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FULL 7 Operellen Millimeterkrisen und Miniaturkatastrophen Innsbruck 2004 sirene Operntheater

Video Recording from: YouTube     FULL VIDEO          Qries

Information on the Performance
Information about the Recording
  • Published by: sirene  
  • Date Published: 2014  
  • Format: Streaming
  • Quality Video: 3 Audio:3
  • Subtitles: yessubs, desubs  
  • Video Recording from: YouTube     FULL VIDEO

00:00 Sieben Operellen: sirene Operntheater 2004 am Tiroler Landestheater
Regie: Kristine Tornquist / Produktion: Jury Everhartz
00:46 1. Herzlos Zeitlos
Text: Walter Titz / Musik: Peter Planyavsky
17:10 2. Schock
Text: Ratschiller/Tagwerker / Musik: Akos Banlaky
31:50 3. Schutt
Text: Hermes Phettberg / Musik: Gilbert Handler
47:00 4. Stretta
Text: Friederike Mayröcker / Musik: Wolfram Wagner

00:00 Sieben Operellen: sirene Operntheater 2004 am Tiroler Landestheater
Regie: Kristine Tornquist / Produktion: Jury Everhartz
01:00 5. Das gestohlene Herz
Text: Wolfgang Bauer / Musik: Jury Everhartz
20:18 6. Die vertauschten Köpfe
Text: Radek Knapp / Musik: Christof Dienz
35:28 7. Schlaf der Gerechten
Text: Kristine Tornquist / Musik: Kurt Schwertsik

The experimental set-up: A small planet inhabited by only 5 people – Johanna and Johann, the dwarf, the thief and Voltaire. Is the population of this miniature world related, friends, enemies? What are the relationships? What happens? 7 authors gave answers that turned out very differently.
In Walter Titz’s minimalist, rhyming landscape “HerzLosZeitLos”, Voltaire’s lost heart can be found between red roses. The Vienna cathedral organist Peter Planyavsky has transformed the struggle for hearts and love that ensues into a subtle ballet.
The youngest, the author duo Hosea Ratschiller and Lukas Tagwerker, imagine a war in which nobody has a chance, especially not those who are born optimistically into this world. By the Hungarian-Austrian composer Akos Banlaky, this scenario is exaggerated into the absurd, almost cabaret-like – “shock – a dog’s life”.
Hermes Phettberg remains with “Schutt” in his tradition as a pessimistic preacher. He frankly puts biblical words in Voltaire’s mouth and lets his characters go hopelessly buried under the parable of the entrusted money. Gilbert Handler interprets the complaints of Phettberg’s characters undramatically, he develops his very own meditative musical language.
Friederike Mayröcker, on the other hand, allows the living and the deceased to find peace, sensitively set to music by Wolfram Wagner along the text. Like an autobiographical dialogue between her and her partner Ernst Jandl, “Stretta” lovingly continues the duet of monologues – death cannot part lovers, and when a dwarf beagle has to be the messenger.
Kurt Schwertsik resolves the generation conflict in a peaceful and funny way with Kristine Tornquist’s “Sleep of the Righteous” – while the parents bed in eternal rest, the failed children go their own way.
Radek Knapp, a Viennese from Poland, unceremoniously eases Voltaire’s shoulders. “The swapped heads” – embedded in a fine weave of clusters and chirping patterns by the Tyrolean composer Christof Dienz, stand in the field of tension between poetry and linguistic malice.
Wolfgang Bauer finally lets the heart that was stolen at the beginning find its right place: in Egypt with pyramids and sphinxes everything will be fine again: the Berlin composer Jury Everhartz, who lives in Vienna, condenses Bauer’s rhymes into complex polyphonic structures of baroque wit.

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