Organization

Cantante

Mezzosoprano

Rachael Wilson

Charlotte

Soprano

Aoife Gibney

Sophie

Baritono

Paweł Konik

Albert

Basso

Shigeo Ishino

Il Borgomastro

Regia

Felix Rothenhäusler

Luci

Reinhard Traub

Costumi

Elke von Sivers

Scenografia

Katharina Pia Schütz

Drammaturgia

Franz-Erdmann Meyer-Herder

Direzione del coro

Bernhard Moncado

Direzione d'orchestra

Killian Farrell

Tenore

Atalla Ayan

Werther

Others

Children's Choir of the Stuttgart Opera

Orchestra

Mitglieder des Staatsorchesters Stuttgart

Staatsoper Stuttgart

francese

Stoccarda

Germania

Opernhaus

Werther Massenet

Public

Approvato

It is not for nothing that the subject of “love without regard to loss” keeps becoming a trend in literature: the fact that the feelings of individuals as a radically lived out alternative to civil coexistence can sometimes go beyond forms of peaceful coexistence has a seductive power. Johann Wolfgang von Goethe's Sturm und Drang classic The Sorrows of Young Werther from 1774 has become world-famous as a partly autobiographical, partly based on the suicide of an acquaintance. Goethe himself was long troubled by Werther, with whom he had "healed" his unhappy love for the married Charlotte Buff. As late as 1824 he said: “They are nothing but incendiary rockets! – It makes me feel uncanny and I'm afraid to relive the pathological condition from which it arose. The Frenchman Jules Massenet went one step further in his interpretation of this trendsetter text for an entire European generation in 1892: With exuberantly emphatic music, he portrays Werther as an emotional terrorist, whose promise of a different life Charlotte goes dangerously far into the bargain. Director Felix Rothenhäusler and his team, together with conductor Marc Piollet, have created a musical and scenic space that throws Werther and Charlotte into an arena in which they go berserk and ask what kind of intensity experience we are looking for in the theatre. So far (fortunately!), the opera has not provoked a “Werther effect” – suicides that imitate those of a fictional character – although the state of emergency is its core business. Love, however, according to the thesis, will set fire to what is familiar in radical affirmation. Originally conceived for the autumn of last year, the Staatsoper brings this confrontation with the most radical of all subjectivisms to the stage of the Littmann Building at the end of the season. Look forward to the internationally sought-after tenor Arturo Chacón-Cruz in the leading role and a role debut from ensemble member Rachael Wilson as Charlotte!

English

Crediti di rappresentazione (Cast e team di produzione )

Cast

Team creativo

Ensemble