FULL A profissão da Sra Warren or Mrs.Warren’s Profession (Maurício De Bonis) 2025 Eliane Coelho, Carla Cottini, Paulo Mandarino, Mauro Wrona

Information on the Performance

• Work Title: A profissão da Sra Warren or Mrs.Warren's Profession  
• Composer: De Bonis Maurício   
• Libretto: Based on the play by G.B. Shaw    Libretto Text, Libretto Index
• Venue & Opera Company: Sesc Glória, Vitória, Brazil, 13º Festival de Música Erudita do Espírito Santo.  
• Recorded: November 8, 2025
• Type: Staged Opera Live
• Singers: Eliane Coelho, Carla Cottini, Paulo Mandarino, Mauro Wrona, Idaías Souto, Rafael Stein
• Conductor: Gabriel Rhein-Schirato  
• Orchestra: Orquestra Sinfônica do Espírito Santo (OSES  
• Stage Director: Livia Sabag  
• Stage Designer: Nicolás Boni  
• Costume Designer: Fabio Namatame  
• Lighting Designer: Valéria Lovato  

Information about the Recording

• Published by: Festival de Música Erudita do Espírito Santo, Maurício De Bonis  
• Date Published: 2025  
• Format: Streaming
• Quality Video: 4 Audio:4
• Subtitles: yessubs, othersubs  

ADDITIONAL INFORMATION ON THIS PERFORMANCE

World premiere of the Opera Creation Center
Mrs. Warren, a woman of humble origins, gave her daughter Vivie an excellent education and a respectable life. But revelations about the mother’s past and financial rise completely change the destiny of the two women. What seemed like a simple meeting between friends in a quiet town in the English countryside becomes the pivot of a major conflict between mother and daughter.

In its fourth year of activity, the Opera Creation Center presents Mrs. Warren’s Profession, an opera in four acts inspired by the homonymous work of the Irishman Bernard Shaw, with music by Maurício De Bonis and libretto collectively signed by the Center, formed this year by Livia Sabag, Eliane Coelho and Gabriel Rhein-Schirato and by De Bonis himself.
The play, written in 1893, in which the author makes a scathing critique of the hypocrisy of the society of the time, was censored and, for almost ten years, banned from being performed, having premiered only in 1902, in London.

The adaptation of the text into a libretto remains quite faithful to the original work and Shaw’s style, and subtly highlights surprisingly relevant issues, such as the relationship between ideology and class conflict, gender issues in the business world and in family relationships, and the relationship between free will and freedom in the contemporary world.

De Bonis’s music, of an atonal nature, is meticulously dedicated to the characterization of the vocal types relating to each of the characters. The melodies are marked by chromaticism, leaps, or intervallic repetitions, according to the emotional direction of each scene. The orchestra features all families of instruments, alternating diverse textures and densities and even making use of very subtle ambiences, punctuated only by percussion or harp. De Bonis also proposes a rhythmic and prosodic colloquialism in the vocal lines, which contributes to the enjoyment of the words and the fluency of the theatrical scene, while the orchestral writing reveals less explicit layers of the conflicts between the characters. The alternation in the use of traditional lyrical singing techniques with “sprechgesang” techniques (or “spoken-song,” something so little explored to date in Brazilian vocal music) confers even more expressive possibilities to the characters.

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