DOCSLIB.ORG

PRESSEMITTEILUNG 10.Juli 2014

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PRESSEMITTEILUNG 10.Juli 2014 PRESSEMITTEILUNG 10.Juli 2014 Lebenslauf: Albrecht Puhlmann Geboren 1955 in Bad Segeberg, verheiratet, zwei Kinder. Er studierte in Hamburg Musikwissenschaften, Philosophie und Literaturgeschichte. Das Studium schloss er mit einer Arbeit über „Hans Werner Henze und die Tradition“ ab. Schon während des Studiums begann die Zusammenarbeit mit Herbert Wernicke, dessen regelmäßiger dramaturgischer Mitarbeiter er bis zu dessen Tod 2002 war. Bis 1986 war Albrecht Puhlmann freiberuflich als Dramaturg u. a. an den Staatstheatern in Darmstadt und Kassel, am Theater Basel und an der Deutschen Oper Berlin tätig. 1986 wurde er Operndramaturg am Kasseler Theater, hier begann auch die Zusammenarbeit mit Peter Konwitschny. 1988 ging er mit Frank Baumbauer als Operndramaturg nach Basel. Bis 1993 bildete die Zusammenarbeit mit den Regisseuren Herbert Wernicke, Peter Konwitschny, Renate Ackermann und Ruth Berghaus den Schwerpunkt an diesem Haus. Drei Jahre als freiberuflicher Dramaturg für Oper und Schauspiel folgten von 1993 bis 1996, u. a. am Schauspielhaus Hamburg, bei den Salzburger Festspielen mit Gerard Mortier (regelmäßig zwischen 1992 bis 1998), an der Opéra de la Monnaie in Brüssel sowie beim Holland Festival. 1996 wurde Albrecht Puhlmann Operndirektor und Leitender Dramaturg der Oper am Theater Basel. Er arbeitete insbesondere mit den Dirigenten Julia Jones, David Parry, Michael Hofstetter, René Jacobs sowie den Regisseuren Herbert Wernicke, Christoph Marthaler, Jossi Wieler, Barbara Beyer und Nigel Lowery zusammen. PRESSEKONTAKT Carolin Stengel Stadt Mannheim Tel.: +49 (0) 621 293-29 14 [email protected] Rathaus E 5 | 68159 Mannheim Seite 1 / 2 Von 2001 bis 2006 war Puhlmann Intendant der Staatsoper Hannover. Hier war ihm vor allem die Zusammenarbeit mit den Regisseuren Calixto Bieito, den er als Opernregisseur auf dem Kontinent etablierte, aber auch mit Jossi Wieler, Peter Konwitschny, Nigel Lowery sowie Thomas Bischoff, gemeinsam mit dem GMD Shao-Chia Lü, wichtig. Sowohl die sogenannte Barockoper als auch die Oper des 20.Jahrhunderts hatte, neben der Uraufführung von Auftragswerken, einen festen Platz im Spielplan. Von 2006 bis 2011 war Albrecht Puhlmann Intendant der Staatsoper Stuttgart. Wichtig wurde ihm hier eine Öffnung der Oper in ästhetischer Hinsicht. Aus der Einsicht heraus, dass die poetische Textur einer Oper Wirklichkeit nicht bloß abbildet, erfolgte der Versuch - vor allem durch die Auswahl der Regisseure - jeweils eine poetische, bisher unbekannte Realität im Werk selbst aufzuspüren. Die scheinbar einfache Einsicht, dass jedes Werk anders ist als das andere, führte zu einer großen Offenheit und Vielfalt der Regiehandschriften. Leitend war dabei der Wunsch, einen Dialog herzustellen zwischen sehr eigenen, sehr unterschiedlichen Regiehandschriften: je vielfältiger umso spannungsreicher. Es war ihm und der Dramaturgie mehr um einen „Realismus des Gefühls“ zu tun als um die Abbildung einer profan-banalen Gegenwart. Außerdem legte Albrecht Puhlmann einen besonderen inhaltlichen Schwerpunkt auf die Auseinandersetzung mit den Musikkulturen Frankreichs und Deutschlands. Mit Neuproduktionen der französischen Oper, prominenten oder auch zu Unrecht in Vergessenheit geratenen Werken der Grand Opéra, wurde eine Lücke des Stuttgarter Repertoires geschlossen. Die Opernmusik der Gegenwart hatte einen festen Platz im Spielplan im Großen Haus, wie auch in der Jungen Oper und der Zeitoper, einem Forum für Experimentelles. Wichtige Dirigenten neben GMD Manfred Honeck waren Enrique Mazzola, Julia Jones, David Parry, Michael Hofstetter, Konrad Junghänel, Marc Soustrot oder Patrick Fournillier. Auch in Stuttgart setzte Albrecht Puhlmann auf das Ensembletheater. Er arbeitete mit Regisseuren wie Calixto Bieito, Jossi Wieler und Sergio Morabito, Joachim Schlömer, Yona Kim oder Stefan Herheim zusammen. Daneben hat er neue Handschriften von Schauspielregisseuren wie Sebastian Nübling und Igor Bauersima oder dem Filmregisseur Philipp Stölzl und der Bühnenbildnerin Anna Viebrock im Musiktheater etabliert. Seit Sommer 2011 ist er wieder als freiberuflicher Dramaturg und Autor tätig. Er lebt mit seiner Familie in Berlin. PRESSEKONTAKT Carolin Stengel Stadt Mannheim Tel.: +49 (0) 621 293-29 14 [email protected] Rathaus E 5 | 68159 Mannheim Seite 2 / 2 .
