Organization

Singer

Soprano

Josefine Mindus

Euridice

Tenor

Dominik Köninger

Orfeo

Maria Fiselier

Proserpina

Bass

Tijl Faveyts

Pluto

Stefan Sevenich

Caronte

Peter Renz

Amor

Sylvia

Stage director

Barrie Kosky

Conductor

Matthew Toogood

Lighting designer

Alexander Koppelmann

Costume designer

Katharina Tasch

Set designer

Katrin Lea Tag

Choreographer

Otto Pichler

Dramaturge

Ulrich Lenz

Chorus master

David Cavelius

Love

Charon

Alexander Soehnle

Figures Orpheus and Eurydice

Komische Oper Berlin

Teatr Wielki - Opera Narodowa

Orchestra

Orchester der Komischen Oper Berlin

vokiečių

Orpheus

Berlin

Germany

Komische Oper

L'Orfeo Monteverdi

Public

Private

Approved

Zur Produktion: http://www.komische-oper-berlin.de/spielplan/orpheus/Claudio Monteverdi / Elena Kats-Chernin»Orpheus«Favola in musica in einem Prolog und fün...

Barrie Kosky's powerful and colorful staging of Orpheus begins as a boisterous celebration of music and love in a paradisiacal Arcadia and narrates Orpheus' journey through the underworld as a journey to himself. The unusual re-instrumentation by the Uzbek-Australian composer Elena Kats-Chernin is also colourful , which fully brings out the timeless modernity of the four-hundred-year-old work.

At the beginning of the history of music there is a myth: the legend of the Thracian singer Orpheus, who is able to move not only animate but also inanimate nature with his singing. With the power of his music he ventures into the underworld, a dangerous path for mortals, in order to win back his beloved Eurydice. Love and music are inextricably linked in this primal myth of an artist: is it the unconditional love for his Eurydice that moves the rulers of the underworld, or the beguiling power of his lamentation? Is it excessive love that leads to Orpheus' failure on the way back from the underworld, or is it the unbearable silence of a musicless world that makes him look back fatally?

At the beginning of the opera Orpheus , "The Music" himself appears to present the tragic love story of the title hero. Or is it not perhaps love that has become music itself? For two acts, nature and love are celebrated simultaneously in dances and songs, choirs and solo songs - until the news of Eurydice's death suddenly silences the Arcadian exuberance. But the music only stops for a moment. For just as she was previously an expression of happiness and exuberance, she now sounds tones of lamentation and sorrow, becomes hope on Orpheus' path to the underworld and, at the very end, after the renewed tragic loss of her beloved Eurydice, keeps the last word or rather: the last, consoling tone.

in the repertoire since September 16, 2012

English

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