DOCSLIB.ORG

Uppsala University to Stage Verdi's Opera Otello

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Uppsala University to Stage Verdi's Opera Otello 2009-06-11 13:41 CEST Uppsala University to stage Verdi's opera Otello After last year's success with Tosca, Uppsala University is now pursuing a new opera project. Otello will be staged in the University's Grand Auditorium in June 2010. Giuseppe Verdi's Otello was premiered at La Scala in Milano in 1887. The libretto was written by Arrigo Boito, based on Shakespeare's play, where love, jealousy, and ethnicity are central themes. It is Verdi's next to last opera, a passionate and bloody chamber play engulfed by consummate orchestral passages and magnificent choral parts. The Uppsala version will be conducted by Stefan Karpe, director musices at Uppsala University, and directed by Wilhelm Carlsson, both well known from the Tosca project. The premier will be on June 12, 2010, followed by three more performances. "Staging Tosca was an incredibly rewarding experience for everyone involved, both pros and students. We all felt that we had to tackle a new opera project, and Otello is one of the best operas ever written. The fact that it is not performed more often probably has to do with the extreme demands the title role places on a tenor," says Stefan Karpe. In the Uppsala production, Michael Weinius will create his first Otello role. The other soloists are Emma Vetter (Desdemona) and Fredik Zetterström (Jago). All three performed in Tosca as well. The remaining roles will be filled by singers from the University College of Opera and from various choirs in Uppsala. Moreover, within the framework of the project, an entirely new choir will be formed in the autumn, organized by Uppsala University Choral Centre. The orchestra will be the Royal Academic Orchestra. "Thanks to our choirs, our Royal Academic Orchestra, and our fantastic soloists, we are uniquely poised to stage a world-class production," says Ulf Pettersson, who chairs the steering committee. "Uppsala University has a vital role to play as a culture-bearing institution, and this is an excellent way to pursue this aspect of our activities," says Deputy Vice Chancellor Kerstin Sahlin. Tickets for Otello will be released in the spring of 2010. For more information, please contact Stefan Karpe, +46-(0)70-425 07 88, e- mail: [email protected] or Ulf Pettersson, +46-(0)70-425 04 97, e- mail: [email protected] Uppsala universitet Sveriges första universitet. Kvalitet, kunskap och kreativitet sedan 1477. Utbildning och forskning av högsta kvalitet och relevans för samhälle, näringsliv och kultur. Uppsala universitet rankas bland världens främsta lärosäten. www.uu.se Kontaktpersoner Presstjänsten Presskontakt Kontorstid alla dagar [email protected] 070-167 92 96 Elin Bäckström Presskontakt Pressinformatör Forskning, utbildning, övergripande [email protected] 070-425 09 83 070-425 09 83 Linda Koffmar Presskontakt biträdande presschef Forskning, utbildning, övergripande [email protected] 018-471 1959 070-425 08 64 Anneli Waara Presskontakt Presschef Övergripande, ledning [email protected] 018-471 1974 070-425 07 18 Åsa Malmberg Presskontakt Presskommunikatör [email protected] 0729-999544 Petra Lindberg Presskontakt Kommunikatör UU Campus Gotland Uppsala universitet - Campus Gotland övergripande [email protected] 018-471 82 49.
Load more

Recommended publications
  • 25–30 Juni 2018 Innehåll
    Konstnärlig ledare | Roland Pöntinen 25–30 juni 2018 Innehåll 4 Välkommen! 6 Roland Pöntinen | Konstnärlig ledare 7 Andrea Tarrodi | Tonsättarporträtt 8 Ulla O’Barius | Båstad kammarmusikförening 9 Peter Wilgotsson | Musik i Syd 11 Konsertprogram VARIFRÅN KOMMER MUSIKEN? 12 Introduktion om Debussy 14 Måndag 25 juni 18 Tisdag 26 juni 23 Onsdag 27 juni 27 Torsdag 28 juni 31 Fredag 29 juni 34 Lördag 30 juni 37 Om musiken 44 Artister 70 Vinterprogram 74 BIljettinformation båstad chamber music festival 2018 3 foto anna aatola foto anna aatola et är med stor glädje och dNa. att publiken får möjlighet att möta en Välkommen sommar! förväntan jag tar över nu levande tonsättare i egen hög person ger stafettpinnen för båstad mervärde åt lyssningsupplevelsen och kan Välkommen musik! chamber music festival ge oväntade nycklar till förståelsen av inte samtidigt som jag sänder en bara vår tids musik utan även gångna tiders Välkomna underbara artister! tacksamhetens tanke till mina tonskapande. Dfantastiska föregångare helén Jahren och Karin dornbusch. deras hängivna arbete, i år heter årets tonsättare andrea tarrodi Välkommen Kära publik! tillsammans med lika hängivna volontärer, har och några händelser som ser ut som en varje år bidragit till att göra festivalen till en av tanke är att en inspelning med hennes landets viktigaste musikhändelser. stråkkvartetter framförda av »dahlkvistarna« vann en Grammis alldeles nyligen samt att Jag vill också rikta ett särskilt tack till musik i Konserthusets i stockholm traditionella syd, som stöttar och vårdar båstad chamber tonsättarweekend 2018 ägnades andrea music festival som en av blomstren i sin tarrodi och hennes musik. välkommen bukett five star festivals.
