Name: Der Freischütz, op. 77
Start: 2023-06-25T00:00:00.000Z
End: 2023-06-25T00:00:00.000Z
Location: Goethe-Theater

Organization

Chorus master

Jens Petereit

Dramaturge

André Meyer

Costume designer

Jens Kilian

Conductor

José Miguel Esandi

Stage director

Christian Schuller

Set designer

Singer

Baritone

Andreas Beinhauer

Ottokar

Bass

Michael Zehe

Kuno

Soprano

Anke Berndt

Agathe

Vanessa Waldhart

Ännchen

Gerd Vogel

Caspar

Tenor

Ralph Ertel

Spoken

Harald Höbinger

Samiel

Robert Sellier

Kilian

Ki-Hyun Park

A Hermit

Oper Halle

Others

Chor der Oper Halle

Orchestra

Staatskapelle Halle

Der Freischütz, op. 77 -  (The Marksman)

Bad Lauchstaedt

Germany

Goethe-Theater

Public

The Marksman

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Theorbist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Composer

Dancer

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Sound designer

Stage Manager

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Mezzo-soprano

Contralto

Bass-baritone

Countertenor

Alto

Child vocalist

Continuo

Silent

Der Freischütz, op. 77

Carl Maria von Webers 1821 uraufgeführter »Freischütz« gilt als erste deutsche Nationaloper. Geschickt verbindet der Komponist in seiner Partitur romantische Tonmalerei mit volksliedhafter Melodik. Für die Handlung der Oper griffen er und sein Librettist Friedrich Kind auf eine Volkssage aus dem zehn Jahre zuvor veröffentlichten »Gespensterbuch« von August Apel und Friedrich Laun zurück: Der Jäger Max schließt einen Pakt mit dem Teufel. Daran zerbricht seine Beziehung zu Agathe, der Tochter seines Vorgesetzten.
Regisseur Christian Schuller verstärkt in seiner Inszenierung für das Goethe-Theater in Bad Lauchstädt die Rolle des Teufels Samiel als Spielmacher der Handlung. Gleichzeitig erzählt er die Geschichte des Jägerburschen Max aus der Perspektive seiner Braut Agathe, die noch Jahre später versucht, die Geschehnisse zu verstehen. »Die wichtigste Stelle waren für mich die Worte des Max: ›Doch mich umgarnen finstere Mächte‹, denn sie deuten mir an, welchen Hauptcharakter der Oper zu geben sei. An diese ›finsteren Mächte‹ musste ich den Hörer so oft als möglich durch Klang und Melodie erinnern. Sehr oft bot mir der Text die Gelegenheit dazu, sehr oft aber auch deutete ich da, wo der Dichter es nicht unmittelbar vorgezeichnet hatte, durch Klänge und Figuren an, dass dämonische Kräfte ihr Spiel treiben ...« (Carl Maria von Weber über seine Musik zum »Freischütz«)

Deutsch

Carl Maria von Weber's »Freischütz«, which premiered in 1821, is considered the first German national opera. In his score, the composer skilfully combines romantic tone painting with folk-song-like melody. For the plot of the opera, he and his librettist Friedrich Kind drew on a folk tale from August Apel and Friedrich Laun's »Ghost Book«, published ten years previously: Max the hunter makes a pact with the devil. This breaks his relationship with Agathe, his superior's daughter.
In his production for the Goethe Theater in Bad Lauchstädt, director Christian Schuller reinforces the role of the devil Samiel as the playmaker of the plot. At the same time, he tells the story of the hunter's boy Max from the perspective of his bride Agathe, who is still trying to understand what is happening years later. »For me, the most important passage were Max's words: 'But dark powers are ensnaring me', because they indicate to me which main character the opera should have. I had to remind the listener of these 'dark powers' as often as possible through sound and melody. Very often the text offered me the opportunity to do so, but very often I also indicated through sounds and figures where the poet had not directly sketched it out that demonic forces were at play...

English

The Marksman by Von Weber, sun 25 jún 2023, Frá (2023/2023), Leikstýrt af Christian Schuller,, Hljómsveitarstjóri José Miguel Esandi, Goethe-Theater, Bad Lauchstaedt, Germany

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