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Booklet-Smaller.Pdf INDEX 3 - 4 Biography Irmin Schmidt (English) 5 - 7 Introduction by Irmin Schmidt (English) 8 Synopsis (English) 9 -10 Characters (English) 11 Casting and production requirements (English) 12 - 14 Info to previous productions in Wuppertal, Gelsenkirchen, Saarbrücken and Luxembourg 15 - 16 Projektbeschreibung von Irmin Schmidt (Deutsch) 17 Synopsis (Deutsch) 18 - 19 Charaktere (Deutsch) 20 Info zu Bestetzung und Aufführungsmaterial (Deutsch) 21 - 28 Photos 29 - 36 Press IRMIN SCHMIDT BIOGRAPHY Irmin Schmidt, born in May 1937, received a formal musical education. Between 1957 and 1967 he studied conducting (u.o. with Istvan Kertesz), compositon (u.o. with Stockhausen and Ligeti) and piano (u.o. with Detlef Kraus). Between 1962 and 1969 he conducted numerous orchestras including Wiener Sinfoniker, Bochumer Sinfoniker, Radio-Sinfonie-Orchester Norddeutscher Rundfunk Hannover and the Dortmunder Ensemble für Neue Musik, which he founded. Schmidt also worked as a musical director at the Stadttheater Aachen and taught Musicals and Chanson at the Bochum stage school. Schmidt also gave numerous piano recitals focusing on new music and was amongst the first German pianists to interpret the work of John Cage. His composition "Hexapussy" was premiered in Frankfurt in 1967 and shown on television by WDR. "Ilgom" was premiered by Radio Stuttgart in 1968. During this period he also composed music for various film and theatre productions. His classical career was put on hold after a trip to New York in 1966 which exposed him to emerging musical forms and ideas that led to him forming CAN in 1968. As the band's keyboard player, Schmidt’s contribution to their groundbreaking career and the evolution of electronic music in general is formidable. When CAN was dissolved in 1978, Schmidt relocated to the south of France where he established a studio and continued to compose and record over 100 film and television scores, a craft he had already become familiar with both before and during his work with CAN. This work is documented on CAN’s “Soundtracks” LP (1970) and on his own solo soundtrack compilations (Vol. 1 to 6) In 1981 he worked with Bruno Spoerri and released his first solo album "Toy Planet" followed by "Musk at Dusk" in 1987. Schmidt rejoined his former CAN colleagues for the reunion album "Rite Time" (1989) and followed this with another solo album, "Impossible Holidays" (1991). In 1993 Schmidt was commissioned to write a fantasy opera based on Mervyn Peake's Gormenghast trilogy. The three act opera, with a libretto by Duncan Fallowell, was premiered at Wuppertal Opera House on November 15th 1998 and also shown in 1999 at Gelsenkirchen Musiktheater (30 performances). Excerpts of the opera were released as a CD on Spoon/Mute in 2000. During work on Gormenghast, Irmin Schmidt met british composer Jono Podmore (a.k.a. Kumo). Podmore is also a sound engineer, producer and specialist in rhythm programming and Schmidt immediately saw the potential for improvisational collaboration. They formed the duo Irmin Schmidt & Kumo, released two albums “Masters of Confusion” (2001) and "Axolotl Eyes" (2008) and performed worldwide over an extensive period. They also composed the sound installation "Flies, Guys and Choirs" (commissioned by the Barbican Centre in 2001) and together with Jaki Liebezeit from CAN and Burnt Friedman released the EP "Cyclopean" (2012) In 2003 Can received the Echo award for live achievement in Germany. June 2004 saw a new production of Schmidt's Gormenghast opera staged at Völklinger Hütte in Saarbrücken, Germany, a colossal steelworks that is now a UNESCO world heritage site. This was followed by performances at the Grand Théatre Luxembourg. In 2008 Schmidt composed the music for full orchestra to the ballet by Yury Vàmos, "La Fermosa", commissioned by the Deutsche Oper am Rhein. Two years later the prestigious Festival in Germany, Ludwigsburger Festpiele, held a gala event to honour Schmidt's career and work, in particular as a film composer. For the event, Irmin conducted the orcherstra of the Schlossfestspiele with a selection of his work orchestrated for the occasion (including extracts from Palermo Shooting by Wim Wenders, Snowland by Hans W. Geißendörfers amongst others). In 2012 Spoon Records / Mute released "CAN - The Lost Tapes", a 3 CD box set curated by Irmin Schmidt who listened to over 50 hours of Can archive material and chose the released selection. Only a year later he released the compilation "Villa Wunderbar", a 2CD set with a selection of his solo- and film work. In 2013 Irmin Schmidt received the award for best film score by the German Academy Of Television for his score for "Mord in Eberswalde" by Stephan Wagner. Currently Irmin Schmidt is working on a book about CAN commissioned