    [Show full text]
  • Tiina Rosenberg
    Don ’t be Quiet TIINA ROSENBERG , Don’ ,t be Quiet ESSAYS ON FEMINISM AND PERFORMANCE Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance Tiina Rosenberg Published by Stockholm University Press Stockholm University SE-106 91 Stockholm, Sweden www.stockholmuniversitypress.se Text © Tiina Rosenberg 2016 License CC-BY ORCID: Tiina Rosenberg: 0000-0002-7012-2543 Supporting Agency (funding): The Swedish Research Council First published 2016 Cover Illustration: Le nozze di Figaro (W.A. Mozart). Johanna Rudström (Cherubino) and Susanna Stern (Countess Almaviva), Royal Opera, Stockholm, 2015. Photographer: Mats Bäcker. Cover designed by Karl Edqvist, SUP Stockholm Studies in Culture and Aesthetics (Online) ISSN: 2002-3227 ISBN (Paperback): 978-91-7635-023-2 ISBN (PDF): 978-91-7635-020-1 ISBN (EPUB): 978-91-7635-021-8 ISBN (Kindle): 978-91-7635-022-5 DOI: http://dx.doi.org/10.16993/baf This work is licensed under the Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit creativecommons.org/licenses/ by/4.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. This license allows for copying any part of the work for personal and commercial use, providing author attribution is clearly stated. Suggested citation: Rosenberg, Tiina 2016 Don’t Be Quiet, Start a Riot! Essays on Feminism and Performance. Stockholm: Stockholm University Press. DOI: http://dx.doi. org/10.16993/baf. License CC-BY 4.0 To read the free, open access version of this book online, visit http://dx.doi.org/10.16993/baf or scan this QR code with your mobile device.
    [Show full text]
  • Der Ring Des Nibelungen
    Bild: Mats Bäcker Karlstad/Schweden: Text: Klaus Billand Der Ring des Nibelungen Das Rheingold und Die Walküre – Premiere 18./20.4.2011 Was einigen großen Häusern in Europa der- reits seit 1982 Chef am Haus und sorgt da- Bereits nach den ersten beiden Aben- zeit nicht gerade leicht fällt, eine komplette mit seit langem für - auch finanziell - abge- den kann man sagen, dass sich das gute Ver- Neuinszenierung von Richard Wagners Te- sicherte Kontinuität. Die Kosten, auch die hältnis und der kollegiale Geist, ein solches tralogie „Der Ring des Nibelungen“, gera- der „Ring“-Produktion, werden 50 zu 50 Mammut-Projekt in einem so speziellen Um- de auch im Hinblick auf das Jubiläumsjahr vom Land Schweden und Wermland/Karl- feld auf die Beine zu stellen, in einem be- 2013 auf die Beine zu stellen, gelingt hier im stad übernommen. Man kommt ohne Spon- merkenswerten Ergebnis niederschlägt. Es Norden Europas der ebenso kleinen wie fei- soren aus. Wo kann man das heute schon ist klar, dass man hier, weit ab vom Wag- nen Wermland Opera in Karlstad, am Nordu- sagen?! Bang hat in dem schwedischen Re- nerschen Mainstream, nicht mit einer wei- fer des Vänernsees, in einem Streich. Man gisseur Wilhelm Carlsson einen künstleri- teren Neudeutung bzw. thematischen Ein- kann es eigentlich kaum glauben: An diesem schen Mitstreiter gefunden, der am Haus engung im Sinne des sog. Regietheaters auf- am Ufer des Flusses Klarälven frei stehenden bereits in der 2. Hälfte der 1990er Jahre warten wollte und konnte. Das hätte auch Opernhaus mit nicht einmal 400 Plätzen, Wagner-Werke inszenierte, den „Fliegen- nicht der Werkauffassung des Regisseurs ent- welches bereits 1893 erbaut wurde und wo den Holländer“ und „Tristan und Isolde“, sprochen.
