DOCSLIB.ORG

The Magic Flute (Die Zauberflöte)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Magic Flute (Die Zauberflöte) MOZART’S The Magic Flute (Die Zauberflöte) 8–10 March • ASB Theatre, Aotea Centre Auckland Arts Festival presents MOZART’S The Magic Flute (Die Zauberflöte) 8–10 March 2019 ASB Theatre, Aotea Centre Composer: Wolfgang Amadeus Mozart Libretto: Emanuel Schikaneder Directors: Barrie Kosky & Suzanne Andrade Musical Direction: Jordan de Souza & Hendrik Vestmann Stage & Costume Design: Esther Bialas Animation: Paul Barritt Conception: Suzanne Andrade & Paul Barritt (1927) & Barrie Kosky With the Auckland Philharmonia Orchestra Produced by Komische Oper Berlin Presented by arrangement with Arts Projects Australia Cover & Images: Iko Freese / drama-berlin.de Auckland Arts Festival Season supported by Opera Boost Patrons Jeremy Collins • Sir Roderick and Gillian, Lady Deane • Trevor and Jan Farmer ‘Pamina & Papageno’ Friedlander Foundation • Kent and Gaye Gardner • Dame Jenny Gibbs • The Wallace Foundation 1 ‘Tamino & Papageno’ ‘Papageno’ Welcome Nau Mai, Haere Mai. In each of my festivals, I want to present created the most popular opera production we would not be able to dream so ambitiously. for Auckland audiences an outstanding of the modern era, evidenced by audiences Huge thanks also to our sponsor, the University Welcome to Te Ahurei Toi o example of artists who are breathing new storming the box office in major cities around of Auckland, and to Goethe Institute, both of Ta¯maki Makaurau 2019. life into classic works and engaging in art the world. Now it is our turn to be enchanted. whom contributed greatly to presenting this making in thoroughly contemporary ways. project. We are grateful for the ongoing and It is a privilege for us to welcome to New steadfast support of Auckland Council and In this extraordinary production of Mozart’s Zealand for the first time a major European Creative New Zealand. most loved opera, The Magic Flute, we see opera house in this epic enterprise, with the collaboration between a storied opera some 125 members of KOB joining with our I invite you to continue your Auckland Arts house from the heart of the Germanic beloved Auckland Philharmonia Orchestra Festival experience following The Magic Flute tradition in Komische Oper Berlin, and a under Erster Kapellmeister Jordan de Souza. as we bring you amazing artists from Aotearoa daring UK theatre company in 1927 for and beyond. This is a festival made with aroha whom opera was an unknown universe. Thank you to New Zealand Opera, whose by a group of people I am honoured to work exciting new General Director Thomas de with, led by our CEO David Inns. KOB’s utterly unique Flute compels us to Mallet Burgess has been a staunch comrade look again at the operatic art form and of this project. Our deepest thanks to the It’s your festival. You are welcome. Nga¯ mihi nui. find fresh and thrilling inspiration. It is visionary gifts of our Opera Boost patrons no overstatement to say that directors led by the late, great Jeremy Collins. Without Jonathan Bielski Barrie Kosky and Suzanne Andrade have the support of such generous Aucklanders, Artistic Director, Auckland Arts Festival 2 3 Synopsis Act I Act II In a dark forest, far away… Pamina is being importuned by Sarastro’s The trial of silence For her part, Pamina believes that she has slave Monostatos. Papageno, who has lost Tamino forever. In her despair, she seeks As he flees from a dangerous giant serpent, become separated from Tamino on the way Tamino and Papageno must practise being to end her own life, but is prevented from Tamino is rescued at the last second by the to Sarastro, is as scared by the strange silent. Because of the appearance of the doing so by the three boys, who assure her three ladies who serve the Queen of the appearance of Monostatos as the slave is by ladies and their warnings, their ordeal is a that Tamino still loves her. Gladdened and Night. When he regains consciousness, the Papageno’s. Alone with Pamina, Papageno truly testing one. Tamino remains resolute, relieved, Pamina accepts their invitation to first thing Tamino sees is Papageno, and he announces that her rescuer Tamino will while Papageno immediately begins to see Tamino again. believes him to be his rescuer. soon arrive. Papageno himself is sad that chatter. his search for love has thus far proved Reunited at last, Tamino and Pamina undergo Papageno, a bird catcher in search of love, fruitless. Pamina comforts him. Meanwhile, Monostatos again tries to get the final trial together. does nothing to dispel the misunderstanding. close to the sleeping Pamina. The Queen of The three ladies return and punish Papageno The three boys have led Tamino to the the Night