Load more

Recommended publications
  • Ruth Berghaus Und Paul Dessau, Zwei in Der DDR Ebenso Expo­Nierten Wie Umstrittenen Künstler­ Persönlichkeiten, in Den Blick
    Nina Noeske, Der Band nimmt die künstlerische Kooperation Matthias Tischer (Hg.) Ruth Berghaus und Paul Dessau, zwei in der DDR ebenso expo nierten wie umstrittenen Künstler­ persönlichkeiten, in den Blick. Nicht nur bei zwei Tanz-Szenen und einem Tanz-Essay arbeiteten die Tänzerin, Choreographin und Regisseurin Ruth Berghaus und ihr Ehemann, der Komponist Paul Dessau, zusammen. Auch bei Inszenierungen von Opern wie »Die Verurteilung des Lukullus«, »Herr Puntila und sein Knecht Matti«, »Lanzelot«, »Einstein« und »Leonce und Lena« trug jeder der beiden Partner auf eigenständige Weise zu musik theatralen Ereignissen bei, die nicht selten ins Fahrwasser kulturpolitischer Diskussionen gerieten. Der Sammelband widmet sich neben den kreativen Prozessen und politischen Rahmenbedingungen auch KlangZeiten – Musik, Politik und Gesellschaft KlangZeiten – Musik, Politik den Wechselwirkungen von Klang, Bild und Bewegung. Ruth Berghaus Dessau und Paul Nina Noeske ist Professorin für Musikwissenschaft an der Hochschule für Musik und Theater Hamburg. Matthias Tischer ist Professor für Ästhetik und Kom- munikation an der Hochschule Neubrandenburg. Ruth Berghaus und Paul Dessau Nina Noeske, Matthias Tischer (Hg.) Matthias Tischer Nina Noeske, Komponieren – Choreographieren – Inszenieren 978-3-412-50069-6_noeske_FINAL.indd 1 12.07.18 14:12 Nina Noeske / Matthias Tischer (Hg.), Ruth Berghaus und Paul Dessau © 2018 by Böhlau Verlag GmbH & Cie, Köln Weimar ISBN Print: 9783412500696 — ISBN E-Book: 9783412500702 Nina Noeske / Matthias Tischer (Hg.), Ruth Berghaus
    [Show full text]
  • Circling Opera in Berlin by Paul Martin Chaikin B.A., Grinnell College
    Circling Opera in Berlin By Paul Martin Chaikin B.A., Grinnell College, 2001 A.M., Brown University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Program in the Department of Music at Brown University Providence, Rhode Island May 2010 This dissertation by Paul Martin Chaikin is accepted in its present form by the Department of Music as satisfying the dissertation requirement for the degree of Doctor of Philosophy. Date_______________ _________________________________ Rose Rosengard Subotnik, Advisor Recommended to the Graduate Council Date_______________ _________________________________ Jeff Todd Titon, Reader Date_______________ __________________________________ Philip Rosen, Reader Date_______________ __________________________________ Dana Gooley, Reader Approved by the Graduate Council Date_______________ _________________________________ Sheila Bonde, Dean of the Graduate School ii Acknowledgements I would like to thank the Deutsche Akademische Austauch Dienst (DAAD) for funding my fieldwork in Berlin. I am also grateful to the Institut für Musikwissenschaft und Medienwissenschaft at Humboldt-Universität zu Berlin for providing me with an academic affiliation in Germany, and to Prof. Dr. Christian Kaden for sponsoring my research proposal. I am deeply indebted to the Deutsche Staatsoper Unter den Linden for welcoming me into the administrative thicket that sustains operatic culture in Berlin. I am especially grateful to Francis Hüsers, the company’s director of artistic affairs and chief dramaturg, and to Ilse Ungeheuer, the former coordinator of the dramaturgy department. I would also like to thank Ronny Unganz and Sabine Turner for leading me to secret caches of quantitative data. Throughout this entire ordeal, Rose Rosengard Subotnik has been a superlative academic advisor and a thoughtful mentor; my gratitude to her is beyond measure.
