• Duration: 120'
• Instrumentation: 2S 1MS 1A 1Bar solo-coro misto-3232-4221-timp batt (5esec) pf-archi
• Autor libretta: Jan Fabre
• Type: parts, score, choral score, choral parts, solo part (instrument)

''La liberta chiama la liberta (Freedom spawns freedom) is the last part of a monumental operatic trilogy, ''The Minds of Helena Troubleyn'' which the composer began writing in 1988 to a commission from Gérard Mortier, director of the ''La Monnaie'' Opera in Brussels. The premiere of the first part of the cycle - ''Das Glas im Kopf wird vom Glas'' took place in 1990, with the De Vlaamse Opera (Flemish Opera) in Antwerp. Part Two - ''Silent Screams, Difficult Dreams'' was performed in 1992 in Kassel as part of the contemporary art festival Documenta IX. The last part of the trilogy first sounded in a concert performance in Warsaw in 1996, and then on the stage - in 2010 in Wrocław. The libretto of the opera presents the story of Helena Troubleyn (Troubleyn in old Flemish means ''to remain faithful''); it outlines the times of her reign and fall. The last part - La liberta chiama la liberta refers to the world of her inner emotions. Helena creates her own world with the power of imagination, full of vision. To this Eugeniusz Knapik composed exceptional music which combines elements of tradition and modernity. Stanisław Kosz writes; ''When, in 1987, Eugeniusz Knapik, then a young assistant professor at the Katowice Academy of Music, after returning from his stipendium in Freiburg pondered upon making a longer time trip to that famous electronic music studio - and his search for 'new musical horizons' in live electronic door, Jan Fabre (whom he did not know) unexpectedly knocked on the door of his apartment in Katowice, and suggested ... they write an opera. A few years earlier, in faraway Adelaide, during a concert by the Polish Chamber Orchestra he heard Knapiks ''Islands'' - and decided to draw the composer into his new artistic project: a monumental theatrical work, which was a vision of avant-garde musical theatre. He had finished a draft of the libretto and concept of staging and only lacked the music. But he had a vision of it: he wanted it to be full of ''inner passion'' - and this is what he found in Knapiks ''Islands''. He decided to find a composer ... '' (Stanisław Kosz, Dziennik teatralny, XII 2010) The work consists of five scenes. As the librettist says, ''the first of these describes a dispute between Helenas friends concerning the way in which they experience the world of dreams, in which they find themselves. For a short time they come to the black underworld, which frightened them very much. In the meantime, Helena starts a conversation with Il Ragazzo, whose words contain a hidden message for Fressia. Il Ragazzo instructs her on how she should bring about Helenas collapse. The conspiracy by Il Ragazzo and Fressia, suggested at the end of the second part, is here developed, though unconsciously and indirectly. Helena, feeling that she had little life remaining, draws her spiritual testament in a few minutes of arias. She says how we get smaller, as we become like an immensely thin thread. Slowly, she dies and falls into an eternal sleep. After this comes a long silence. Fressia, representing silence, moves away more slowly, until she disappears and goes silent for ever. Then there is celebration of colours, in which the choir honours Helena. No one will ever forget, as Helena, against all advice and all reality, as though without limit, listened to her inner voice. Only by staying faithful to her own consciousness could Helena experience such a wonderfully rich inner life, which the audience could view through the trilogy. In the world of Helena Troubleyn ... (source: website of the Wrocław Opera http://www.opera.wroclaw.pl/1/index.php?page=9&stage_id=120&fnct=libr) Cast: Helen Troubleyn Fressia Ragazzo Friends 1, 2, 3