Organization

Cantante

Barítono

Bjørn Waag

Frank

Fritz

Tenor

Burkhard Fritz

Paul

Norbert Schmittberg

Papel mudo

Majken Bjerno

Marietta

Richetta Manager

Mezzosoprano

Anna Agathonos

Brigitta

Anke Sieloff

Soprano

Alfia Kamalova

Juliette

Lucienne

Lars Rühl

Victorin

William Saetre

E. Mark Murphy

Conde Albert

Director(a) orquestal

Heiko Mathias Förster

Director(a) de escena

Thilo Reinhardt

Escenógrafo(a)

Wilfried Buchholz

Diseñador(a) de vestuario/Figurinista

Gisa Kuhn

Director(a) coral

Christian Jeub

Dramaturgia

Juliane Schenk

Rasmus Baumann

Musiktheater im Revier

Die tote Stadt -  (La Ciudad Muerta)

Gelsenkirchen

Alemania

Die tote Stadt Korngold

Public

La Ciudad Muerta

Válido

Paul lives in his home in Bruges solely in memory of his late wife Marie. Everything changes when he meets the dancer Marietta, in whom he believes he sees a rebirth of Marie. As she leaves him for a rehearsal of her theater company, Paul sees the deceased Marie stepping out of the painting. Moments later, Marietta is standing in front of him again. She then spends the night with him at his house. The next morning, during a procession passing in front of the house, she asks him to kiss her and provokes him. Paul lunges at her and strangles her. Then he wakes up and realizes how deceptive it is to substitute a dream for reality. He will leave Bruges, the dead city.
Knapp über zwanzig Jahre alt war Erich Wolfgang Korngold, hoch gepriesenes Wunderkind, als er 1920 dieses einzigartige Werk schrieb. Im amerikanischen Exil erhielt er für eine seiner Filmmusiken einen Oscar, doch seine Opern fanden im Europa der 1940er Jahre keine rechte Bleibe mehr. Ihm wurde vorgeworfen, er sei ein verwegener Spätromantiker mit Puccini- oder Strauss-Anstrich. Das Gegenteil ist der Fall. In einer expressiven, präzis strukturierten Partitur schafft Korngold die waghalsige Gratwanderung, eine erotische Phantasmagorie mit einer einprägsamen Studie eines verzweifelten einsamen Menschen zu vereinen. Und er erzählt am Ende eine Hinwendung zum Leben – ein ungewöhnlicher wie faszinierender Opernschluss.

Deutsch

Paul lives in his home in Bruges solely in memory of his late wife Marie. Everything changes when he meets the dancer Marietta, in whom he believes he sees a rebirth of Marie. As she leaves him for a rehearsal of her theater company, Paul sees the deceased Marie stepping out of the painting. Moments later, Marietta is standing in front of him again. She then spends the night with him at his house. The next morning, during a procession passing in front of the house, she asks him to kiss her and provokes him. Paul lunges at her and strangles her. Then he wakes up and realizes how deceptive it is to substitute a dream for reality. He will leave Bruges, the dead city.
Erich Wolfgang Korngold, the highly praised child prodigy, was just over twenty years old when he wrote this unique work in 1920. In American exile he received an Oscar for one of his film scores, but his operas found no real home in Europe in the 1940s. He was accused of being a daring late romantic with a Puccini or Strauss touch. The opposite is the case. In an expressive, precisely structured score, Korngold manages to walk the daring tightrope of uniting an erotic phantasmagoria with a memorable study of a desperate, lonely person. And at the end he tells a turning to life - an unusual and fascinating opera ending.

English

La Ciudad Muerta by Korngold, De (2010/2010), Dirigido por Thilo Reinhardt,, Director Heiko Mathias Förster, Rasmus Baumann, Musiktheater im Revier, Gelsenkirchen, Alemania

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