    [Show full text]
  • Mahagonny David Drew Hails a Staging of Kurt Weill's Mahagonny That at Last Does Justice to the Composer's Vision
    10 EUROPEAN ARTS Building a model Mahagonny David Drew hails a staging of Kurt Weill's Mahagonny that at last does justice to the composer's vision o let us bu ild a city here," sin gs WeiU's and Brecht's Widow Begbick in Scene I S of their operatic parable, Aufstieg und Fall der Stadt M ahagonny, "and call it Maha­ gonny, which means City of Nets." First revealed to the astonished burghers of Leipzig 62 years ago, Mahagonny survived the early scandals and enj oyed some two years of modest prosperity, before being wiped from the operatic map by political and cultu ral develop­ ments in the Germany of its day. In the three-and-a-half decades since Brecht's death, the City of Nets has been erected and de­ stroyed on innumerable stages throughout the world, but especial­ ly in Germany, where it soon became part of the iconography of a divided country. The damage it had been born with in 1930 - and which, indeed, was ajso part of its subject-matter - was as nothing compared to that which it now suffe red in the two Germanys at the hands of those musically insolent directors who subscribed to the old Brechtian dogmas and instructed their servant-conductors accordi ng­ ly. Dissenters - whose ancestry Ruth Berghaus's exemplary went back to the legendary Sadler's M ahagonny : above, Remhild Wells prod uction of I 963 - were Runkel as Widow Begbick, in ei ther denou nced or ignored. front of the great stairway; Then came the "change" of • right, Dagmar Peckova November 1989.
    [Show full text]
  • Chevalier, Nicole
    NICOLE CHEVALIER dramatic coloratura soprano American born soprano Nicole Chevalier made her international breakthrough at the Salzburg Festival in the summer of 2019 as Elettra in Mozart’s Idomeneo with Teodor Currentzis and Peter Sellars. Since she sang the title role of La Traviata at Musikfest Bremen; Olympia, Antonia, Giulietta and Stella (Les Contes d’Hoffmann) at La Monnaie Brussels, Vitellia (La clemenza di Tito) as well as the title roles in Beethoven’s Leonore (Fidelio 1806) and Thaïs at Theater an der Wien, a concert version of Leonore with the Pittsburgh Symphony Orchestra, and a Corona proof production of Schönberg’s Pierrot Lunaire with Kent Nagano at Hamburgische Staatsoper (incl. a recording for the Biennale 2020). Upcoming plans feature her debut at the Royal Opera House, Covent Garden as Vitellia (La clemenza di Tito) and Donna Elvira (Don Giovanni), followed in the 2021-22 sesaon by her Paris Opera debut as Iphigénie en Tauride in the Warlikowski production, role debut of Elisbeth in Don Carlo with Vincent Huguet, her de facto one-woman-show of La Traviata both in Basel, debut at Festspielhaus Baden-Baden with Thomas Hengelbrock as Elettrta in Idomeneo and debut at the Festival d’Aix 2023 edition with Tcherniakov as Despina in a new production of Così fan tutte. During her five years as a permanent ensemble member at the Komische Oper Berlin she worked extensively with Barrie Kosky with whom she created the 4-Female Leads in Les Contes d’Hoffmann, the title role in Handel’s Semele, the title role of Die Schöne Helena, Bernstein’s Cunegonde (Candide).
