Name: Dead Man Walking
Start: 2019-01-13T00:00:00.000Z
End: 2019-03-29T00:00:00.000Z
Location: Stadttheater

Organization

Singer

Mezzo-soprano

Nohad Becker

Sister Helen Prejean

Baritone

Evgueniy Alexiev

Joseph De Rocher

Katja Starke

Mrs. Patrick De Rocher

Tenor

Nico Nefian

Older Brother

Child vocalist

Elian Latussek

Younger Brother

Soprano

Cornelie Isenbürger

Sister Rose

Dumitru Bogdan Sandu

Howard Boucher

Patricia Forbes

Jade Boucher

Frank Dolphin Wong

Owen Hart

Melanie Kreuter

Kitty Hart

Lorin Wey

Father Grenville

Moon Soo Park

George Benton

2. Prison Guard

Caio Monteiro

A Motor Cop

Yoshiaki Kimura

1. Prison Guard

Vuokko Kekäläinen

Sister Lillianne

Sofio Maskharashvili

Eteri Kochodze-Büttemeier

Sister Catherine

Mădălina Sandu

Orsolya Ercsényi

A Mother

Evelina Quilichini

Vera Freese

Mrs. Charlton

Elena Schneider

In-Kwon Choi

Fünf Gefängnisinsassen

Young Sung Im

Tae-Woon Jung

Paata Tsivtsivadze

Yun Geun Choi

Mark Coles

Lutz Laible

Ramon Riemarzik

Conductor

Gregor Rot

Stage director

Wolfgang Nägele

Set designer

Stefan Mayer

Costume designer

Hannah König

Theater Bielefeld

angļu

Dead Man Walking

Bielefeld

Germany

Stadttheater

Dead Man Walking Heggie

vācu

Approved

Dead Man Walking Jake Heggie

von Jake HeggieOper in zwei Akten // Libretto von Terrence McNally nach dem gleichnamigen Buch von Sister Helen Prejean // Auftragswerk der San Francisco Ope...

»Dead Man Walking!« is the cry of American prison wardens when a death row inmate starts his walk to the execution. Sister Helen Prejean chose this reputation as the title of her book in which she describes her encounter with a death row inmate. Sister Helen's experiences are also the focus of Jake Heggie's opera of the same name. After having only exchanged pastoral letters with Joseph de Rocher, who was sentenced to death for rape and murder, he now asks for a personal meeting as the date of his execution approaches. Contrary to expectations, Helen does not find a repentant sinner, but a perpetrator who denies his guilt and only hopes for her support and spiritual guidance in his plea for pardon. Sister Helen does not have to and does not want to decide about his guilt, but she cannot refuse him Christian support. During the time she spends in prison, her core beliefs and beliefs are severely tested. She discovers the human side of the murderer, gets to know his family - but is also confronted with the deep suffering of the victims' relatives, who react with incomprehension to their commitment to the right to life of a proven guilty party.

The opera leaves no doubt as to the guilt of the condemned man. But what begins as a morally clear story quickly leads into the gray area between guilt and responsibility, revenge and forgiveness. Jake Heggie's suggestive and exciting musical language, which, in addition to operatic elements, incorporates American musical styles such as blues and gospel and does not deny its proximity to film music, opens up direct and emotional access to a topic that initially seems unusual for the opera stage: the justification of the death penalty.

English

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