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Nina Maria Plangg

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Daniel Mavambu Biba

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Anderson Pinheiro da Silva

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Kristine Tornquist

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Andrea Költringer

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Markus Kuscher

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Edgar Aichinger

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Theresa Busch

sirene Operntheater

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Universität für Musik und darstellende Kunst Wien

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Siren Opera Theater Vienna 2011
https: //www.sirene.at/archiv/2011-201 ... | https: //www.sirene.at/site/assets/fil ...
Switch on subtitles! TÜRKENKIND A chamber opera by Kristine Tornquist and Wolfram Wagner based on the story of Maria Theresa Turkenkind by Irène Montjoye Text:https: //www.sirene.at/site/assets/fil ...
Music: https: //www.sirene.at/site/assets/fil ...

August 16, 2011 | Reichenau Castle an der Rax, Austria September 14, 16, 17, 20, 2011 | Schlosstheater Schönbrunn, Vienna October 4th, 5th 2012 | Egyptian State Opera, Cairo in cooperation with the Austrian Cultural Forum Cairo 1. Picture:0:00:00Vienna 1803, a cozy room. 2nd picture:0:10:41Vienna 1748, in Frau Wachtinger's house. 3rd picture:0:19:48Vienna 1747, in Frau Wachtinger's house. 4th picture:0:29:59Vienna 1746, in Frau Wachtinger's house. 5th picture:0:34:18Vienna 1745, train to the Hofburg. 6th picture:0:41:49Constantinople 1743, in court in Pera. 7th picture:0:47:24Constantinople 1742, in the house of the merchant Mustafa Resmi. 8th picture:0:57:55Constantinople 1742, in the monastery of the Trinitarians. 9th picture:1:00:33In an empty world. It is very dark, Anna Maria is cold and very alone. applause1:07:40 

Anna Maria von Mohrenheim's true life story begins on the Black Sea with her parents' death from the plague. She does not know where she lives, how old she is or what people or religion she belongs to. She is kidnapped and taken to Constantinople, where she is sold as a slave to a wealthy merchant. The son of the house becomes a problem for the growing girl. She manages to take refuge in the monastery of the Trinitarians who buy slaves in Turkey. A Turkish judge decides to release her, and the priests pay the ransom. In Vienna, ransomed slaves are led through the city in a festive procession and entertained in the Hofburg. Anna Maria, the youngest liberated, likes Maria Theresa so much that she adopts the "Turkish child", she has Anna Maria Regina baptized and gives her an apanage. Anna Maria marries Johann Mohrenheim a little later, who, like her, comes from Constantinople. Anna Maria dies in 1803 as a respected wife and mother of four children. In today's words Anna Maria is a refugee, an immigrant and an example of optimal integration. The reasons for migration are still catastrophes, wars, mortal danger in dictatorships and poverty - and so asylum is a question of survival and dignity, it must be a human right. Unlike today's immigrants in Austria, Anna Maria was welcomed with generosity, joy and openness. Turkish child. Nina Maria Edelmann (formerly Plangg) Two angels. Daniel Mavambu Biba. Anderson Pinheiro da Silva musical director. Jury Everhartz Director. Kristine Tornquist libretto. Kristine Tornquist Music. Wolfram Wagner story. Irène Montjoye stage. Andrea Költringer costume. Markus Kuscher light / technology. Edgar Aichinger flute. Ting-Wei Chen oboe. Viktoria Theisl clarinet. Katharina Schweitl bassoon. Agnes Fejes trumpet. Johannes Paul Lugger Horn. Michael Niederegger trombone. Stefan Gottwald violin. Chih-Hong Tseng viola. Yushan Li violoncello. Zsofia Meszaros double bass. Imre Kristof Sziman percussion. Robin Prischink Oud (Arabic lute). Asim Al-Chalabi accompanist: Gernot Schedlberger. Benjamin McQuade. Tatjana Kandyba production. Johannes Meissl. Silke Anger. Stephan Polzer. Georg Steker PR and Public Relations. Silke Anger. Laura Thelen. Stefanie Reichl. Jury Everhartz Coproduction with the International Summer Academy Prague-Vienna-Budapest of the University of Music and Performing Arts in Vienna. A siren production Wolfram Wagner realized a libretto by Kristine Tornquist, the principal, known for outstanding projects, directed this production in the Schlosstheater Schönbrunn. The plot is based on the true life story of a refugee child from the time of Maria Theresa, recorded by Irène Montjoye. At Tornquist, the wealthy widow Anna Maria von Mohrenheim remembers from back to front: wedding, adoption, escape from Constantinople, youth as a slave in Turkey until she is where it all began, on the Black Sea. Nina Plangg's vocal marathon, which is easy to understand and has to be present almost alone for 70 minutes and changes her clothes on the open stage, demands respect. Wolfram Wagner is very good at the instrumentation for a total of 13 musicians, for whom an Arabic lute plays an important role in the oriental scenes. Two dancer-acrobats as "angels" accompany the main character, help her with changing clothes and provide entertainment. Austrian music magazine, Volume 66, Issue 6, Heinz Rögl

Schlosstheater Schönbrunn

Kairo

Ägypten

Cairo Opera House

Reichenau an der Rax

Schloss Reichenau

Türkenkind: Türkenkind Wagner,W

Tuerkenkind

Genehmigt

Eine Gemeinschaftsproduktion von sirene, der Internationalen Sommerakademie der mdw - Universität für Musik und darstellende Kunst Wien und Das andere Podium – eine Konzertreihe an (un)gewöhnlichen Aufführungsorten | ÖGZM

Liebe Kristine, ja, damit kann ich wirklich was anfangen! Die Idee, das Ganze rückwärts aufzurollen, wird funktionieren und die Spannung aufrechterhalten. (...) Diese Notzustände sind ja das eigentlich Ergreifende, das uns auch heute interessiert, weil es ja so oft passiert. Je eindringlicher sie auf die Bühne kommen, umso besser für das ganze Vorhaben. Natürlich kann da die Musik viel machen, aber ich wäre dennoch dankbar, wenn Du Deine Feder da etwas tiefer ins Tintenfass stecken könntest, dann kann auch ich fester in die Tasten greifen...; das soll nicht verhindern, dass ich mir das gänzliche Ende des Stückes durchaus poetisch vorstelle (ist ja von Dir auch so gedacht, glaube ich). Wolfram Wagner an Kristine Tornquist

A joint production by sirene , the International Summer Academy of the mdw - University of Music and Performing Arts Vienna and The Other Podium - a concert series at (un)usual venues | ÖGZM

Dear Kristine, yes, I can really do something with that! The idea of ​​rolling the whole thing backwards will work and keep the tension. (...) These states of emergency are what is really poignant and what interests us today, because it happens so often. The more forcefully they come on stage, the better for the whole project. Of course the music can do a lot, but I would still be grateful if you could stick your pen a little deeper into the inkwell, then I can also grip the keys more firmly...; That shouldn't prevent me from imagining the entire end of the piece in a poetic way (I think that's how you intended it). Wolfram Wagner to Kristine Tornquist

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