    [Show full text]
  • Working Against Gravity the Many Lives of Jenny Erpenbeck
    Working Against Gravity The Many Lives of Jenny Erpenbeck Di Brandt enny Erpenbeck has emerged as one of the most important writers of united Germany, in league with such literary giants as Günter Grass and Christa JWolff. Like these famous predecessors and colleagues, she has managed to span cultural differences and contradictions in the contemporary cosmopolitan German and European scene and its intense, fraught history, with grace and ease, capturing a growing international audience with her darkly ironic humor, stylish prose, and sharp narrative turns to, at times, chilling affect. Erpenbeck was born in East Berlin in 1967. She grew up in the experimental artistic milieu of postwar Berlin where she studied theatre at Humboldt University, and later, music theatre directing at the Hanns Eisler Music Conservatory, with theatre and opera director Ruth Berghaus, one of the leading European theatre artists in the postwar era and artistic director of the Berliner Ensemble 1971–1977. Another of her exceptional teachers was the East German playwright and director Heiner Müller, now considered Brecht’s successor. Later she had the good luck to apprentice art directing on set with the renowned filmmaker Werner Herzog. While the marked influence of these artists on her own work is evident, certainly in its expressionist and surrealist aspects, the radical ways she adapted their techniques and vision for her own purposes is equally recognizable. Cats Have Nine Lives, Erpenbeck’s first play, premiered in 1997 in Graz, Austria, under her direction, the same year she also staged Schoënberg’s Erwartung and Bartók’s Bluebeard’s Castle at Oper Graz.
    [Show full text]
  • BAM P Legend Bring T Stunni Presents T Dary
    BAM presents the US Premiere ofo Shakespeare's Sonnets, Oct 7—12 Legendary Berliner Ensemble, Robert Wilson, and Rufus Wainwright bring the Bard’s ageless love poems to life with Elizabethan drag, stunning sculptural sets, and a nod to cabaret “The audience reacted to almost every single sonnet with rapturous applause…” - Der Spiegel ”Dazzlingly beautiful, biting, and funny.” - Il Manifesto Bloomberg Philanthropies is the 2014-2015 Season Sponsor Time Warner Inc. is the BAM 2014 Next Wave Festival Sponsor Shakespeare's Sonnets Berliner Ensemble By Robert Wilson and Rufus Wainwright Sonnet selection by Jutta Ferbers Directing, stage design, lighting concept by Robert WWilson Music by Rufus Wainwright Costume design by Jacques Reynaud Conducted by Hans-Jörn Brandenburg and Stefan RRager Co-direction by Ann-Christin Rommen Lighting by Andreas Fuchs and Ulrich Eh BAM Howard Gilman Opera House (30 Lafayette Ave) Oct 7—11 at 7:30pm; Oct 12 at 3pm Tickets start at $25 In English and German with English titles Talk: Robert Wilson and Rufus Wainwright Oct 8 at 6pm BAM Fisher (Hillman Studio), 321 Ashland Pl Tickets: $25, ($12.50 for Friends of BAM) BAM and the Byrd Hofff man Watermill Foundation dedicate the 2014 Next Wave Festival performances of Shakespeare’s Sonnets to the late Robert W. Wilson, adventurous philanthropist and generous friend. September 19, 2014/Brooklyn, NY—The Bard is more modern and alive than ever in visionary Robert Wilson’s Shakespeare’s Sonnets, a contemporary take on 25 specially chosen sonnets from Shakespeare’s canon. Set to a sweeping score composed by the renowned Rufus Wainwright, a genre-bending mix of medieval German Minnesang, classical, pop, and cabaret rock is performed by Bertolt Brecht’s historic Berliner Ensemble.