appears and orders her daughter The trial of fire and water for his lies by rendering him mute. They gates of Sarastro’s domain. Although he to kill Sarastro. Pamina remains behind, The music of the magic flute and their love show Tamino a picture of Pamina, the is initially refused entry, Tamino begins to despairing. Sarastro seeks to console Pamina for one another allow Tamino and Pamina daughter of the Queen of the Night, whom doubt the statements made by the Queen of by foreswearing any thoughts of revenge. to conquer their own fear and overcome the Tamino instantly falls in love with. the Night regarding Sarastro. He begins to dangers of fire and water. play on his magic flute, and enchants nature The trial of temptation Shortly thereafter, the Queen of the Night with his music. Tamino and Papageno must resist any Papageno is meanwhile still unsuccessful herself appears and tells Tamino of her in his search for his great love. Despairing, daughter’s kidnapping at the hands of Papageno meanwhile flees with Pamina, temptation: no conversation, no women, no food! he now also seeks to end his life, but is Sarastro. Tamino responds with great but they are caught by Monostatos and also prevented from doing so by the three enthusiasm to her command that he free his helpers. Papageno’s magic bells put As well as the magic flute and magic bells boys. Papageno’s dream finally comes true: Pamina. The three ladies give Papageno back their pursuers out of action. Sarastro and the three boys also bring Tamino and together with his Papagena, he dreams of his voice and instruct him to accompany his retinue then enter upon the scene. Papageno food, which Tamino once again being blessed with many children. Tamino. As a protection against danger, they Monostatos leads in Tamino. The long steadfastly resists. Even Pamina fails to draw give Tamino the gift of a magic flute, while yearned-for encounter between Tamino and a single word from Tamino’s lips, which she Meanwhile… Papageno receives magic bells. The three Pamina is all too brief. Sarastro orders that interprets as a rejection. She laments the …the Queen of the Night, the three ladies, and ladies declare that three boys will show they must first face a series of trials. cooling of Tamino’s love for her. the turncoat Monostatos arm themselves for Tamino and Papageno the way to Sarastro. Interval Before the last great trial, Pamina and an attack against Sarastro and his retinue. Tamino are brought together one last time to However, the attack is repelled. say farewell to one another. Tamino and Pamina have reached the end of Papageno is not permitted to take part in any their trials, and can finally be together. further trials. He now wishes for only a glass of wine – and dreams of his great love. 4 5 Artists’ Q&A Barrie Kosky, How did you come up with the idea of The result was a unique Magic Flute. Although Paul Barritt (filmmaker; co-creator staging The Magic Flute with 1927? Suzanne and Paul were working in Berlin for of 1927): And yet it would be wrong to Suzanne Andrade the first time, they had a natural feel for the see in our work only the influence of the & Paul Barritt Barrie Kosky (stage director; Intendant city’s artistic ambiance, especially the Berlin 1920s and silent film. We take our visual of the Komische Oper Berlin): The Magic on flying elephants, of the 1920s, when it was such an important inspiration from many eras, from the Flute is the most frequently performed creative center for painting, cabaret, silent film copper engravings of the 18th century as the world of silent film German-language opera, one of the top and animated film. Suzanne, Paul and I share well as in comics of today. There is no and the eternal ten operas in the world. Everyone knows a love for revue, vaudeville, music hall and preconceived aesthetic setting in our mind the story; everybody knows the music; similar forms of theatre, and, of course, for when we work on a show. The important search for love. everyone knows the characters. On top of silent film. So our Papageno is suggestive of thing is that the image fits. A good example that, it is an “ageless” opera, meaning that Buster Keaton, Monostatos is a bit Nosferatu, is Papageno’s aria ‘Ein Mädchen oder an eight-year-old can enjoy it as much and Pamina perhaps reminiscent of Louise Weibchen’ [a girl or a little wife]. In the as an octogenarian can. So you start out Brooks. But it’s more than a homage to silent libretto, he is served a glass of wine in the with some pressure when you undertake a film – there are far too many influences from dialogue before his aria. We let him have staging of this opera. I think the challenge other areas. But the world of silent film gives a drink, but it isn’t wine.
Load more

Recommended publications
  • The Magic Flute Synopsis
    Mozart’s The Magic Flute Synopsis ACT I Three ladies in the service of the Queen of the Night save the fainting Prince Tamino from a serpent (“Zu Hülfe! zu Hülfe!”). When they leave to tell the queen, the bird catcher Papageno bounces in and boasts to Tamino that it was he who killed the creature (“Der Vogelfänger bin ich ja”). The ladies return to give Tamino a portrait of the queen’s daughter, Pamina, who they say is enslaved by the evil Sarastro, and they padlock Papageno’s mouth for lying. Tamino falls in love with Pamina’s face in the portrait (“Dies Bildnis ist bezaubernd schön”). The queen, appearing in a burst of thunder, is grieving over the loss of her daughter; she charges Tamino with Pamina’s rescue (“Zum Leiden bin ich auserkoren”). The ladies give a magic flute to Tamino and silver bells to Papageno to ensure their safety, appointing three spirits to guide them (“Hm! hm! hm! hm!”). Sarastro’s slave Monostatos pursues Pamina (“Du feines Täubchen”) but is frightened away by the feather-covered Papageno, who tells Pamina that Tamino loves her and intends to save her. Led by the three spirits to the Temple of Sarastro, Tamino is advised by a high priest that it is the queen, not Sarastro, who is evil. Hearing that Pamina is safe, Tamino charms the animals with his flute, then rushes to follow the sound of Papageno’s pipes. Monostatos and his cohorts chase Papageno and Pamina but are left helpless by Papageno’s magic bells. Sarastro, entering in great ceremony (“Es lebe Sarastro”), promises Pamina eventual freedom and punishes Monostatos.
    [Show full text]
  • Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ Masterpiece the Pinnacle of a High-Octane Year: Karabits, Montero and More
    Bournemouth Symphony Orchestra Announce Electrifying 2019/20 Season Strauss’ masterpiece the pinnacle of a high-octane year: Karabits, Montero and more 2 October 2019 – 13 May 2020 Kirill Karabits, Chief Conductor of the Bournemouth Symphony Orchestra [credit: Konrad Cwik] EMBARGO: 08:00 Wednesday 15 May 2019 • Kirill Karabits launches the season – his eleventh as Chief Conductor of the BSO – with a Weimar- themed programme featuring the UK premiere of Liszt’s melodrama Vor hundert Jahren • Gabriela Montero, Venezuelan pianist/composer, is the 2019/20 Artist-in-Residence • Concert staging of Richard Strauss’s opera Elektra at Symphony Hall, Birmingham and Lighthouse, Poole under the baton of Karabits, with a star-studded cast including Catherine Foster, Allison Oakes and Susan Bullock • The Orchestra celebrates the second year of Marta Gardolińska’s tenure as BSO Leverhulme Young Conductor in Association • Pianist Sunwook Kim makes his professional conducting debut in an all-Beethoven programme • The Orchestra continues its Voices from the East series with a rare performance of Chary Nurymov’s Symphony No. 2 and the release of its celebrated Terterian performance on Chandos • Welcome returns for Leonard Elschenbroich, Ning Feng, Alexander Gavrylyuk, Steven Isserlis, Simone Lamsma, John Lill, Carlos Miguel Prieto, Robert Trevino and more • Main season debuts for Jake Arditti, Stephen Barlow, Andreas Bauer Kanabas, Jeremy Denk, Tobias Feldmann, Andrei Korobeinikov and Valentina Peleggi • The Orchestra marks Beethoven’s 250th anniversary, with performances by conductors Kirill Karabits, Sunwook Kim and Reinhard Goebel • Performances at the Barbican Centre, Sage Gateshead, Cadogan Hall and Birmingham Symphony Hall in addition to the Orchestra’s regular venues across a 10,000 square mile region in the South West Bournemouth Symphony Orchestra announces its 2019/20 season with over 140 performances across the South West and beyond.
    [Show full text]
  • Premiere LA FORZA DEL DESTINO (THE FORCE OF
    Premiere LA FORZA DEL DESTINO (THE FORCE OF DESTINY) Opera in four acts by Giuseppe Verdi Libretto by Francesco Maria Piave based on the play Don Àlvaro o La fuerza del sino (1835) by Ángel de Saaverda Sung in Italian with German and English surtitles Conductor: Jader Bignamini / Gaetano Soliman (May 2019) Director: Tobias Kratzer Set and Costume Designer: Rainer Sellmaier Video: Manuel Braun Lighting Designer: Joachim Klein Chorus Master: Tilman Michael Dramaturge: Konrad Kuhn Marchese di Calatrava / Padre Guardiano: Franz Josef Selig / Andreas Bauer Kanabas (May 2019) Donna Leonora: Michelle Bradley Don Carlo di Vargas: Christopher Maltman / Evez Abdulla (May 2019) Don Alvaro: Hovhannes Ayvazyan / Arsen Soghomonyan (May 2019) Prezosilla: Tanja Ariane Baumgartner / Judita Nagyová (February 7th, 9th, 15th, May 2019) Frau Melitone: Craig Colclough amongst others Oper Frankfurt's Chorus and Extras; Frankfurter Opern- und Museumsorchester With generous support from the DZ Bank and the Frankfurt Patronatsverein – Sektion Oper The World Premiere of the 1st edition of La forza del destino (The Force of Destiny) by Giuseppe Verdi (1813-1901) took place on November 10th 1862, a year later than planned, at the Bolshoi Theatre in St. Petersburg. The libretto for this four act opera, based on the play Don Álvaro o La fuerza del sino (1835) by Ángel de Saavedra, was written by Francesco Maria Piave. Apart from two concert performances at the Alte Oper in 2005, this is the first New Production in Frankfurt since 1974, now in the rarely performed unabridged Petersburg edition. Leonora, Marchese di Calatrava's daughter, loves the mestizo Don Alvaro, against her father's will.
    [Show full text]
  • The Magic Flute' and It’S Written by a Composer Called Wolfgang Amadeus Mozart
    I’VE NEVER BEEN TO THE OPERA BEFORE. WHAT’S IT GOING TO BE LIKE? It’s great fun! You can expect to hear lots of great music and acting. All operas tell a story with performers who act and sing on a stage in costume whilst a band of musicians (aka an orchestra) play along. The opera that you’ll be coming to see is called 'The Magic Flute' and it’s written by a composer called Wolfgang Amadeus Mozart. E WASN'T MOZART AROUND A LONG TIME AGO? IS 'THE MAGIC FLUTE' A T REALLY OLD OPERA? U Yes, Mozart lived over 200 years ago and 'The Magic Flute' was first performed in 1791. However, all the costumes and the set are all brand spanking new and L of course all the people performing aren’t 200 years old! F The costumes, set, lighting and the way the performers act is what’s known as the production, all created by a team of people led by a director. You’ll be coming to see a new production of 'The Magic Flute' today. If you see another C production of 'The Magic Flute' in the future, it’ll look totally different to this one! I G IS THE WHOLE OF 'THE MAGIC FLUTE' SUNG? A Not all of it. 'The Magic Flute' is a type of German opera called a ‘singspiel’ M which means there are several moments where the performers speak instead of singing. E DOES THIS MEAN THAT THE OPERA WILL BE IN GERMAN? H Yes it does! But don’t worry.
    [Show full text]
  • La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica Afterscènes Da La Vie De Bohème by Henri Murger
    ____________________ The Indiana University Opera Theater presents as its 395th production La Bohème Opera in Four Acts Music by Giacomo Puccini Italian Libretto by Giuseppe Giacosa and Luigi Illica AfterScènes da la vie de Bohème by Henri Murger David Effron,Conductor Tito Capobianco, Stage Director C. David Higgins, Set Designer Barry Steele, Lighting Designer Sondra Nottingham, Wig and Make-up Designer Vasiliki Tsuova, Chorus Master Lisa Yozviak, Children’s Chorus Master Christian Capocaccia, Italian Diction Coach Words for Music, Supertitle Provider Victor DeRenzi, Supertitle Translator _______________ Musical Arts Center Friday Evening, November Ninth Saturday Evening, November Tenth Friday Evening, November Sixteenth Saturday Evening, November Seventeenth Eight O’Clock Two Hundred Eighty-Fourth Program of the 2007-08 Season music.indiana.edu Cast (in order of appearance) The four Bohemians: Rodolfo, a poet. Brian Arreola, Jason Wickson Marcello, a painter . Justin Moore, Kenneth Pereira Colline, a philosopher . Max Wier, Miroslaw Witkowski Schaunard, a musician . Adonis Abuyen, Mark Davies Benoit, their landlord . .Joseph “Bill” Kloppenburg, Chaz Nailor Mimi, a seamstress . Joanna Ruzsała, Jung Nan Yoon Two delivery boys . Nick Palmer, Evan James Snipes Parpignol, a toy vendor . Hong-Teak Lim Musetta, friend of Marcello . Rebecca Fay, Laura Waters Alcindoro, a state councilor . Joseph “Bill” Kloppenburg, Chaz Nailor Customs Guard . Nathan Brown Sergeant . .Cody Medina People of the Latin Quarter Vendors . Korey Gonzalez, Olivia Hairston, Wayne Hu, Kimberly Izzo, David Johnson, Daniel Lentz, William Lockhart, Cody Medina, Abigail Peters, Lauren Pickett, Shelley Ploss, Jerome Sibulo, Kris Simmons Middle Class . Jacqueline Brecheen, Molly Fetherston, Lawrence Galera, Chris Gobles, Jonathan Hilber, Kira McGirr, Justin Merrick, Kevin Necciai, Naomi Ruiz, Jason Thomas Elegant Ladies .
    [Show full text]
  • Major Themes in the Magic Flute Filled with Ritual and Symbolism
    Major Themes in The Magic Flute Filled with ritual and symbolism, Mozart’s final masterpiece is a playful but profound look at man's search for love and his struggle to attain wisdom and virtue. From the virtuosic arias of the Queen of the Night to the folksong-like melodies of the bird catcher Papageno, the full range of Mozart's miraculous talent is on display in this magical fairy-tale opera. That The Magic Flute is a barely veiled Masonic allegory cannot be doubted. It acts, in fact, as a kind of introduction to the secret society. Its story celebrates the main themes of masonry: good vs. evil, enlightenment vs. ignorance, and the virtues of knowledge, justice, wisdom and truth. The evocation of the four elements (earth, air, water and fire), the injunction of silence in the Masonic ritual, the figures of the bird, the serpent and the padlock as well as the ‘rule of three’ all play important roles in the plot or in the musical fabric of the opera (three ‘Ladies’, three ‘Boys’, three loud chords at the beginning of the overture signifying the three ‘knocks’ of the initiates at the temple, three temples, the three flats of E-flat Major which is the primary tonality of the work, etc.) All of these symbols and characteristics come from Egyptian lore and the various original texts of Masonry; hence the opera’s libretto is set in Egypt, although many productions eschew that specification. Sources: operapaedia.org & sfopera.com Definition of Freemasonry (the Masonic order) Freemasonry is a fraternal organization that arose from obscure origins in the late 16th to early 17th century.
    [Show full text]
  • [T] IMRE PALLÓ
    VOCAL 78 rpm Discs FRANZ (FRANTISEK) PÁCAL [t]. Leitomischi, Austria, 1865-Nepomuk, Czechoslo- vakia, 1938. First an orchestral violinist, Pácal then studied voice with Gustav Walter in Vienna and sang as a chorister in Cologne, Bremen and Graz. In 1895 he became a member of the Vienna Hofoper and had a great success there in 1897 singing the small role of the Fisherman in Rossini’s William Tell. He then was promoted to leading roles and remained in Vienna through 1905. Unfor- tunately he and the Opera’s director, Gustav Mahler, didn’t get along, despite Pacal having instructed his son to kiss Mahler’s hand in public (behavior Mahler considered obsequious). Pacal stated that Mahler ruined his career, calling him “talentless” and “humiliating me in front of all the Opera personnel.” We don’t know what happened to invoke Mahler’s wrath but we do know that Pácal sent Mahler a letter in 1906, unsuccessfully begging for another chance. Leaving Vienna, Pácal then sang with the Prague National Opera, in Riga and finally in Posen. His rare records demonstate a fine voice with considerable ring in the upper register. -Internet sources 1858. 10” Blk. Wien G&T 43832 [891x-Do-2z]. FRÜHLINGSZEIT (Becker). Very tiny rim chip blank side only. Very fine copy, just about 2. $60.00. GIUSEPPE PACINI [b]. Firenze, 1862-1910. His debut was in Firenze, 1887, in Verdi’s I due Foscari. In 1895 he appeared at La Scala in the premieres of Mascagni’s Guglielmo Ratcliff and Silvano. Other engagements at La Scala followed, as well as at the Rome Costanzi, 1903 (with Caruso in Aida) and other prominent Italian houses.
    [Show full text]
  • The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years Of
    Press release | 30/3/2017 | acr | Updated: July 2017 The 2017/18 Season: 70 Years of the Komische Oper Berlin – 70 Years of the Future of Opera 10 premieres for this major birthday, two of which are reencounters with titles of legendary Felsenstein productions, two are world premieres and four are operatic milestones of the 20 th century. 70 years ago, Walter Felsenstein founded the Komische Oper as a place where musical theatre makers were not content to rest on the laurels of opera’s rich traditions, but continually questioned it in terms of its relevance and sustainability. In our 2017/18 anniversary season, together with their team, our Intendant and Chefregisseur Barrie Kosky and the Managing Director Susanne Moser are putting this aim into practice once again by way of a diverse program – with special highlights to celebrate our 70 th birthday. From Baroque opera to operettas and musicals, the musical milestones of 20 th century operatic works, right through to new premieres of operas for children, with works by Georg Friedrich Handel through to Philip Glass, from Jacques Offenbach to Jerry Bock, from Claude Debussy to Dmitri Shostakovich, staged both by some of the most distinguished directors of our time as well as directorial newcomers. New Productions Our 70 th birthday will be celebrated not just with a huge birthday cake on 3 December, but also with two anniversary productions. Two works which enjoyed great success as legendary Felsenstein productions are returning in new productions. Barrie Kosky is staging Jerry Brock’s musical Fiddler on the Roof , with Max Hopp/Markus John and Dagmar Manzel in the lead roles, and the magician of the theatre, Stefan Herheim, will present Jacques Offenbach’s operetta Barbe- bleue in a new, German and French version.
