Organization

Dirigat

Simeon Pironkoff

Regie

Kristine Tornquist

Bühnenbild

Nele Ellegiers

Kostümbild

Chordirektion

Günter Wallner

Sänger

Juliette Mars

Hemma

Julia Koci

Kathi

Andreas Jankowitsch

Graf wilhelm

Sven Hjörleifsson

Wilhelm hartwig

Jens Waldig

Matschacher

Stadttheater Klagenfurt

sirene Operntheater

Ossiach

Österreich

Stiftskirche Ossiach

HEMMA. A WOMAN PASSION A church opera text. Franzobel music. Bruno Strobl July 27, 29, 30, 2017 | Collegiate Church Ossiach 02., 03. August 2017 | Basilica Maria Loreto St. Andrea

00:00Hemma, A Woman's Passion
01:39Overture (beginning of the opera)
06:36Scene 1 Hemma, a rich noblewoman, marries Count Wilhelm von Friesach. Wilhelm lives hedonistic, extravagant and self-sufficient and does not conform to any order. Since they have no children, Hemma promises to change her life if she becomes a mother. She gives birth to two sons. The miners revolt. The sons cruelly punish the leaders, after which the workers set a trap for them. They are captured and promise to mend their ways, but fail to do so. Unfair abuse is happening again. Now the people's anger breaks out, the sons are lynched. Hemma urges her husband to make up. But he is unyielding and has all the miners slaughtered. Hemma recognizes the sins of vanity, revenge and materialistic thinking. Desperate, she turns to God. Emma von Gurk. Juliette Mars Kathi, daughter of Matschacher. Julia Koci Graf Wilhelm. Andreas Jankowitsch Wilhelm Hartwig / Archbishop. Sven Hjorleifsson Matschacher. Jens Waldig Vocal Ensemble of the Carinthian Summer Tenor. Kurt Kemp. Michael Paumgarten. Christian Scherler. Rodrigo Algara Woodhouse Bass. Christopher Achmuller. Dietmar Pickl. Kerem Sezen. John Sweeney Carinthian Symphony Orchestra of the Stadttheater Klagenfurt Conductor. Directed by Simeon Pironkoff. Kristine Tornquist set and costume. Nele Ellegier's light. Hari Michlits assistant director. Heidelinde Helene Schuster Project management. Tina Perisutti collaboration. Sebastian Bürger Collaboration. Jörg-Uwe Nieland internship. Ammar Al-Frejee Choir Master. Günter Wallner accompaniment. Benjamin McQuade Dramaturgy. Isabelle Gustorff Technical Director. Erich Kulicska line mask. Sabine Klarmann wardrobe. Michaele Haag costume production. Tailoring Weiss and Stadttheater Klagenfurt production of decorations. Decoration workshops at the Stadttheater Klagenfurt. Dietmar Harder Technical Director. Bettina Breitenecker & Thomas Stingl (Artistic Manager) Props. Stadttheater Klagenfurt. Thanks to Michael & Nora Scheidl collaboration. Magdalena Chamandy. Anja Gritznig. Franziska Schoisswohl assistance. Jury Everhartz production. Carinthian summer. Holger Bleck A co-production of the Carinthian Summer with the Stadttheater Klagenfurt Commissioned by the Carinthian Summer. Intendant Holger Bleck The church opera returns to the Carinthian Summer with a poignant exploration of the depths of the soul and an overwhelming sound. Most recently, the Ossiach Collegiate Church was the scene of a sacred music theater in 2012. At that time (Sara and her men) the name of the composer was Bruno Strobl. Intendant Holger Bleck has the same master in the realm of partial tone rows this year for the musical implementation of Franzobel's stage text Hemma. A woman's passion entrusted. The struggle to bring the earthly order closer to the heavenly order is so directly presented in the work, both textually and musically, that the almost thousand-year distance to the suffering of those who were canonized in 1938 recedes into the background. Ultra-fine, Strobl spins a tonal structure for each figure, which doesn't break up even when the emotions are intensifying to the extreme. He calls this "sound prisons" with which he excitingly characterizes the socially defined scope. it sparks when the bright prayers of Hemma (Juliette Mars) meet the martial determination to use violence of her husband Wilhelm (Andreas Jankowitsch) or the dull protest of the miner Matschacher (Jens Waldig) meets the sympathy of the archbishop (Sven Hjörleifsson), which has been saved for eternity. With Simeon Pironkoff there is a conductor in front of the Carinthian Symphony Orchestra who handles the complexity of the score as if it were a matter of course. Kristine Tornquist's direction is reduced and effective like the music. The way in which she depicts the birth of the son Hartwig from beneath the stage, or Wilhelm's rampage among his rebellious subjects using a few skeleton parts that have been brought forward, is of such profound symbolic power as the moon in the middle of the apse, not the cross, as a representation of a world who are less stupid less distracted and less greedy. Can they exist? What do we know... The Standard, July 31, 2017, Michael Cerha

Hemma Strobl

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