    [Show full text]
  • An Enemy of the People by Henrik Ibsen in a Version by Florian Borchmeyer Schaubühne Am Lehniner Platz Directed by Thomas Ostermeier
    BAM 2013 Next Wave Festival #EnemyofthePeople Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer An Enemy of the People By Henrik Ibsen In a version by Florian Borchmeyer Schaubühne am Lehniner Platz Directed by Thomas Ostermeier BAM Harvey Theater Nov 6—9 at 7:30pm; Nov 9 at 12:30pm; Nov 10 at 3pm Approximate running time: two hours, no intermission Adaptation by Florian Borchmeyer Set design by Jan Pappelbaum BAM 2013 Next Wave Festival sponsor Costume design by Nina Wetzel Music by Malte Beckenbach, Daniel Freitag Dramaturgy Florian Borchmeyer Lighting design by Erich Schneider Paintings by Katharina Ziemke Major support for theater at BAM provided by: The Morris and Alma Schapiro Fund The SHS Foundation The Shubert Foundation, Inc. Leadership support for Scandinavian programming provided by The Barbro Osher Pro Suecia Foundation Photo: Arno Declair An Enemy of the People CAST Dr. Stockmann Stefan Stern Member of City Council Ingo Hülsmann Mrs. Stockmann Eva Meckbach Hovstad Christoph Gawenda Aslaksen David Ruland Billing Moritz Gottwald Morten Kiil Thomas Bading SYNOPSIS Dr. Stockmann discovers that the source of drinking and spa water is riddled with pathogenic micro-organisms, caused by industrial effluence. Stockmann wants to publish the findings in the newspaper and demands that the city council reroute the water pipes. Influential citizens and local journalists promise their support. However, his brother Peter, the councilor of the city, raises some serious concerns: The economic prosperity of the spa town will be threatened and the citizens will have to bear the brunt of the high repair costs.
    [Show full text]
  • Importance of Being Earnest
    Contact: Katherine E. Johnson (212) 875-5718; [email protected] Lincoln Center Contact: Eric Gewirtz (212) 875-5049; [email protected] JUNE 2–4, 2016, AT ROSE THEATER AT JAZZ AT LINCOLN CENTER: Part of the LINCOLN CENTER–NEW YORK PHILHARMONIC OPERA INITIATIVE CONTACT! at the Biennial: U.S. Stage Premiere of Gerald BARRY’s The Importance of Being Earnest During the NY PHIL BIENNIAL, Ilan Volkov will conduct a chamber orchestra of New York Philharmonic musicians in the U.S. Stage Premiere of Gerald Barry’s (Ireland, b. 1952) The Importance of Being Earnest (2010), an operatic take on Oscar Wilde’s comedy, co-presented with Lincoln Center’s Great Performers as part of CONTACT!, the Philharmonic’s new-music series, at Rose Theater at Jazz at Lincoln Center. Gerald Barry’s libretto and score for chamber orchestra enhance the ridiculous situations of Oscar Wilde’s comedy, reflecting what Barry calls the play’s “ruthless ecstasy.” For instance, Gerald Barry casts Lady Bracknell as a bass and presents familiar tunes in musically unexpected, untraditional ways, such as an atonal version of “Auld lang syne” and Lady Bracknell’s rendition of “Ode to Joy.” The recording of the work on NMC received a 2016 Grammy nomination for Best Contemporary Classical Composition. Gerald Barry studied with Stockhausen and Kagel in the 1970s, developing a distinct style comprising intense, edgy, and humorous sound worlds. This production was originally presented at London’s Royal Opera House in June 2013; the director, Ramin Gray, and many of the cast members from this staging will reassemble for the NY PHIL BIENNIAL/Great Performers engagement, all in their Philharmonic debuts: bass Simon Wilding as Lane/Merriman, baritone Benedict Nelson as Algernon Moncrieff, tenor Paul Curievici as John Worthing, mezzo-soprano Stephanie Marshall as Gwendolen Fairfax, bass Alan Ewing as Lady Bracknell, contralto Hilary Summers as Miss Prism, soprano Claudia Boyle as Cecily Cardew, and Kevin West as The Rev.
    [Show full text]
  • Socialism and Feminism in East German Opera: the Cases of Director Ruth Berghaus and Composer Ruth Zechlin
    SOCIALISM AND FEMINISM IN EAST GERMAN OPERA: THE CASES OF DIRECTOR RUTH BERGHAUS AND COMPOSER RUTH ZECHLIN A DISSERTATION SUBMITTED TO THE DEPARTMENT OF MUSIC AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Johanna Frances Yunker August 2012 © 2012 by Johanna Frances Yunker. All Rights Reserved. Re-distributed by Stanford University under license with the author. This dissertation is online at: http://purl.stanford.edu/wy750kv5448 ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Stephen Hinton, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Thomas Grey I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Heather Hadlock I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Jesse Rodin Approved for the Stanford University Committee on Graduate Studies. Patricia J. Gumport, Vice Provost Graduate Education This signature page was generated electronically upon submission of this dissertation in electronic format. An original signed hard copy of the signature page is on file in University Archives.
