and rhythmic needs of the representation, imposing and suggesting new and daring solutions to the performers.

Hanna Oleksiïvna Havrylets

Hanna Havrylets (1958-2022) is a Ukrainian composer whose works, moving, deeply philosophical, full of national spirit and imbued with her own identity, are immediately recognizable.

Born in a mountain village in the Carpathians, she kept the folkloric sources alive in her work. Since the first performances his works have gained popularity, attracting the interest of both experts and a wider audience.

In 2003, the music of Hanna Havrylets was performed on the occasion of the celebrations for the visit of His Holiness Pope John Paul II to Ukraine. In 2004, she was heard in Independence Square during the Orange Revolution.

Especially in the field of sacred choral music, the composer was able to impress her mark. In his works he draws on the wonderful traditions of past eras of Ukraine, combining them with the most modern methods of compositional writing. These works were performed by the best choirs and orchestras of Ukraine.

In 2001 he won the National Competition of Ukrainian Composers Sacred Psalms of the Third Millennium” and “My God, because you abandoned me” (Psalm 22), one of his most famous sacred compositions, was performed by choirs from all over Ukraine.

In 2002 he completed the cantata “Stabat mater” on medieval text. With a modern musical language, the composer applied the principles of the ancient numerological symbolism of the numbers three (as trinity of the essence of God) and four (as personification of the Cross and the Passion), using seven interwoven intonation leitmotifs. Through her work, she leads the audience to a profound conclusion – to a spiritual experience, death as a passage to immortality.

The life of Hanna Havrylets tragically ended on February 27, 2022, on the fourth day of the Russian invasion of Ukraine. In the city of Kyiv, constantly under fire from air raids, it was not possible to organize a farewell to the Ukrainian artistic world. Music director Oksana Lyniv wants to honor the memory of the outstanding Ukrainian composer by performing this work.