Name: Satyricon
Start: 2013-01-23T00:00:00.000Z
End: 2013-01-23T00:00:00.000Z
Location: Theater an der Wien

Organization

Cantante

Tenore

Christoph Homberger

Trimalchio

Soprano

Ursula Langmayr

Criside

Johanna von der Deken

Quartilla

Basso

Colin Mason

Niceros

Basso-baritono

Gerd Kenda

Eumolpus

Direzione d'orchestra

Emilio Pomárico

Mezzosoprano

Janina Baechle

Fortunata

MusikTheater an der Wien

Others

Klangforum Wien

Satyricon

Vienna

Austria

Theater an der Wien

Approvato

Accordionist

Strumento

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianista

Recorder Player

Saxophonist

Suonatore di flauto

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinista

Violino Piccolo Player

Violista

Altro

Ballando

Chorus Director

Composizione

Coreografia

Coro

Costumi

Direzione del coro

Docente di canto

Drammaturgia

Emittente radiotelevisiva

Extra

Illustrator

Insegnante

Libretto

Luci

Maestro ripassatore

Orchestra

Orchestra Operations

Parrucco

Photographer

Poet

Produzione esecutiva

Recitazione

Regia

Scenografia

Stage Manager

Suono

Traduzione

Trucco

Video

Wig & Makeup Designer

Writer

Writing and performance

Baritono

Controtenore

Contralto

Alto

Continuo

Mimi

Narrazione

Voce bianca

In his only partially preserved novel Satyriconthe Roman senator Titus Petronius castigates the perverted debauchery of the nouveau riche upper class in Rome at the time of Nero. Petronius, nicknamed the “arbiter” because he was Nero's “arbiter” of elegance, portrays the political and social decadence of a society on the edge of the abyss with apparent naivety. In 1973, the year he died, Bruno Maderna set the satirical inventory of a society that was dissolving to music. The focus is on the Trimalchio's feast. The former slave has achieved immeasurable wealth, which he flaunts on display in a feast. Maderna worked on this part musically and uncovered the parallels to the twentieth century by means of contemporary expression. The piece avoids any moralizing statement, but creates cross-references through the musical collage technique to the present day. Maderna self-deprecatingly claimed that not a single note was from him. In disordered, loosely arranged scenes, which can be supplemented by recordings, he paints the picture of a society that is bound to perish due to its own decadence. In complete isolation, only music can comfort the broken souls.

English

Satyricon by Maderna, mer 23 gen 2013, Da (2013/2013), Direttore d'orchestra Emilio Pomárico, Theater an der Wien, Vienna, Austria

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