Organization

Dyrygent

Dyrygent (+1)

Ivan Repušić

Reżyseria

Kasper Holten

Scenografia

Scenografia (+2)

Steffen Aarfing

Kostiumy

Reżyseria światła

Reżyseria światła (+2)

Jesper Kongshaug

Przygotowanie chóru

Dyrygent (+2)

Jeremy Bines

Bas (+3)

Albert Pesendorfer

Henryk Ptasznik

Tenor

Attilio Glaser

Lohengrin

Sopran (+1)

Flurina Stucki

Elsa von Brabant

Mezzosopran (+3)

Anna Smirnova

Ortrud

Baryton (+5)

Thomas Lehman

Herold królewski

Tenor (+1)

Patrick Cook

Pierwszy brabancki szlachcic

Tenor (+3)

Kieran Carrel

Drugi brabancki szlachcic

Baryton (+3)

Kyle Miller

Trzeci brabancki szlachcic

Baryton (+2)

Daniel Nicholson

Czwearty brabancki szlachcic

Deutsche Oper Berlin

Orchestra

Orchester der Deutschen Oper Berlin

Chorus

Choir of the Deutsche Oper Berlin

Baryton (+4)

Thomas Johannes Mayer

Friedrich von Telramund

Sopran

Andrea Schwarzbach

Drugi paź

Mezzosopran

Cordula Messer

Trzeci paź

Martin Gantner

Stephanie Lloyd

Pierwszy paź

Natalie Buck

Angelika Nolte

Mezzosopran (+1)

Kristina Griep

Saskia Klumpp

Czwarty paź

Mezzosopran (+2)

Senta Aue

Election campaign in Brabant - Kasper Holten stages Wagner's LOHENGRIN as a timeless political power game: Putin arm-wrestling and digging up an antique amphora, Putin piloting a fire-fighting plane, not to forget the picture with the Siberian tiger! Putin diving, rock climbing, driving race cars and trying to squeeze a frying pan. Whether he succeeded in the latter is not documented, but that's not the point. What counts is the pose, the staging of the hero. The associated message is of course: If you want the radiant winner at the head of the state, don't ask where he came from or how he gained power, because he wants to lead you to salvation. Some politicians who beamed brightest, most confidently into the cameras in this country are no longer in office because we asked about their past and unearthed uncomfortable truths. "If you recognize him, he must pull away from you". If you imagine Lohengrin as one of those politicians who has mastered the media gesture and uses the strongest images and legends to build up a salvation myth around himself, you can easily see him as a power-political phony who senses his chance to create a new one in shattered German lands State to establish a new system, a new ideology. One can find an astonishing number of passages in Wagner's text and music that would support such a reading. Let's take the ban on asking questions, for example: Elsa's life is in danger and she is accused of murdering her brother Gottfried. Lohengrin offers her his help, but by no means unconditionally. Before he fights for her, he proposes a deal: she should marry him but never ask who he is. Of course she agrees, what else can she do? A true hero might have chosen a different order. Elsewhere, too, Lohengrin proves to be a not entirely fair partner to Elsa: he allays her panic that he might leave her again: she needn't worry if she just does what he says. A little later he reveals that he planned to stay only a year and then return to his homeland. He wasn't concerned with the woman, but with the position that she could create for him. His goal was the political game. Elsa was the stage on which he made his grand entrance. It was quite simply campaigning in Brabant. Of course, the penchant for political calculation does not make Lohengrin per se a schemer like Jago; this role is more played by Ortrud, who, as the young ambitious man’s adversary, fights to preserve the old order in the state – with her husband Telramund at his head. But to see the Swan Knight as a thoroughbred politician who is idolized despite his obvious tricks illustrates that strategic political manipulation is often perceived as a necessary tool in statecraft. Even openly hypocritical demonstrations of steadfastness, vitality and strength can mean far more to the easily influenced fearful citizen than integrity and utopian do-goodism. One could find the media hero Lohengrin sympathetic and the power struggle sporty if war weren't threatening and the devastating battle cries weren't already being heard. Given the bloodthirsty belligerence expressed in Wagner's work, and given the fact that whoever wins the election, whoever it is, will lead thousands of men to war and widow women, given the delusion that war an honorable undertaking, a worthy adventure for young men, immediately flags down every downplaying gesture towards public misleading. When a war is launched and a life-and-death struggle is called for, along the lines of “whoever is not with us is against us”, principles of common sense political judgment are put to the test, whether it is a democratic state or not an authoritarian state that pretends to be concerned about the social welfare of its citizens. Elsa understood that. She sees through Lohengrin, she questions him, exposes his narcissistic striving for power, even if she sees no alternative for her country, even if there is no successor to the ruler of Brabant given Gottfried's disappearance. If the convicted hero wants to remain in power, he must develop serious intentions and prove himself as a self-proclaimed protector of the people or in other cases as a "flawless democrat", because from now on he will be under surveillance. He must assert himself without the armor of myth and renounce the charisma of being guided by a foreign power. And then we'll see.

Lohengrin, Wagner, Richard

Obsada

Heinrich der Vogler

Lohengrin

Elsa von Brabant

Ortrud

Der Heerrufer des Königs

Erster brabantischer Edler

Zweiter brabantischer Edler

Dritter brabantischer Edler

Vierter brabantischer Edler

Friedrich von Telramund

Zweiter Edelknabe

Dritter Edelknabe

Erster Edelknabe

Vierter Edelknabe

Załoga

Reżyseria

Dyrygent

Scenografia

Kostiumy

Przygotowanie chóru

Reżyseria światła

Instrumentacja

Producent

Producent

Ensemble

Orkiestra

Chór

Współproducent

Zdjęcia

Szczegóły

Kompozytor / -ka

Libretto

Opis

Synopsis produkcji