Bluebeard’s Castle & De temporum fine comoedia (Orff) Salzburg 2022 Mika Kares, Ausrine Stundyte
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Information on the Performance
- Work Title: Bluebeard’s Castle & De temporum fine comoedia
- Composer: Bartok Bela, Orff Carl
- Libretto: Bela Balazs Libretto Text, Libretto Index
- Venue & Opera Company: Salzburg, Austria, Salzburger Festspiele
- Recorded: 2022
- Type: Staged Opera Live
- Singers: Mika Kares, Ausrine Stundyte, Christian Reiner, Sergei Godin
- Conductor: Teodor Currentzis
- Orchestra: Gustav Mahler Jugendorchester
- Chorus: musicAeterna Choir, Bachchor Salzburg, Salzburger Festspiele und Theater Kinderchor
- Chorus Master: Vitaly Polonsky, Benjamin Hartmann, Wolfgang Götz
Information about the Recording
- Published by: Unitel
- Date Published: 2023
- Format: Streaming
- Quality Video: 4 Audio:4
- Subtitles: yessubs, ensubs, desubs
- This Recording is NOT AVAILABLE from a proper commercial or public source
ADDITIONAL INFORMATION ON THIS PERFORMANCE
Quote from Unitel:
De temporum fine comoedia (A Play on the End of Time) is
the Last Judgement, in a reinterpretation rooted in Carl
Orff’s personal religious beliefs. The writing of the text in
Ancient Greek, Latin and German took the composer a whole
decade, from 1960 to 1970, with the essence of the work
being increasingly determined by the apocalyptic vision of
the Alexandrian theologian Origen, in which at the end of
time even demons will be granted forgiveness and salvation.
Brought to the festival stage by Romeo Castellucci and
Teodor Currentzis for the first time since its premiere
in Salzburg in 1973, Orff’s opera-oratorio overwhelms the listener
with its primeval energy. The latter results not least from
persistently iterated rhythmic patterns that involve a host of
figures animated by a mechanical principle of motion that is
translated into bodily movement scores by the choreographer
Cindy Van Acker.
The atmosphere that permeates Bluebeard’s Castle, which in
Salzburg was performed as the first part of the double bill
evening, is diametrically opposed: Castellucci responds to the
bleak intimacy of a drama without external action by focusing
on Judith’s viewpoint — and on a trauma that unleashes a
theatre of the psyche.
At the Salzburg Festival, this opera was performed together
with Béla Bartók’s Bluebeard’s Castle.