Name: Der Barbier von Bagdad
Start: 2017-06-10T00:00:00.000Z
End: 2017-06-17T00:00:00.000Z
Location: Oper Wuppertal

Organization

Baritone

Simon Stricker

Der Kalif

Tenor

Mark Bowman-Hester

Baba Mustapha

Soprano

Ralitsa Ralinova

Margiana

Mezzo-soprano

Ursula Hesse von den Steinen

Bostana

Sangmin Jeon

Nureddin

Randall Jakobsh

Abul Hassan Ali Ebn Bekar

Conductor

Johannes Pell

Chorus master

Markus Baisch

Wuppertaler Bühnen

þýska

Der Barbier von Bagdad -  (The Barber of Baghdad)

Wuppertal

Germany

Opernhaus

Der Barbier von Bagdad Cornelius

Public

The Barber of Baghdad

Approved

Oper Wuppertal

Bass

Instrumentalist

Pianist

Violinist

Cellist

Violist

Flutist

Clarinetist

Guitarist

Organist

Percussionist

hornist

Oboist

Bassoonist

Trumpeter

Contrabassist

Trombonist

Harper

Saxophonist

Harpsichordist

Bassist

Accordionist

Tuba Player

Recorder Player

Lutenist

Tenor Violinist

Timpani

Mandoline Player

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Violino Piccolo Player

Viola da gamba

Musette de cour Player

Viola Pomposa Player

Archlutenist

Vibraphonist

Cornettist

Viola d’amore Player

Theorbist

Composer

Stage director

Librettist

Set designer

Costume designer

Choreographer

Lighting designer

Dancer

Actor

Video designer

Dramaturge

Translator

Sound designer

Repetiteur

Makeup artist

Executive producer

Hairstylist

Other

Stage Manager

Choir

Orchestra

Poet

Vocal coach

Teacher

Photographer

Broadcasting

Illustrator

Writer

Writing and performance

Chorus Director

Wig & Makeup Designer

Orchestra Operations

Extra

Countertenor

Singer

Bass-baritone

Contralto

Spoken

Child vocalist

Silent

Alto

Continuo

"I'm an academic, doctor and chemist ... linguist and lawyer and tourist and purist ... painter and sculptor, fencer, gymnast ... I'm an athletic, deeply theoretical, exemplary practical, self-taught genius!" - This is how the barber from Baghdad will introduce himself to the enamored Nurredin , before shaving him for the longed-for tryst with his mistress.


In addition, the barber is something else that he doesn't mention: namely, stubborn. His well-intentioned intervention at the meeting later calls first all the servants, then all the residents of Baghdad, then the judge and finally the caliph - only to find that the supposedly stolen "treasure" in the box, which is the subject of the dispute, the passed out lover of the daughter of the house is...

Peter Cornelius writes his opera unmistakably in the tradition of Richard Wagner's great music dramas and especially his ›Meistersinger‹: Like Wagner, he writes the libretto himself (about an episode from the fairy tale collection ›One Thousand and One Nights‹). Then, with a large orchestra, instead of Wagner's dreamed-of Middle Ages, he conjures up an equally dreamed-up Orient and, like his role model, uses motifs from memory to closely interlock the plot musically as well. But instead of copying the Bayreuth master, Cornelius succeeds in creating a brilliant musical comedy of his very own character with his opera, premiered by Franz Liszt in 1858.

English

»Bin Akademiker, Doktor und Chemiker … Linguist und Jurist und Tourist und Purist … Maler und Plastiker, Fechter, Gymnastiker … Bin ein athletisches, tief theoretisches, musterhaft praktisches, autodidaktisches Gesamtgenie!« – So wird sich der Barbier von Bagdad dem verliebten Nurredin vorstellen, bevor er ihn für das ersehnte Stelldichein mit der Geliebten rasiert.


Daneben ist der Barbier noch etwas, was er nicht erwähnt: nämlich stur. Sein gutgemeintes Eingreifen bei dem Treffen ruft später erst alle Diener, dann alle Bewohner Bagdads, dann den Richter und schließlich auch noch den Kalifen herbei – nur um festzustellen, dass der vermeintlich geraubte »Schatz« in der Kiste, um den sich der Streit dreht, der ohnmächtig gewordene Liebhaber der Tochter des Hauses ist…

Peter Cornelius schreibt seine Oper unüberhörbar in der Tradition der großen Musikdramen Richard Wagners und besonders dessen ›Meistersingern‹: Wie Wagner schreibt er das Libretto selbst (über eine Episode aus der Märchensammlung ›Tausendundeine Nacht‹). Dann beschwört er mit einem großen Orchesterapparat statt Wagners erträumten Mittelalters einen ebenso erträumten Orient herauf und nutzt dabei wie sein Vorbild Erinnerungsmotive, um die Handlung auch musikalisch eng zu verzahnen. Aber statt einer Kopie des Bayreuther Meisters gelingt Cornelius mit seiner 1858 von Franz Liszt uraufgeführten Oper eine brillante Musikkomödie ganz eigener Prägung.

Deutsch

The Barber of Baghdad by Cornelius, Peter, lau 10 jún 2017, Frá (2017/2017), Hljómsveitarstjóri Johannes Pell, Oper Wuppertal, Wuppertal, Germany

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