Organization

Singer

Ivan Orescanin

Tevye

Susan Rigvava-Dumas

Golde

Josephine Renelt

Tzeitel

Mezzo-soprano

Sieglinde Feldhofer

Hodel Dorothea

Corina Koller

Chava

Eva-Maria Schmid

Stephanie Fournier

Shprintze

Victoria Legat

Uschi Plautz

Yente

Matthias Störmer

Motel Kamzoil

Benjamin Plautz

Perchik

Thomas Essl

Lazar Wolf

Richard Friedemann Jähnig

Mordcha

Markus Murke

Mendel

Falk Witzurke

Awram

Jutta Panzenböck

Fruma Sarah

Other

Baritone

Heribert Pudik

Jussel

Stage director

Christian Thausing

Conductor

Marius Burkert

Lighting designer

Sebastian Alphons

Costume designer

Okarina Peter

Set designer

Timo Dentler

Choreographer

Evamaria Mayer

Dramaturge

Bernd Krispin

Chorus master

Georgi Mladenov

Natalia Radzanowski

Schandel

Tenor

Mario Lerchenberger

Fjedka

Christian Scherler

Scholem

Daniel Käsmann

Sascha

Oper Graz

Orchestra

Grazer Philharmoniker

němčina

Anatevka

Graz

Austria

Opernhaus Graz

Hauptbühne

Anatevka: Fiddler on the Roof Bock

Public

Fiddler on the Roof

Approved

Anatevka Fiddler on the Roof Musical Based on the stories by Sholem Aleichem. Courtesy of Arnold Perl Script: Joseph Stein Music: Jerry Bock Lyrics: Sheldon Harnick In New York by Harold Prince Originally produced in New York, directed and choreographed by Jerome Robbins. German by Rolf Merz and Gerhard Hagen The performance rights are transferred in agreement with Music Theater International (Europe) LTD, London. Stage sales for Austria: Josef Weinberger Wien, GesmbH Recommended from 10 years. In the Shtetl Anatevka, everyone follows tradition and everyone dances a bit like a fiddler on the roof. This is how the milkman Tevje imagines what it would be like if he were rich. But first the first three of his five daughters have to be married. Zeitel, the oldest however, loves the poor tailor Mottel and not the rich butcher Lazar Wolf. How good that Tevye's deceased mother-in-law and Lazar's first wife report from the afterlife to change Tevye's wife Golde. The other daughters of Tevje also do not want to hear anything about the suggestions of the marriage broker Jente, follow their hearts and decide in favor of the student Perchik or the Russian Christian Fedja. Times are changing, because men start to dance with women - and in all brutality there are riots at the wedding party, which started so happily. Then everything happens in quick succession: the shtetl has to be cleared within three days. Everyone packs their bags to embark on the journey into the unknown. premiered on Broadway in 1964, Since then, "Anatevka" has not only thrilled with enchanting dance scenes, large-scale show numbers and intimate moments, but also captivates audiences worldwide because Tevje's wishes, dreams and hopes are deeply human. In the Graz new production, Ivan Oreščanin can be seen as Tevje, who is in dialogue with his creator in order to master his life. After his successful work in the context of the opera short enjoyment (most recently "Mario and the Magician") and at the Stadttheater Leoben, Christian Thausing staged his first musical at the Graz Opera. Cast Musical director: Marius Burkert/Julian Gaudiano Staging: Christian Thausing Choreography: Evamaria Mayer Set & costumes: Timo Dentler/Ocarina Peter Light: Sebastian Alphons Dramaturgy: Bernd Krispin Choir: Georgi Mladenov Tevje: Ivan Oreščanin Golde: Susan Rigvava-Dumas Zeitel | Grandma Zeitel: Josephine Renelt Hodel: Sieglinde Feldhofer Chava: Corina Koller Sprintze: Stephanie Fournier/Victoria Legat Jente: Uschi Plautz Mottel Kamzoil: Benjamin Rufin/Matthias Störmer Perchik: Benjamin Plautz Fedja: Mario Lerchenberger Lazar Wolf: Thomas Essl Fruma-Sarah: Jutta Panzenböck Wachtmeister: Johann Wolfgang Lampl Menachem: David McShane Motschach: Richard Jähnig Mendel: Markus Murke Awram: Falk Witzurke Jussel: Heribert Pudik Schlomo: Christian Scherler Sascha: Daniel Käsmann Jankel: Marlin Miller Schandel: Stefanie Hierlmeier Video: Reziprok Further information:https://oper-graz.buehnen-graz.com/pr...

