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Soprano

Ausrine Stundyte

Renata

Baritone

Leigh Melrose

Ruprecht

Mezzo-soprano

Liliana Nikiteanu

The Inn Hostess

Tenor

Dmitrij Golovnin

Méphistophélès

Agrippa von Nettelsheim

Agnieszka Rehlis

Fortune-Teller

The Abbess

Bass

Pavel Daniluk

Inquisitor

Bass-baritone

Stanislav Vorobyov

Johann Faust

Iain Milne

Jakob Glock

Doctor

Andrzej Filończyk

Mathias

The Inn keeper in Köln

Dimitri Pkhaladze

Servant

Silent

Ernst Alisch

Count Heinrich

Conductor

Gianandrea Noseda

Stage director

Calixto Bieito

Set designer

Rebecca Ringst

Costume designer

Ingo Krügler

Lighting designer

Franck Evin

Chorus master

Jürg Hämmerli

Dramaturge

Beate Breidenbach

Opernhaus Zürich

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Chor der Oper Zürich

Orchestra

Philharmonia Zürich

Russian

The Fiery Angel

Zurich

Switzerland

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German

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www.opernhaus.ch/derfeurigeengelOper von Sergej ProkofjewMusikalische Leitung: Gianandrea NosedaInszenierung: Calixto BieitoBühne: Rebecca RingstKostüme: Ing...

The Fiery Angel Prokofiev,S

The music in Sergei Prokofiev's opera “The Fiery Angel” is like a good soundtrack. Gianandrea Noseda conducts the new production in Zurich and explains the special features of this composition.

Behind the curtain: Gianandrea Noseda conducts “The Fiery Angel” - Zurich Opera House

Der feurige Engel
Als Renata noch ein Kind war, erschien ihr ein Engel aus Licht, der sich Madiel nannte; von da an gab es in Renatas Leben nur noch Madiel. Doch als sie älter wurde und sich auch körperlich mit ihrem Engel vereinigen wollte, verliess Madiel sie; seitdem ist Renata auf der Suche nach ihm – und nach der absoluten, vollkommenen, entgrenzten Liebe. In einem heruntergekommenen Wirtshaus trifft nun Ruprecht auf Renata, die sich von Dämonen verfolgt glaubt und noch immer verzweifelt auf der Suche ist nach Madiel. Renata scheint Ruprecht zunächst leichte Beute für eine Nacht zu sein. Doch er verfällt der innerlich zerrissenen, von Wahnvorstellungen gequälten Frau schliesslich fast bis zur Selbstaufgabe. Gemeinsam begeben sich Renata und Ruprecht auf die Suche nach Madiel: Vor dem Hintergrund des dunkelsten deutschen Mittelalters, in dem weibliche Sexualität verteufelt und die Liebe lebende Frauen als Hexen verbrannt wurden, beginnt für beide eine bedrohliche Reise in physische und psychische Extreme, die mit Renatas Hinrichtung durch die Inquisition ihr brutales Ende findet. In seinem gleichnamigen Roman – der Vorlage zu Prokofjews Oper – hatte Valerij Brjussow ganz im Sinne der Forderung der russischen Symbolisten, Leben und Kunst vollständig zur Deckung zu bringen, eigene Erfahrungen verarbeitet. Für Prokofjew sollte seine wohl düsterste Oper zugleich zu seiner schmerzhaftesten künstlerischen Erfahrung werden: Nachdem zunächst neben Paris auch Berlin und New York Interesse am 1928 vollendeten Feurigen Engel gezeigt hatten, kam es erst nach Prokofjews Tod 1955 zur szenischen Uraufführung des vielschichtigen Werkes, dessen Hauptfigur nicht zuletzt Prokofjews eigene Zerrissenheit zwischen christlichem Glauben und entfesselten Begierden, zwischen Ordnung und Exzess widerspiegelt. Nach seinen erfolgreichen Soldaten arbeitet Regisseur Calixto Bieito erneut am Zürcher Opernhaus; mit Gianandrea Noseda steht ein ausgewiesener Kenner des russischen Repertoires am Pult. In der anspruchsvollen Rolle der Renata debütiert die litauische Sopranistin Ausrine Stundyte.

Deutsch

The Fiery Angel
When Renata was still a child, an angel of light called herself Madiel appeared to her; from then on there was only Madiel in Renata's life. But when she got older and also wanted to physically unite with her angel, Madiel left her; since then Renata has been looking for him - and for absolute, perfect, limitless love. In a run-down inn, Ruprecht meets Renata, who believes she is being pursued by demons and is still desperately looking for Madiel. Renata initially seems to be easy prey for Ruprecht for one night. But he finally falls for the inwardly torn woman, tormented by delusions, almost to the point of self-abandonment. Together, Renata and Ruprecht go in search of Madiel: Against the background of the darkest German Middle Ages, in which female sexuality is demonized and women living in love are burned as witches, a threatening journey into physical and psychological extremes begins for both of them, which finds its brutal end with Renata's execution by the Inquisition. In his eponymous novel - the model for Prokofiev's opera - Valery Bryussov worked through his own experiences, in line with the demand of the Russian Symbolists to bring life and art completely together. For Prokofiev, what was probably his darkest opera was to become his most painful artistic experience at the same time: after Paris, Berlin and New York initially developed an interest in 1928 which comes to a brutal end with Renata's execution by the Inquisition. In his eponymous novel - the model for Prokofiev's opera - Valery Bryussov worked through his own experiences, in line with the demand of the Russian Symbolists to bring life and art completely together. For Prokofiev, what was probably his darkest opera was to become his most painful artistic experience at the same time: after Paris, Berlin and New York initially developed an interest in 1928 which comes to a brutal end with Renata's execution by the Inquisition. In his eponymous novel - the model for Prokofiev's opera - Valery Bryussov worked through his own experiences, in line with the demand of the Russian Symbolists to bring life and art completely together. For Prokofiev, what was probably his darkest opera was to become his most painful artistic experience at the same time: after Paris, Berlin and New York initially developed an interest in 1928After Prokofiev 's death in 1955, after Prokofiev's death in 1955, the multi-layered work had its premiere, the main character of which not least reflects Prokofiev's own conflict between Christian faith and unleashed desires, between order and excess. After his successful soldiers , director Calixto Bieito works again at the Zurich Opera House; Gianandrea Noseda, a proven connoisseur of the Russian repertoire, is on the podium. The Lithuanian soprano Ausrine Stundyte makes her debut in the demanding role of Renata.

The Fiery Angel by Prokofiev, From (2017/2017), Directed by Calixto Bieito,, Conductor Gianandrea Noseda, Opernhaus, Zurich, Switzerland

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