Organization

Conductor

Elias Grandy

Stage director

Joan Anton Rechi

Set designer

Sebastian Ellrich

Costume designer

Mercè Paloma

Dramaturge

Carla Neppl

Singer

Bass

Alexander Kiechle

Henry the Fowler

Tenor

Benjamin Bruns

Lohengrin

Cosmin Ifrim

Baritone

Jukka Rasilainen

Fredrick of Telramund

Soprano

Stéphanie Müther

Ortrud

Thomas Essl

The king's herald

Tommaso Randazzo

Second nobleman of Brabant

Daniel Pastewski

Third nobleman of Brabant

André Eckert

Fourth nobleman of Brabant

Chorus master

Lorenz Höss

Guillermo García Calvo

Steffen Balbach

Martin Lechleitner

First nobleman of Brabant

Inkyu Park

Cornelia Ptassek

Elsa of Brabant

Maraike Schröter

Theater Chemnitz

Orchestra

Robert-Schumann-Philharmonie

Others

Chor der Oper Chemnitz

Extra choir of the Chemnitz Opera

Andrea Baker

Chemnitz

Germany

Opernhaus Chemnitz

Lohengrin Wagner,Richard

Public

nemščina

Approved

On his deathbed, the Duke of Brabant had placed his two children, Elsa and Gottfried, in the care of Count Telramund.  But now Gottfried is dead and Elsa is said to be his murderer.  At least that's what Telramund claims, who is striving for power together with Ortrud.  Now the question of guilt should be clarified.  Telramund and a fighter chosen by Elsa must face off.  If the latter wins, Elsa's innocence is proven.  None of those present dare oppose Telramund.  In dire need, Elsa begs God for help and a stranger does appear.  He wants to fight for Elsa, but only on the condition that she is never allowed to ask him his name and where he comes from.  Telramund is defeated by the stranger.  Elsa happily marries her savior.  But will their trust in the stranger be big enough to accept the ban on asking questions?

 Lohengrin occupies a special position in Wagner's oeuvre.  The story of power, faith and, last but not least, the question of whether and what conditions love is allowed to impose and what role trust plays in this, occupied him as early as the early 1840s when he was dealing with Tannhäuser, and inspired only a few Years later to what is probably the most emotional music he has ever written.  When it was first heard in Weimar in September 1850, Wagner could not be there.  Because of his participation in the Dresden May Uprising, he was wanted on a warrant and had therefore fled Germany.  He then wrote to Franz Liszt, who had made the premiere in Weimar possible despite the politically difficult personal situation, with gratitude: “Dear Liszt, I was right when I wrote in the preface to the work of art of the future that not the individual, but only the togetherness could create true works of art?  Look, you have done the impossible, but believe me, everyone has to do the impossible these days in order to achieve what is in fact possible.”

 For the new Chemnitz Lohengrin production, director Joan Anton Rechi is a guest in Chemnitz for the first time.  Born in Andorra in 1968, he has worked at theaters in Barcelona, ​​Bilbao, Bogotá, Freiburg, Madrid, Mainz, Oberhausen and at the Deutsche Oper am Rhein.  His wide repertoire includes works such as Adriana Lecouvreur, Il barbiere di Siviglia, The Csárdás Princess, Król Roger, The Man from La Mancha and Salome.

On his deathbed, the Duke of Brabant had placed his two children, Elsa and Gottfried, in the care of Count Telramund. But now Gottfried is dead and Elsa is said to be his murderer. At least that's what Telramund claims, who is striving for power together with Ortrud. Now the question of guilt should be clarified. Telramund and a fighter chosen by Elsa must face off. If the latter wins, Elsa's innocence is proven. None of those present dare oppose Telramund. In dire need, Elsa begs God for help and a stranger does appear. He wants to fight for Elsa, but only on the condition that she is never allowed to ask him his name and where he comes from. Telramund is defeated by the stranger. Elsa happily marries her savior. But will their trust in the stranger be big enough to accept the ban on asking questions?

Lohengrin occupies a special position in Wagner's oeuvre. The story of power, faith and, last but not least, the question of whether and what conditions love is allowed to impose and what role trust plays in this, occupied him as early as the early 1840s when he was dealing with Tannhäuser , and inspired only a few Years later to what is probably the most emotional music he has ever written. When it was first heard in Weimar in September 1850, Wagner could not be there. Because of his participation in the Dresden May Uprising, he was wanted on a warrant and had therefore fled Germany. He then wrote to Franz Liszt, who had made the premiere in Weimar possible despite the politically difficult personal situation, with gratitude: “Dear Liszt, I was right when I wrote in the preface to the work of art of the future that not the individual, but only the togetherness could create true works of art? Look, you have done the impossible, but believe me, everyone has to do the impossible these days in order to achieve what is in fact possible.”

For the Chemnitz Lohengrin production, director Joan Anton Rechi is a guest in Chemnitz for the first time. Born in Andorra in 1968, he has worked at theaters in Barcelona, ​​Bilbao, Bogotá, Freiburg, Madrid, Mainz, Oberhausen and at the Deutsche Oper am Rhein. His wide repertoire includes works such as Adriana Lecouvreur, Il barbiere di Siviglia, Die Csárdásprincess, Król Roger, The Man from La Mancha and Salome .

English

Auf dem Sterbebett hatte der Herzog von Brabant seine beiden Kinder Elsa und Gottfried in die Obhut von Graf Telramund gegeben. Doch nun ist Gottfried tot und Elsa soll seine Mörderin sein. Das jedenfalls behauptet Telramund, der gemeinsam mit Ortrud nach der Macht strebt. Jetzt soll die Schuldfrage geklärt werden. Telramund und ein von Elsa bestimmter Kämpfer müssen gegeneinander antreten. Gewinnt Letzterer, so ist damit Elsas Unschuld bewiesen. Keiner der Anwesenden wagt es, sich Telramund entgegenzustellen. In höchster Not fleht Elsa Gott um Hilfe an und tatsächlich erscheint ein Fremder. Er will für Elsa kämpfen, doch nur unter der Bedingung, dass sie ihn nie nach seinem Namen und seiner Herkunft fragen dürfe. Telramund wird von dem Fremden besiegt. Glücklich nimmt Elsa ihren Retter zum Mann. Doch wird ihr Vertrauen in den Fremden groß genug sein, das Frageverbot zu akzeptieren?

Lohengrin nimmt in Wagners Œuvre eine besondere Stellung ein. Die Geschichte um Macht, Glaube und nicht zuletzt um die Frage, ob und welche Bedingungen die Liebe stellen darf und welche Rolle das Vertrauen dabei spielt, beschäftigte ihn bereits Anfang der 1840er Jahre, als er sich mit dem Tannhäuser auseinandersetzte, und inspirierte ihn nur wenige Jahre später zur wohl emotionalsten Musik, die er je geschrieben hat. Als sie im September 1850 in Weimar zum ersten Mal erklang, konnte Wagner nicht dabei sein. