Organization

Bergen International Festival

Conductor

Leonardo García Alarcón

Stage director

Sasha Waltz

Set designer

Alexander Schwarz

Costume designer

Bernd Skodzig

Lighting designer

Martin Hauk

Video designer

Tapio Snellman

Choreographer

Singer

Soprano

Julie Roset

Music

Tenor

Georg Nigl

Orfeo

Charlotte Hellekant

The messenger

Hope

Euridice

Bass

Alex Rosen

Caronte

Luciana Mancini

Proserpina

Konstantin Wolff

Pluto

Julian Millan

Apollo

Echo

Fourth shepherd

Cécile Kempenaers

The nymph

First shepherd

Leandro Marziotte

Second shepherd

Baritone

Fabio Trümpy

Third shepherd

Hans Wijers

Fifth shepherd

Florian Feth

Spirito

Teatro Real de Madrid

Opéra de Lille

De Nationale Opera

Orchestra

Freiburger Barockorchester

Others

Vocalconsort Berlin

Ballet

Sasha Waltz & Guests

Producer

Madrid

Spain

Teatro Real

Sala Principal

Sasha Waltz & Guests: Orfeo (adaptation) Monteverdi

Private

Public

Approved

Fra prøvene i Grieghallen 09. juni 2015Video:Karoline Finnema

The first operatic experiments in history were conceived on the ambitious premise that –in the same way as with the legendary Orfeo- it was possible to tame human passions with the voice and music: instil happiness, sadness, or even more so, bring these face to face in an abrupt manner, as when the fateful messenger interrupts the wedding celebrations in the second act of this opera. It is not surprising, therefore, that the myth of the famous Thracian singer was the protagonist of some of the first titles in this genre.

The efficacy of these artifices not only concurred with Neoplatonic philosophy,  based on order and the consonance of the universe: thanks to the genius of Monteverdi , the audience of that time discovered in  L’Orfeo  the alliance between theatre and singing was a dynamic to  human experience of unexplored emotions  and unknown intensity.  The German choreographer Sasha Waltz takes on a similar challenge in her understanding of this founding work in the history of opera: the integration of the arts in a flowing continuo of seamless sound and movement, which can prevail – by way of harmony and geometry - over our own passions.

English

Los primeros experimentos operísticos de la historia se realizaron bajo la ambiciosa premisa de que -al igual que hiciera el legendario Orfeo- era posible domeñar las pasiones humanas a través del canto y la música: infundir alegría, tristeza o, más aun, confrontarlos abruptamente, como cuando la fatídica mensajera interrumpe las celebraciones nupciales en el segundo acto de esta ópera. No es de extrañar, por tanto, que el mito del célebre cantor tracio fuera protagonista de algunos de los primeros títulos de este género.

La efectividad de estos artificios no solo confirmaba –de acuerdo con las doctrinas neoplatónicas– el orden y la consonancia del universo: gracias al genio de Monteverdi, L’Orfeo descubrió al público de su tiempo que el teatro y el canto, aliados entre sí, eran capaces de ofrecer a la experiencia humana un abanico de emociones inexplorado y de una intensidad desconocida. La coreógrafa alemana Sasha Waltz asume un reto similarmente ambicioso en su lectura de esta obra fundacional del género operístico: la integración de las artes en un flujo continuo y sin costuras de sonido y movimiento capaz de dominar -armonía y geometría mediantes- nuestras propias pasiones.

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