    [Show full text]
  • Newsletter, December 2012 Svenska Konsertbyrån Fredrik Zetterström Is
    Newsletter, December 2012 Svenska Konsertbyrån Fredrik Zetterström is the recipient of Operapriset 2012 We are proud to announce that baritone Fredrik Zetterström is the recipient of Operapriset 2012 (The Opera Prize), which is handed out by Swedish music magazine Tidskriften Opera. Fredrik Zetterström received it for his interpretation of Wozzek at NorrlandsOperan in Umeå last season. When you were singing Wozzek, did you get a good feeling about your performance? "Yes, I did. The director and conductor were very good up there. There was a good atmosphere in many ways in Umeå." Now you're playing the role of Anckarström (Renato) in Verdi's Un Ballo in Maschera, which is based on the murder of king Gustav III of Sweden at the Royal Swedish Opera. How does it feel to play the murderer at the same place as the actual event? "It is something that strikes you from time to time, especially in the last scene you think 'this is exactly where it happened'. It's indeed inspiring." You've played a lot of roles during your career. Do you have an absolute favorite? "I do. It's WOZZECK, but not because of the Opera prize. It's hard to say why. Sometimes the music just speaks to you, and your voice just fits the notes in some way. I try not to over-analyze, I just like the role." In 2013 Fredrik Zetterström will do the title role in the Scandinavian premiere of Aribert Reimann's expressionist opera Lear, which will be playing at Malmö Opera 27 April-29 May.
    [Show full text]
  • Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012
    Lohengrin (Richard Wagner). Emma Vetter (Elsa) and Michael Weinius (Lohengrin), Royal Opera, Stockholm, 2012. Photographer: Alexander Kenney. Copyright CC-BY-NC-ND, Royal Opera, Stockholm. 2. No Questions Asked: Wagnerian Love Ban in Lohengrin The fascination of operatic art resides in its abundance. Liberated from the constraints of realism and probability, the spectator can sur- render to it or to turn away entirely, and enjoy it like an oyster: either swallowed whole or not at all.1 The critical operagoer, particularly a feminist one, has many challenging positions to negotiate. Will the confrontation lead to a rejection of the entire genre? Susan McClary observes that the aspect of music that is most difficult to account for is its almost frightening ability to make our entire body respond to its rhythms.2 What, then, would opera be without music? What would remain if the music were stripped away and all that were left was the libretto? Could it stand on its own? The text of an opera or musical drama represents a unique genre. Unlike other dramatic texts, an opera’s libretto is made whole only by the musical accompaniment and the events that accompany it on stage. A libretto is generally shorter and more fragmentary than any other type of dramatic text because it takes at least three times longer to sing a piece than to recite it. One needs to leave room for the music: the form demands it.3 Nevertheless, it should be possible to carry out a dispassiona- te reading of a libretto, as we shall here attempt with Richard Wagner’s Lohengrin (1848).
    [Show full text]
  • Missa Solemnis
    Sunday, November 12, 2017, at 3:00 pm Pre-concert lecture by Andrew Shenton at 1:45 pm in the Stanley H. Kaplan Penthouse Missa Solemnis Swedish Chamber Orchestra Thomas Dausgaard , Conductor Malin Christensson , Soprano Kristina Hammarström , Mezzo-Soprano Michael Weinius , Tenor Josef Wagner , Bass Swedish Radio Choir Peter Dijkstra , Choral Director BEETHOVEN Mass in D major, Op. 123 (“Missa solemnis”) (1819–23) Kyrie Gloria Credo Sanctus Agnus Dei This program is approximately 80 minutes long and will be performed without intermission. This performance is also part of Great Performers. This program is supported by the Leon Levy Fund for Symphonic Masters. Symphonic Masters is made possible in part by endowment support from UBS. This performance is made possible in part by the Josie Robertson Fund for Lincoln Center. David Geffen Hall Please make certain all your electronic devices are switched off. WhiteLightFestival.org Support for Great Performers is provided by Rita E. UPCOMING WHITE LIGHT FESTIVAL EVENTS: and Gustave M. Hauser, Audrey Love Charitable Foundation, Great Performers Circle, Chairman’s Tuesday, November 14 at 7:30 pm at Church of St. Council, and Friends of Lincoln Center. Mary the Virgin Swedish Radio Choir Public support is provided by the New York State Peter Dijkstra , conductor Council on the Arts with the support of Governor MAIJA EINFELDE: Lux aeterna Andrew M. Cuomo and the New York State SVEN-DAVID SANDSTRÖM: En ny himmel och en Legislature. ny jord Endowment support for Symphonic Masters is ANDERS HILLBORG: Mouyayoum provided by the Leon Levy Fund. SCHNITTKE: Concerto for Choir Endowment support is also provided by UBS.
