Name: Marilyn forever
Start: 2020-02-08T00:00:00.000Z
End: 2020-02-14T00:00:00.000Z
Location: Saarländisches Staatstheater

Organization

Soprano

Katja Reichert

Marilyn Monroe

Marie Smolka

Baritone

Stefan Röttig

Rehearsal Director

Conductor

Stefan Neubert

Stage director

Barbara Schöne

Set designer

Davide Raiola

Lukas Eder

The Tritones

Timo Verse

Chadi Yakoub

Nils Hollendieck

Lighting designer

Patrik Hein

Costume designer

Dramaturge

Renate Liedtke

Saarländisches Staatstheater

Orchestra

Saarländische Staatsorchester

Others

Statisterie des Saarländischen Staatstheaters

английски

Marilyn forever

Saarbrücken

Germany

Staatstheater

Marilyn forever Bryars

Public

Samabedona Majumder

немски

Approved

What the Lady of the Camellias was to the nineteenth century, Monroe was to the twentieth century. A woman loved by millions who always felt unloved. The English composer Gavin Bryars created an opera about the movie star who became the sex symbol of a global male community. But who was the person behind the blonde who played a role that the film producers suggested to her? Gavin Bryar's opera begins on the night Marilyn Monroe will die – it's August 6, 1962. Her life flickers past her like in short film scenes. There's little orphan Norma Jeane, who trains a sexy smile as a teenager, there's the abused young actress. Bryars, who often collaborated with British singer Tom Waits, forms a sensitive revue of the downfall from these stages of Monroe's life. A classical chamber ensemble and a jazz trio provide the soundtrack, reminiscent of the 1960s, accompanying the singer, a fictional film director and a small choir. Bryars composes quite melodious music. His »Jesus Blood Never Failed Me Yet« became legendary in the 1970s. Bryars mixed a whole symphony orchestra with the street singing of a homeless man and created a 70-minute loop that gets under your skin. That's where we crawl with Bryar's music with Marilyn, who we get closer to as a person than in any of her films. Barbara Schöne was celebrated as a »director of exceptional format« for her productions »Don Giovanni« and »Evita« and in the trade journal »Opernwelt« her work was acknowledged to be »sharp, precise and immensely entertaining« across genres. In her productions, Barbara Schöne combines authenticity with modern design elements. Her innovative directing style is characterized by a precise and jointly developed character guidance with the actors

English

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