Organization

Cantante

Soprano

Esther Dierkes

Rusalka

Tenor

David Junghoon Kim

Príncipe

Mezzosoprano

Katia Ledoux

Jezibaba

Director(a) de escena

Bastian Kraft

Director(a) orquestal

Oksana Lyniv

Diseñador(a) de vestuario/Figurinista

Jelena Miletić

Escenógrafo(a)

Peter Baur

Dramaturgia

Franz-Erdmann Meyer-Herder

Director(a) coral

Manuel Pujol

Bajo

Goran Jurić

Vodník

Barítono

Angel Macías

Cazador

Torsten Hofmann

Guardabosque

Alexandra Urquiola

El niño de la cocina

Catriona Smith

Segunda ninfa

Leia Lensing

Tercera ninfa

Diseñador(a) de iluminación

Gerrit Jurda

Diseñador(a) de video

Sophie Lux

Natasha Wilson

Primera ninfa

Allison Cook

Princesa

Orchestra

Mitglieder des Staatsorchesters Stuttgart

Others

Staatsopernchor der Oper Stuttgart

Staatsorchesters Stuttgart

Staatsoper Stuttgart

checo

Stuttgart

Alemania

Opernhaus

Rusalka Dvořák,A

Public

alemán

inglés

Válido

Allison Cook - Rusalka - Stuttgart

In this forest the longing for transformation pulls from both sides (with sometimes radical consequences): The mermaid Rusalka wants to become a person in order to be able to love the prince in the light of day, but has to give up shape and voice. The prince, on the other hand, to whom everything can belong in the order of the human world, must have led the search for something specific to Rusalka's mysterious pond during the night. Many versions of this story (HC Andersen, Melusine, Disney's Arielle and many more) have been interpreted through queer readings as a portrait of a life that is only possible in secret and the pain associated with it. Following this line of thinking, director Bastian Kraft depicts the hybrid forest and water creatures in Antonín Dvořák's ghostly beautiful opera Rusalka, which tells the story of parallel worlds at nightDrag and burlesque performers to the side. With their imaginative, fluid performance of gender that speaks of freedom, they counteract a world that is thoroughly obsessed with fixed role models. In Rusalka's case, however, the rifts of this otherness cannot be bridged without a voice (and without a common language of desire): a foreign princess, as the long arm of the norm, ultimately poisons the love between the prince and the incarnate mermaid. In his operatic debut, Bastian Kraft examines what a world should look like in which difference no longer means incompatibility, in an empathic examination of the permeability of boundaries and the opportunities for metamorphosis. The musical direction is in the hands of the Ukrainian star conductor Oksana Lyniv

English

Rusalka by Dvořák, De (2022/2022), Dirigido por Bastian Kraft,, Director Oksana Lyniv, Opernhaus, Stuttgart, Alemania

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