Fiddler on the Roof Bock

Mögen die Charaktere im Schtetl Anatevka auch sehr unterschiedlich sein, so verbindet all diese Individuen vornehmlich eines: die Tradition. Ein strenges Regelwerk schreibt vor, wie jeglicher Lebensbereich zu gestalten ist. Gewissheit vermittelt der Rabbi, der für jede Situation den rechten Spruch aus der Thora zu zitieren weiß, und die Heiratsvermittlerin Jente weiß am allerbesten, wer zueinander passt. Im Schtetl Anatevka gibt es aber auch den Fiedler auf dem Dach, der über die Unwägbarkeiten des Lebens spielerisch hinwegtänzelt. So erlaubt sich der Milchmann Tevje den Traum, wie es denn sein würde, wenn er einmal reich wär’. Als es gilt, seine drei ältesten Töchter zu verheiraten, muss Tevje die Tradition mehr und mehr in Frage stellen. Daher akzeptiert er die Entscheidung seiner Erstgeborenen, ihrem Herzen zu folgen, und erlaubt auch der Zweitgeborenen, sich mit einem revolutionären Hitzkopf zu vermählen. Als seine dritte Tochter jedoch ohne sein Wissen einen Christen heiratet, kann Tevje diesen Traditionsbruch nicht akzeptieren, sodass er von seinem eigenen Kind nichts mehr wissen will. Dann geht alles Schlag auf Schlag: Innert drei Tagen muss das Schtetl geräumt sein. Jeder packt seinen Koffer, um die Reise ins Ungewisse anzutreten.
Das 1964 am Broadway uraufgeführte Musical begeistert nicht nur durch hinreißende Tanzszenen und großangelegte Shownummern, sondern berührt gleichermaßen durch innige Momente, die Tevjes Wünsche, Träume, Hoffnungen thematisieren. Christian Thausing versteht es in seiner Inszenierung, das Aufbrechen der Traditionen als Aufbruch in ein neues Leben zu deuten, wobei der Fiedler auf dem Dach, der eigentliche Titelheld des Stücks, augenscheinlich immer dann zur Seite steht, wenn bloße Worte nicht mehr genügen.

Deutsch

Even if the characters in the Schtetl Anatevka are very different, all these individuals have one thing in common: tradition. A strict set of rules dictates how every area of ​​life is to be designed. The rabbi, who knows how to quote the right saying from the Torah for every situation, conveys certainty, and the matchmaker Jente knows best of all who is a good match. In the Schtetl Anatevka there is also the fiddler on the roof, who playfully dances away from the imponderables of life. So the milkman Tevye allows himself the dream of what it would be like if he were rich one day. When it comes to marrying off his three eldest daughters, Tevje increasingly has to question tradition. Therefore, he accepts the decision of his firstborn to follow their heart, and also allows the secondborn to marry a revolutionary hothead. However, when his third daughter marries a Christian without his knowledge, Tevje cannot accept this break with tradition, so he no longer wants to have anything to do with his own child. Then everything happens in quick succession: the shtetl has to be cleared within three days. Everyone packs their bags to embark on the journey into the unknown.
The musical, which premiered on Broadway in 1964, not only inspires with enchanting dance scenes and large-scale show numbers, but also touches with intimate moments that address Tevje's wishes, dreams and hopes. In his production, Christian Thausing understands how to interpret the breaking of traditions as the dawn of a new life, with the fiddler on the roof, the real title hero of the play, apparently always standing by when mere words are no longer enough.

English

Výkonnostní kredity (Obsazení a tým )

Obsazení

Osádka

Soubor