    [Show full text]
  • Bengt Gomér CV March 2021
    CURRICULUM VITAE SET DESIGNER BENGT GOMÉR Original title (or in English translation) — Composer or Author Theatre. City. Year. (+L) also Light designer (+C) also Costume designer (+V) also collaborative Video designer. So we will vanish, a song cycle with Mezzo soprano Anne Sofie von Otter - Mikael Karlsson Violin concert in E minor, with Violinist Johan Dalene - Felix Mendelssohn Symphonie No 8 - Ludwig van Beethoven Live Stream Concert The Swedish Chamber Orchestra in Örebro Konserthus, Sweden, 2020 Conductor: Michael Collins Video design: Bengt Gomér in collaboration with Per Rydnert (+L) Piano concert No 24, with Pianist Vikingur Olafsson - W.A. Mozart Symphonie No 7 - Ludwig van Beethoven Live Stream Concert The Swedish Chamber Orchestra in Örebro Konserthus, Sweden, 2020 Conductor: Martin Fröst Video design: Bengt Gomér in collaboration with Per Rydnert (+L) Kulturnät Sverige - a Cross Sectional Seminar about low latency Live stream A staged performance about a new digital format for Artistic design and Music teaching. Riksteatern, Sweden, 2020 Video design: Bengt Gomér in collaboration with Per Rydnert (+L) Serenad Nachtmusik K388 - W.A. Mozart Oboe concert in d-moll, with Oboist François Leleux - Ludwig Lebrun, Symphony No 2 - Ludwig van Beethoven Live Stream Concert The Swedish Chamber Orchestra in Örebro Konserthus, Sweden, 2020 Conductor: François Leleux Video design: Bengt Gomér in collaboration with Per Rydnert (+L) Don Giovanni - W.A. Mozart Live Stream Opera The Swedish Radio Symphony Orchestra with a World class cast (including
    [Show full text]
  • Konsert-Framføring
    Konsert-framføring 10. september 2020 13. september 2020 / Hovedscenen Urpremiere: 26. juni 1870, Nationaltheater i München Norgespremiere: 24. august 1920, Opera Comique, Stortingsgaten 24, Oslo Premiere denne oppsetningen: 10. september 2020, Hovedscenen Musikk: Richard Wagner Libretto: Richard Wagner Operaen framføres på tysk Norske undertekster: Eve-Marie Lund Forestillingen varer ca. 1 time og 15 minutter, og er uten pause OBS! Dørene stenges presis Det er ikke tillatt å fotografere, filme eller gjøre lydopptak under forestillingen Vennligst ikke ta med mat og drikke inn i salen Mobiltelefoner skal være avslått under forestillingen Operasjef: Randi Stene Ballettsjef: Ingrid Lorentzen Administrerende direktør: Geir Bergkastet Musikalsk ledelse Patrik Ringborg Konsertregi Victoria Bomann-Larsen Studieleder Boris Schäfer Musikalsk innstudering Leiv Amundsen Suffli/tekstmaskin Charlotte Sager, Siv Misund, Katrine Hansteen Produsent Maria Costa Inspisient Johan Henrik Neergaard Siegmund Michael Weinius Sieglinde Elisabet Strid Hunding Jens-Erik Aasbø * *rolledebut Operaorkestret Konsertmester Catharina Chen Etter endte studier i Stockholm, London og Wien ble Patrik Ringborg assistent for sjefdirigenten ved Semperoper Dresden og ved Canadian Opera i Toronto. Fra 1989 jobbet han fire år som repetitør ved Kungliga Operan i Stockholm, der han debuterte som dirigent i 1993. Samme år begynte han som dirigent ved Freiburg Theater, og var også assisterende musikksjef der et par år. I 1999 ble han ansatt som første kapellmester ved Aalto-Theater i Essen, og ble i 2000 utpekt som «beste operadirigent» av avisen Neues Rheinland, sammen med bl.a. John Helmer Fiore. Ringborg har fra 2007 vært generalmusikkdirektør ved Staatstheater Kassel i en tiårsperiode. Han har mer enn 70 operaer på repertoaret, og har jobbet med en rekke store orkestre både i Sverige og Tyskland, bl.a.
