Krizantema na klavirju – roža, ki je utrgana, odrezana, mrtva. Naslov gledališko-glasbenega večera je Janja Majzelj povzela po zbirki šansonov Svetlane Makarovič, v njem pa se nas iz zasebnosti sobe in naslanjača v njej, brez gledališke maske, s spremljevalnim kvartetom instrumentalistov, dotakne brezčasno življenje trinajstih šansonov Svetlane Makarovič. Janja Majzelj, ki je tudi avtorica veznega besedila, pa navdiha ni črpala le iz šansonov samih, marveč iz celotnega Svetlaninega dela, ki jo je spremljalo, od kar ve zase: iz pravljic, poezije, šansonov, kolumen … In tako nas večer pelje do vrat, ki vodijo nekam, kamor že dolgo ni nihče pogledal, in samo tisti, ki si upa videti in poslušati, bo sredi slepih bitij, pozabljenih od sveta, našel še en svet.
A chrysanthemum on the piano – a flower that has been picked, cut, a dead flower. Janja Majzelj took the title of this evening of theatre and music from a collection of Svetlana Makarovič's songs; the evening allows Makarovič's timeless 13 songs to touch us – no theatre make-up, just the privacy of a room and an armchair in it, and a quartet of musicians. Janja Majzelj, who is also the author of the spoken text, found inspiration not only in the songs, it came from everything that is Svetlana's and has been integral to Majzelj's (“Majzi’s”) life for as long as she can remember: the tales, the poems, the songs, the columns … And so the evening leads us to the door which opens onto a place that no one has bothered to check for a long time, and only the person brave enough to see and hear will, among the blind creatures forgotten by the world, find another world.
Glasba, nastop, njegova dramaturgija in ples. Vse do popolnosti. /.../ Glasbeno-scenski dogodek je presegel vsa pričakovanja - jamstvo za uspeh sta bili namreč že dve imeni sami po sebi: Janja Majzelj kot izjemna interpretka in Svetlana Makarovič kot izjemna pesnica. V popolnosti pa je zaživelo vse.
Tanja Jaklič, Delo
There are people who turn into what they say and sing. It's not identification, it’s the power with which they manage to awaken strange archetypes within us, the archetypes we recognise as mine, yours. Therefore the fan of bizarre, vulnerable, dreamy, forgotten women that has opened in front of us doesn't come only from Svetlana's closet, and not only from Majzi's [Janja Majzelj], either; these women are suppressed somewhere in the dusty drawers of our closets as well, right there where we don't want to see them.
Vesna Milek, Ona