    [Show full text]
  • CV English - Noëmi Nadelmann —
    CV English - Noëmi Nadelmann — Noëmi Nadelmann is a swiss soprano and one of the leading opera and concert singer of her generation. She made her debut in 1987 at the Teatro La Fenice in Venice as Musetta in 'La Bohème' with Renata Scotto as Mimi. Since that time she has sung major roles in the great opera houses of the world, in the major concert halls and with the world's leading orchestras. Noëmi Nadelmann has sung Musetta at the Metropolitan Opera in New York, Opéra National Paris (Bastille) in Paris (conductor: Daniel Oren), Vienna State Opera, Komische Oper Berlin (conductor: Simone Young), Dutch National Opera Amsterdam (director: Pierre Audi) and the Lyric Opera of Chicago. She has sung Violetta in 'La Traviata' at the Komische Oper in Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg), Hessisches Staatstheater Wiesbaden, Deutsche Oper Berlin (director: Götz Friedrich), Opernhaus Zürich (director: Jürgen Flimm, conductor: Franz Welser- Möst) and the State Opera House Hamburg. She has also sung the title role in 'Lucia di Lammermoor' at the Komische Oper Berlin (director: Harry Kupfer, conductor: Yakov Kreizberg, Vladimir Jurowski) and the State Opera House Hamburg. Noëmi Nadelmann has sung the tiltle role in 'Manon' at the Deutsche Oper Berlin and Marschallin in 'der Rosenkavalier' on their tour to Beijing (conductor: Uwe Schirmer) as well as at the Israeli Opera in Tel Aviv (conductor: Asher Fisch). Armida in 'Rinaldo' she was a tremendous success at the Bavarian State Opera in Munich (director: David Alden, conductor: Harry Bicket) and at the State Opera Berlin (director: Nigel Lowery, conductor: René Jacobs).
    [Show full text]
  • Theater Plakate
    ZUR PERSON Geboren am 17. Juni 1940 in Berlin • Tischlerlehre und Tätigkeit in verschiedenen Berufen • Hochschulreife an der ABF (Arbeiter- und Bauernfakultät) • Werbe-Grafik-Ausbildung an der FAK (Fachschule für ange wandte Kunst Berlin) 1969 Anerkennung als Gebrauchsgrafiker beim VBK 1972 Anerkennung als Bühnenbildner beim VBK • Seit 1964 etwa 30 Arbeiten als Gestalter nationaler und internationaler Messen 1965–1967 Ausstellungsbau und -grafik, Konzeption, Publi- kationen und Plakate im Museum für Ur- und Frühgeschichte Potsdam 1970–1973 Entwurfsarbeiten und Entwicklung verschiedener Schau- fenster- und Ausstellungssysteme für VEB Exquisit 1987–1991 etwa 10 Arbeiten baugebundener Kunst: z. B. Denkmal „Stühle“ in Berlin- Hohenschönhausen (mit R. Rehfeldt), Umgestaltung einer Schule in Berlin-Friedrichshain, Innenausbau und Wandgestaltung Kinokomplex Cinemaxx in Essen 1966 erste Arbeit am Theater (Schauspiel „Mac- beth“ in Parchim) 1967–1971 Bühnenbild-Assistent an der Komischen Oper Berlin 1972–1999 Bühnenbildner an der Komischen Oper Berlin TE Mehr Informationen finden sie unter www.hartmut-henning.de A K A L P R THEATE HARTMUT HENNING HENNING HARTMUT THEATER HARTMUT HENNING PLAKATE THEATER HARTMUT HENNING PLAKATE THEATER HARTMUT HENNING PLAKATE WWW.HARTMUTHENNING.DE ML = Musikalische Leitung . R = Regie . CH = Choreographie . I = Inszenierung B = Bühnenbild . K = Kostüme . D = Dramaturgie Plakatverzeichnis Der tolle Tag Deutsches eater Berlin . .6 Die Hochzeit des Figaro ballett classic Komische Oper Berlin . .8 Komische Oper Berlin . 70 Umwege Friedrich-Wolf-eater Neustrelitz . 10 Don Giovanni Komische Oper Berlin . 72 Don Carlos Opera i Operetka w Bydgoszczy . 12 Orpheus und Eurydike Komische Oper Berlin . 74 Aschenbrödel Komische Oper Berlin . 14 Das Rheingold/Die Walküre/Siegfried/ Moses und Aron Staatstheater Dresden . 16 Götterdämmerung Landesbühne Magdeburg 76 Mahagonny Komische Oper Berlin .
