Name: Amadis de Gaule
Start: 2019-04-27T00:00:00.000Z
End: 2019-06-20T00:00:00.000Z
Location: Stadttheater

Admin

Organization

Singer

Tenor

Liang-Hua Gong

Amadis

Bass

Yun Geun Choi

Hatred

Tae-Woon Jung

Mezzo-soprano

Franziska Hösli

Discord

Elena Schneider

Soprano

Dorine Mortelmans

1. Coryphée

Nienke Otten

Nohad Becker

Urgande

Evgueniy Alexiev

Arcalaüs

Hasti Molavian

Arcabonne

Cornelie Isenbürger

Oriane

Moon Soo Park

Ardan

Conductor

Merijn van Driesten

Stage director

Maximilian von Mayenburg

Set designer

Sophie Du Vinage

Sylvie Berndt

Dramaturge

Anne Christine Oppermann

Theater Bielefeld

franska

Amadis de Gaule

Bielefeld

Germany

Stadttheater

Amadis de Gaule Bach,JC

þýska

Approved

The magician Arcalaus is filled with unbridled hatred. Since his brother died in the fight against Prince Amadis, he and his sister Arcabonne have been plotting revenge: Amadis should not only die, but also suffer as much as possible beforehand. The magical siblings conjure up demonic help: personified hatred and discord. Amadis is helpless at the mercy of such supernatural powers. He is stunned to witness how his happy love affair with Oriane breaks up without the slightest reason for jealousy and mistrust. The siblings now believe they have an easy game with the confused and desperate Amadis. But when Arcabonne finally confronts him to quench her thirst for vengeance by killing him, she finds that she owes him a great debt: Amadis once saved her life. And so the discord also moves into the sibling relationship: does Arcabonne have to stand by their oath of revenge? Or can humanity triumph over blind hatred? Before Amadis can happily reconcile with his Oriane, both of them still have to face tough trials.

Born in Leipzig, trained in Italy, worked in London for a long time, in constant contact with the Mannheim court: Johann Christian Bach is not only the most cosmopolitan of Bach's sons, but also the only one whose operas have come down to us. His Amadis , which premiered in 1779, was commissioned by the Paris Opera. At the interface between late baroque and classic, the youngest son of Bach proves to be both Handel's heir and a forerunner of Mozart, on whose style he had a great influence.

After his enthusiastically received productions of Il Trittico and Der Freischütz , director Maximilian von Mayenburg returns to Bielefeld.

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