Name: Die Fledermaus
Start: 2022-12-08T00:00:00.000Z
End: 2022-12-20T00:00:00.000Z
Location: KC Janeza Trdine

Artist

Dirigent

Jakob Barbo

Regissör

Eva Hribernik

Scenograf

Jaro Jese

Kostym designer

Sandra Dekanić

Koreograf

Mojca Horvat

Sångare

Tenor

Klemen Torkar

Gabriel von Eisenstein

Gregor Ravnik

Alfred

Soprano

Jerica Steklasa

Rosalinde

Mezzo-soprano

Irena Yebuah Tiran

Prinz Orlofsky

Baritone

Marko Erzar

Frank

Lovro Korošec

Dr Falke

Lucas Somoza Osterc

Slepko

Zavod Novo mesto

Die Fledermaus -  (Läderlappen)

Producer

Novo mesto

Slovenien

KC Janeza Trdine

Die Fledermaus Strauss II,J

Public

Private

Läderlappen

Pending

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da Gambist

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Broadcasting

Chorus Director

Dansare

Dramaturg

Exekutiv producent

Extra

Hårstylist

Illustrator

Kompositör

Kör

Körledare

Librettist

Ljud designer

Ljus designer

Orchestra Operations

Orkester

Other

Photographer

Poet

Repetitör

Skådespelare

Sminkartist

Stage Manager

Teacher

Tolk

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Bass

Bass-baritone

Contralto

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

The Bat (Die Fledermaus) is an operetta in three acts by Johann Strauss Jr. Strauss is known to have completed the score in six weeks, forty-two nights. Forty-two is an enigmatic number, the number of the marathon, which represents the limit when we reach the last drops of our strength, through all the doubts and questionings we reach the catharsis of the conquered goal, the fulfillment of ambitions, the complete completion of the action. He completed the last bars on New Year's Eve in 1873. The performance was first staged on April 5, 1874 at the Theater an der Wien in Vienna under the direction of the composer himself. With Netopir, Strauss went from operetta to musical comedy.

 

The complicated story of pretences, disguises, scheming and deception was written by librettists Karl Haffner and Richard Genée based on the motifs of Benedix's farce. The Novomeš performance remains faithful to the original libretto, but at the same time updates the story with the aim of opening up new possibilities for its interpretation. So it moves away from the classic staging of the legendary Bat. In this performance, the protagonists of the story become "actors" who enter various roles, have fun under the "masks" of various stereotypes (husband, wife, maid, lover...) and create a theatrical performance for themselves. In this way, the act as an illusion is repositioned as a "theatre within a theater".

 

What does that mean? We all play different roles in life, at times we put ourselves in the roles of other people, hide or expose ourselves in them, twist events and redirect the flow of relationships and consequences, and in this way we create new worlds, new challenges, new solutions and new mirrors. Sometimes we come to a point where we have to reinvent ourselves, find ourselves in all the roles we play, and ask ourselves who we really are - the one writing the story or the one reading it.

 

The transformative power of theater, which we try and taste in the Novi Sad performance of The Bat, offers the audience a multifaceted, holistic experience that touches their depths as well. Forty-two in answer to all questions.

English

Netopir (Die Fledermaus) je opereta v treh dejanjih Johanna Straussa ml. Znano je, da je Strauss partituro končal v šestih tednih, v dvainštiridesetih nočeh. Dvainštirideset je enigmatična številka, številka maratona, ki predstavlja tisto mejo, ko pridemo do zadnjih kapljic svojih moči, skozi vse dvome in preizpraševanja dosežemo katarzo osvojenega cilja, izpolnitev ambicij, celostno zaokroženje dejanja. Zadnje takte je zaključil na silvestrovo leta 1873. Krstno je bila predstava uprizorjena 5. aprila 1874 v Theater an der Wien na Dunaju pod vodstvom skladatelja osebno. Strauss je z Netopirjem od operete segel do glasbene komedije.

 

Zapleteno zgodbo pretvarjanj, preoblačenj, spletkarjenja in sprenevedanja sta po motivih Benedixove farse napisala libretista Karl Haffner in Richard Genée. Novomeška uprizoritev ostaja zvesta izvirnemu libretu, hkrati pa zgodbo aktualizira z namenom odpiranja novih možnosti njene interpretacije. Torej se odmika od klasične uprizoritve legendarnega Netopirja. Protagonisti zgodbe v tej uprizoritvi postanejo »igralci«, ki vstopajo v različne vloge, se pod »maskami« takih in drugačnih stereotipov (mož, žena, sobarica, ljubimec ...) zabavajo ter sami sebi ustvarjajo gledališko predstavo. Na ta način dejanje kot iluzijo prestavljamo kot »gledališče v gledališču«.

 

Kaj to pomeni? Vsi v življenju igramo različne vloge, se na trenutke postavljamo v vloge nekih drugih ljudi, se v njih prikrijemo ali izpostavimo, zasučemo dogajanja in preusmerimo tokove odnosov in posledic, na ta način pa ustvarjamo nove svetove, nove izzive, nove rešitve in nova zrcala. Včasih pridemo do točke, ko se moramo spet oblikovati, poiskati samega sebe v vseh vlogah, ki jih igramo, in se vprašati, kdo v resnici smo – tisti, ki zgodbo piše, ali tisti, ki jo bere.

 

Transformativna moč gledališča, ki jo v novomeški uprizoritvi Netopirja preizkušamo in okušamo, gledalcem ponuja večplastno, celostno izkušnjo, ki se dotakne tudi njihovih globin. Dvainštirideset kot odgovor na vsa vprašanja.

slovenščina

Läderlappen by Strauss II, Från (2022/2022), Regisserad av Eva Hribernik,, Dirigent Jakob Barbo, KC Janeza Trdine, Novo mesto, Slovenien

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