    [Show full text]
  • Mülleros Memory Work
    Müllerʼs Memory Work Frank Hörnigk To quote Heiner Müller in conversation with Sylvère Lotringer in 1981: “To banish the ghoul of history, one must fi rst concede the very existence of his- tory. One must know history. Otherwise it can always return in the old estab- lished ways, as a recurring nightmare or Hamletʼs ghost. One must fi rst ana- lyze history to be in a position to denounce it, to banish it.”1 Müllerʼs statement contains an implicit warning, an “Otherwise . !” It is a vision of horror: the eternal return of Hamletʼs ghost representing an uninterruptible continuum of history. Nonetheless, the “Otherwise” of that conversation seems to suggest that the hope of some day interrupting that continuum had not yet been entirely relinquished. In Müllerʼs literary texts of the same period, and indeed of some time earlier, this hope was fast vanishing and, in the end—for himself at least— had disappeared altogether. An example of this can be found in “Verkommenes Ufer Medeamaterial Landschaft mit Argonauten” (“Despoiled Shore/Medeamaterial/Landscape with Argonauts”) (1982). The subtitle reads “Sea by Straußberg Despoiled Shore Trace / Of Flat-Browed Argonauts.”2 The text begins: 1. Heiner Müller, “Ich glaube an Konfl ikt: Sonst glaube ich an nichts, Gespräch mit Sylvère Lotringer,” in Gesammelte Irrtümer: Interviews und Gespräche, 3 vols. (Frankfurt am Main: Ver- lag der Autoren, 1986–94), 1:78. 2. Heiner Müller, Werke 5, Die Stücke 3, ed. Frank Hörnigk (Frankfurt am Main: Suhrkamp, 2002), 73–84. New German Critique 98, Vol. 33, No. 2, Summer 2006 DOI 10.1215/0094033X-2006-001 © 2006 by New German Critique, Inc.
    [Show full text]
  • Edinburgh Research Explorer
    Edinburgh Research Explorer Art as utopia Citation for published version: Kelly, E 2014, 'Art as utopia: Parsifal and the East German left', Opera Quarterly, vol. 30, no. 2-3, pp. 246- 66. https://doi.org/10.1093/oq/kbu021 Digital Object Identifier (DOI): 10.1093/oq/kbu021 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Opera Quarterly General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 02. Oct. 2021 Final author version. Opera Quarterly, Advance Access published October 20, 2014, doi:10.1093/oq/kbu021. Art as Utopia: Parsifal and the East German Left Elaine Kelly The reception of art in the early years of the German Democratic Republic was governed by two significant factors. The first was the premise that the conditions of state socialism would inevitably yield to a communist utopia. The second was that art would facilitate this evolution by illuminating the seeds for utopian development that already existed both in the GDR and in the Germanic cultural heritage more generally.
    [Show full text]
  • In Association With
    OVERTURE OPERA GUIDES in association with We are delighted to have the opportunity to work with Overture Publishing on this series of opera guides and to build on the work English National Opera did over twenty years ago on the Calder Opera Guide Series. As well as reworking and updating existing titles, Overture and ENO have commissioned new titles for the series and all of the guides will be published to coincide with repertoire being staged by the company at the London Coliseum. The updated reissue of this guide to Parsifal marks the return to the London Coliseum of Nikolaus Lehnhoff’s acclaimed staging of Wagner’s final music drama. First produced at ENO in 1999, the production has travelled to San Francisco, Chicago, Baden- Baden and Barcelona, as well as having been filmed for DVD. This revival at ENO in 2011 will be the production’s final perfor- mances. Nikolaus Lehnhoff returns to ENO to direct his staging of Wagner’s final masterpiece, with a cast which includes the dis- tinguished British Wagnerian Sir John Tomlinson (Gurnemanz), Stuart Skelton (Parsifal), Jane Dutton (Kundry), Tom Fox (Klingsor) and Iain Paterson (Amfortas). Mark Wigglesworth conducts. We hope that these guides will prove an invaluable resource now and for years to come, and that by delving deeper into the history of an opera, the poetry of the libretto and the nuances of the score, readers’ understanding and appreciation of the opera and the art form in general will be enhanced. John Berry Artistic Director, ENO February 2011 The publisher John Calder began the Opera Guides series under the editorship of the late Nicholas John in associa- tion with English National Opera in 1980.
    [Show full text]