    [Show full text]
  • Jahreskatalog 2019/2020
    Maritim Musikreisen Jahreskatalog 2019/2020 Beethoven-Kunstinstallation „Unser Ludwig“ auf dem Bonner Münsterplatz Opern- und Festivalübersicht 2019/2020 Oktober November Dezember Januar Februar März April Mai Juni Juli Berlin Kátja Kabanová Tosca Hänsel und Gretel Jenufa Der Rosenkavalier Antikrist Schwanda, der Fidelio Nabucco Die Hochzeit des Figaro (ab Seite 6) Eine Frau, die weiß Die Fledermaus (Operette) Don Giovanni Dudelsackpfeifer Der Liebestrank Chowanschtschina was sie will (Operette) Turandot Aida Der Zauberer von Oz Der fliegende Holländer Semele Thaïs Jephtha Frühlingsstürme (Operette) The Bassarids The Rake’s Progress Schwanda, der Dudelsackpfeifer Bonn Fidelio Cavalleria Rusticana / (ab Seite 20) Der Bajazzo (Pagliacci) Bremen Der Rosenkavalier (ab Seite 22) Darmstadt Fidelio Frau Luna (Operette) (ab Seite 24) Die Reise nach Reims Le Grand Macabre Hoffmanns Erzählungen Tosca Die Großherzogin von Platée Madama Butterfly Rigoletto Eugen Onegin Dresden Der Freischütz Gerolstein (Operette) (ab Seite 26) Die Fledermaus Frankfurt Drei Kurzopern Lady Macbeth Radamisto Die Macht des Schicksals (ab Seite 36) von Mzensk Frankenstein Frankenstein Die Sache Markopulos Frankenstein Die Sache Markopulos Jesus Christ Superstar Krabat Gelsenkirchen Jesus Christ Superstar Jesus Christ Superstar Jesus Christ Superstar (ab Seite 38) Die Sache Markopulos Heringsdorf/ La Bohème Die Fischbrötchenoper Fidelio Die lustige Witwe Elektra Usedom (Operette) (ab Seite 40) Fidelio München Wiener Blut (Operette) Wozzek Die Zauberflöte Aida (ab Seite
    [Show full text]
  • Tema 7. Escenografía
    WAGNERIANA CASTELLANA Nº 53 AÑO 2005 TEMA 7. ESCENOGRAFÍA TÍTULO: “REGIETHEATER”, EL VENENO DE LA OPERA AUTOR: Marcel Prawy “Las palabras bellas no son verdad, las palabras veraces no son bellas.” Esto es lo que cree Lao- Tse. “Regietheater” es un teatro dictado y dominado por el regidor. Esto es para el mundo de la ópera lo que el Sida para el cuerpo humano. Es deber del regidor contar clara y comprensible, al público de hoy, la obra creada por el autor. Cuando lo cuenta de manera incomprensible, si cabe más incomprensible que la pieza misma, ha fracasado. Cuando cuenta la obra de manera diferente a como el autor la ha previsto – cuando según su antojo cambia el contenido de la pieza – engaña al público y este tiene derecho a pedir que le devuelvan el dinero de la entrada. La libertad artística del regidor, en su proyecto visual, tiene los mismos límites que tiene el director de orquesta ante la música. La puesta en escena ha tenido siempre una gran importancia en la historia de la Ópera. Hoy esto es ignorado por los regidores y además, si lo saben, no les importa nada en absoluto. ¿Cómo se logra a través del decorado que sean comprensibles las diferentes fases de la acción? ¿Cómo se crean entradas impresionantes? ¿Cómo se ilumina de manera que la mujer aparezca bella? ¿Dónde se coloca un cantante para que su voz suene lo mejor posible? Es peligroso que el regidor sea quien reparta los papeles, cosa frecuente hoy en día, cuando lo mejor es que sea el director de orquesta quien los escoja.
    [Show full text]