by Faber & Faber and his next release: a luxury CD box containing all of his solo work and score releases. präsentiert von Stefan Vinzberg, der die Tonleitern in einer Art "Bruststimmen-Falsett" hinaufkletterte und tapfer trotz einer Beinverletzung bei den Proben die Premiere bestritt. Die Opernsänger schlugen zurück. Herausragend der Bariton Mark Morouse in Lord Sepulchraves langer, außergewöhnlich schönen Arie vor seiner Verwandlung in eine Eule, Danielle Grima als seine Gattin ebenso erfolgreich mit zwei Monologen. Sabine Schnitzer und Elise Kaufman als die beiden in hohen Koloraturen zwitschernden altjüngferlichen Tanten. Michael Sturmingers Inszenierung ist ausreichend lebendig im überkomplizierten und wenig hilfreichen Bühnenbild. Doch das Ohr war pausenlos beschäftigt, und die Mischung von ausgewachsenem Rock und konventionellerer "Opern"-Musik ist bestimmt ein Weg, die vermutlich moribunde Kunstform weiterzubringen. Ich hoffe, britische Manager werden sich nach Wuppertal aufmachen. Westdeutsche Allgemeine Zeitung - 30.12.98 GORMENGHAST Fantasy-Oper von Irmin Schmidt Gormenghast heißt, zumindest in der deutschen Ausgabe, die Roman-Trilogie von Mervyn Peake , ein weitläufig angelegtes Opus, das zusammen mit Tolkiens "Herrn der Ringe" die weltweite Beliebtheit der Fantasyliteratur initiierte. In Großbritannien seit dem Erscheinen des ersten Bandes nach dem Krieg sehr populär, kam es in deutsch im Zuge des damals überraschendnen Erfolgs von Tolkien heraus. Aber es hat mit Tolkien nichts gemein, die Erwartungshaltung war wahrscheinlich die falsche, und so wurde Peake nicht annähernd so stürmisch angenommen wie sein Kollege. Denn Peake schreibt eine ganz andere Geschichte in einem ganz anderen Stil, eine virtuos wortgewaltig ausladende Satire auf die Upperclass seiner Zeit und Heimat, ein sehr englisch und sophisticated angegangenes Unternehmen. Auf Schloß Gormenghast lebt die Herrscherdynastie der Groans seit mehr als zweitausend Jahren, gefangen in den mythischen Labyrinthen der riesigen Burg und eingezwängt in Rituale, die jeden Tag des Lebens zeremoniell festschreiben. Entsprechend dekadent ist die Familie geworden, besonders der Lord selbst, der, unfähig, sich den Problemen des Herrschens zu stellen, sich in Büchern vergräbt und drogenabhängig langsam den Verstand verliert. Aber auch seine Schwestern, die Zwillinge Cora und Clarice, sind Auswüchse jahrhundertelanger Inzucht. Blutleer, hirnlos, dafür aber unglaublich arrogant und machtlüstern, werden sie zu willigen Werkzeugen der Zerstörung ihrer Welt. Denn mit dem Anfang vom Ende beginnt der Roman. Zwei gleichzeitige Ereignisse werden das Schicksal des Schlosses und seiner Bewohner besiegeln: Der langersehnte Thronfolger wird geboren, Titus, der sich seiner 6 engaged, and the mixture of grown-up rock and more conventional "operatic" music is certainly one way forward for an art form supposedly moribund. I hope British managements will sneak off to Wuppertal. -Rodney Milnes deutsche Übersetzung : THE TIMES 24.11.1998 FINE PEAKE-TIME VIEWING von Rodney Milnes Oft hat auch die komplizierteste Opernhandlung eine ganz einfache Moral. Nach den vier Tagen von Wagners RING heißt sie "hänsle keine Zwerge" bei CARMEN "laß die Finger von Mädchen die rauchen". Im Fall von Irmin Schmidts GORMENGHAST, letzte Woche in Wuppertal uraufgeführt, könnte sie wohl "vernasch das Hauspersonal nicht" heißen. Denn eine Vergewaltigung, anschaulich von Chefkoch Swelter durchgeführt, bringt den Küchenjungen Steerpike dazu, den Fall von GORMENGHAST und allem, wofür es steht, zu planen - was ihm jedoch nur teilweise gelingt. Das ist natürlich in Mervyn Peakes Trilogie, auf der die Oper lose basiert, mehr angedeutet als beschrieben - "frei nach" sagt die offizielle Bezeichnung. Das Libretto, verfaßt von Duncan Fallowell, dem Romanautor und Verfasser von "Ein heißer Sommer in St. Petersburg", ist munter, geistreich und witzig in seinen Reimen.... Die Handlung wird klar ausgebreitet; im Zentrum steht der Brand der Gormenghast-Bibliothek, eingerahmt von Steerpikes Aufstieg und Fall. Die entscheidende Weiterführung aber liegt in Schmidt's Partitur. Der produktive Komponist von Film- und Schauspielmusik ist in Deutschland vor allem berühmt als Gründer der Rockband CAN , was Wuppertal ein interessant gemischtes Publikum garantierte. Die Orchesterstimmen kommen vom Band, bearbeitet von Jono Podmore, ein Streichquartett spielt live im Graben und hält den Dirigenten Simon Rekers auf Trab. Der pure Umfang des "Sensourround"-Klanges ist verblüffend, laut, sinnlich und immer fesselnd, ganz besonders das exotische Schlagzeug, das rundherum hinter den Zuschauern raschelt. Hätte Richard Strauss Rockmusik geschrieben, müßte sie so geklungen haben - herrlich üppig, ohne sich dafür zu schämen. Die große Form ist
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