Organization

Singer

Baritone

Jarrett Ott

Faust

Tenor

Kai Kluge

Ariel

Conductor

André de Ridder

Chorus master

Manuel Pujol

Bernhard Moncado

Soprano

Esther Dierkes

Gretchen

Bass

David Steffens

Mephistopheles

Others

Children's Choir of the Stuttgart Opera

Staatsopernchor der Oper Stuttgart

Orchestra

Mitglieder des Staatsorchesters Stuttgart

Staatsoper Stuttgart

Ġermaniż

Szenen aus Goethes Faust -  (Scenes from Goethe's Faust)

Stuttgart

Germany

Kultur- und Kongresszentrum - Liederhalle

Ludwigsburg

Forum am Schlosspark

Szenen aus Goethes Faust Schumann,R

Public

Scenes from Goethe's Faust

Approved

"I'm not a lady, neither beautiful, can go home unguided" - with this masterful punch line of female empowerment, Gretchen actually had what it takes to evade Faust's advances once and for all. And if it hadn't been for the devil, the story of the two would probably have come to an end soon after their first meeting. Unfortunately, Robert Schumann did not set this sentence to music in his scenes from Goethe's Faust. For him, Gretchen is above all the cue for Faust's transfiguration, in which, after she has transformed into a nameless penitent - "Una poenitentium (otherwise called Gretchen)" - she carries Faust's "immortal" towards the eternally feminine. In addition to this certainty of salvation, it was above all the "2 souls, 1 breast" inner turmoil of Goethe's Faust figure that interested Robert Schumann. His Faust scenes are neither opera nor oratorio, but "scenes" from Goethe's Faust, which stand side by side relatively unconnected. This open form draws attention to the in-between, to what has not been said (see above) and not shown, it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. His Faust scenes are neither opera nor oratorio, but "scenes" from Goethe's Faust, which stand side by side relatively unconnected. This open form draws attention to the in-between, to what has not been said (see above) and not shown, it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. His Faust scenes are neither opera nor oratorio, but "scenes" from Goethe's Faust, which stand side by side relatively unconnected. This open form draws attention to the in-between, to what has not been said (see above) and not shown, it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. that stand relatively unconnected next to each other. This open form draws attention to the in-between, to what has not been said (see above) and not shown, it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. that stand relatively unconnected next to each other. This open form draws attention to the in-between, to what has not been said (see above) and not shown, it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. it enables other constellations and perspectives. It also makes it possible to oppose other positions to the double-framed view – Goethe and Schumann – of the transfiguration of the one who “always strives hard”. “Open” is also the formal approach with which the team around director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. with which the team led by director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space. with which the team led by director Marco Štorman and conductor André de Ridder deals with Schumann's composition. Outside the opera house they will transform this border-breaking material into a Faust or Gretchen or maybe Mephisto possibility space.

English

Scenes from Goethe's Faust by Schumann, Minn (2022/2022), Surmast Direttur André de Ridder, Kultur- und Kongresszentrum - Liederhalle, Stuttgart, Germany

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