    [Show full text]
  • International Wagner Competition, Seattle by Andrew Moravcsik Published: August 19 2008 19:06 | Last Updated: August 19 2008 19:06
    FT.com print article Close ARTS Music International Wagner Competition, Seattle By Andrew Moravcsik Published: August 19 2008 19:06 | Last updated: August 19 2008 19:06 Is the Wagnerian singer an endangered species? Today singers of Handel, Mozart and Rossini abound, but where are the younger voices hefty and healthy enough to project over Wagner’s massive orchestra for five hours a night? Many singers with potential lack the patience to await their Wagnerian prime, which generally comes past the age of 40. Those who do lean towards Wagner often complain that they are disadvantaged in formal competitions that favour younger (and slimmer) singers, a bright, clean style of vocal production, and the lively self-contained arias of the French and Italian repertoire. Rather than negotiate the tricky professional transition from lighter roles, many play safe and eschew Wagner for life. Seattle, the city of Starbucks, software and summer scenery, might seem an unlikely site to seek a solution, yet it is a Mecca for Wagnerians. Since 1975, Seattle Opera has performed 35 Ring cycles, plus all of the composer’s mature dramas. Under the dynamic direction of Speight Jenkins, celebrating his 25th year with the company, Seattle enjoys the highest per capita opera attendance of any American city. Two years ago, in an effort to stem the decline of Wagnerian singing, Seattle Opera launched its biennial International Wagner Competition. Only singers aged 39 and under with one professional Wagner performance under their belt need apply. About 50 applicants met the criteria; auditions cut them to eight. In the inaugural 2006 competition, many finalists (and both winners) came from London, suggesting British pre-eminence in Wagner training.
    [Show full text]
  • Deutsche Oper Am Rhein Ballett Am Rhein OPER & BAL LETT SPIEL ZEIT 2019/20 DÜSSEL DORF DUIS BURG SPIELZEIT 2019/20
    Deutsche Oper am Rhein Ballett am Rhein OPER & BAL LETT SPIEL ZEIT 2019/20 DÜSSEL DORF DUIS BURG SPIELZEIT 2019/20 64. Spielzeit der Theatergemeinschaft Deutsche Oper am Rhein Erschaffen mit besonderer Note. Düsseldorf Duisburg Generalintendant: Prof. Christoph Meyer Die neue B-Klasse. Geschäftsführende Direktorin: Alexandra Stampler-Brown Generalmusikdirektor: In der neuen B-Klasse erleben Sie sportliche Dynamik und großzügigen Axel Kober Komfort in perfektem Einklang. Fünf Personen genießen in dem variablem Innenraum Platzverhältnisse wie auf der ganz großen Bühne. Dank intelli- Ballett am Rhein Düsseldorf Duisburg genter Assistenzsysteme dürfen sich alle Insassen sicher fühlen. Und das innovative Bedienkonzept MBUX folgt präzise Ihrer Stimme – auch den Künstlerischer Direktor & Chefchoreograph: Martin Schläpfer feinen Zwischentönen. Ballettdirektor: Remus Şucheană Das Beste oder nichts. Anbieter: Daimler AG, Mercedesstraße 137, 70327 Stuttgart Partner vor Ort: Daimler AG, vertreten durch Mercedes-Benz Vertrieb PKW GmbH · Niederlassung Düsseldorf, Mercedesstraße 1 · Niederlassung Duisburg, Johannes-Mechmann-Straße 2-4 · Niederlassung Neuss, Leuschstraße 10 Daimler AG, vertreten durch die Anota Fahrzeug Service- und Vertriebsgesellschaft mbH Düsseldorf, Karl-Geusen-Straße 185 · Hilden, Im Hülsenfeld 1 · Mettmann, Willettstraße 1 www.mercedes-benz-rhein-ruhr.de · MercedesBenzRheinRuhr SPIELZEIT 2019/20 SPIELZEIT 2019/20 2 3 THEATER- OPER JUNGE OPER GEMEINSCHAFT PREMIEREN & PREMIERE & WIEDERAUFNAHMEN 10 WIEDERAUFNAHMEN 118 DÜSSELDORF ENSEMBLE
    [Show full text]
  • Wagner's Ring Cycle Stockholm
    WAGNER'S RING CYCLE STOCKHOLM Stockholm - 09 days Departure: May 22, 2017 Return: May 30, 2017 Do not miss a unique opportunity to experience Richard Wagner’s unassailable tetralogy of the Ring Cycle, sung by the world-renowned Nina Stemme, born in Stockholm, as Brünnhilde. This critically acclaimed production premiered at the Royal Swedish Opera 10 years ago and has been praised for its brilliant character portraits and the orchestra’s breath taking performance. Director Staffan Valdemar Holm has put particular focus on the strong relationship between the father Wotan and the daughter Brünnhilde – love versus power, love as a catastrophe – that is what the operas are about. We have chosen to stay at the finest deluxe hotel in Scandinavia, the Grand Hotel in Stockholm. Opera Performances In Stockholm: MAY 24 - Das Rheingold MAY 25 - Die Walküre MAY 27 - Siesiegfried MAY 29 - Götterdämmerung DIRECTOR - Staffan Valdemar Holm STAGING BY - Bente Lykke Møller CAST Wotan - John Lundgren Siegmund - Michael Weinius Siegfried - Daniel Frank Alberich - Johan Edholm Brünnhilde - Nina Stemme Mime - Niklas Bjorling Rygert Frica - Katarina Dalayman Erda - Katarine Leosson Monday, May 22. (D) *. DEPART FOR STOCKHOLM Depart today on any airline of your choice from home to Stockholm, Sweden, arriving the next day. Dinner and light breakfast served onboard the plane. Tuesday, May 23. (B,D). STOCKHOLM Upon arrival at the Stockholm International Airport, take a taxi to the super deluxe centrally located GRAND HOTEL, where we stay seven nights. We will reimburse you the taxi fare. Briefing, cocktails and Gala Welcome dinner at the hotel’s gourmet restaurant. Wednesday, May 24.
    [Show full text]
  • STOCKHOLM: PARSIFAL NI Am 20.10.2013
    STOCKHOLM: PARSIFAL NI am 20.10.2013 Hyperintellektualisierte Verstörung… Die Königliche Oper von Stockholm hat sich in den letzen Jahren durch eine recht intensive Beschäftigung mit dem Wagnerschen Oeuvre hervorgetan. Nach einem weitgehend gelungenen „Ring des Nibelungen“ in der Inszenierung von Staffan Valdemar Holm von 2005 bis 2007, in dem der heute zu Recht in dieser Rolle so geschätzte Terje Stensvold zum ersten mal den Wotan sang, und einem neuen „Lohengrin“ 2012 von Stephen Langridge, inszenierte Christof Loy nun den „Parsifal“. Mit einem neuen „Tannhäuser“ im Frühjahr 2014 von Staffan Valdemar Holm wird die Königliche Oper dann sieben Werke des sog. „Bayreuther Kanons“ im Repertoire haben. Wagner findet überhaupt im Baltikum großen Anklang, wie die Spielpläne nicht nur von Stockholm, sondern auch von Riga, Helsinki, Tallinn und St. Petersburg belegen. Er war hier ja auch zu Lebzeiten schon kein Unbekannter… In einem Interview mit dem Dramaturgen Thomas Jonigk im Programmheft lässt Christof Loy keine große Sympathie für Wagner erkennen. Er sei grundsätzlich Mozartianer, und Wagners Monumentalität sei weit von seinem subjektiven Ideal entfernt. Gleichwohl reize es ihn, sich an diesem „musikalischen Giganten“ abzuarbeiten, zumindest an bestimmten Werken. Und dazu gehört wohl auch der „Parsifal“. Obwohl Loy Wagner aufgrund seiner antisemitischen Äußerungen für sich als Person für unakzeptabel hält, sieht er aber paradoxerweise in seinem Werk Beschreibungen von menschlichen Ausnahmezuständen und kompromisslosen Ist-Zuständen, die ihn als Regisseur inspirieren. Und genau das ist zu erleben, als sich der Vorhang zum 1. Aufzug in Stockholm hebt. Man blickt in einen relativ engen, mit braunen Holzpanelen ausgekleideten Raum (Bühnenbild Dirk Becker , Licht Olaf Winter ), in dem sich schicksalhaft intensive Rollenstudien abspielen, die man so nicht allzu oft sieht, die aber auch durchaus verstörend wirken.
    [Show full text]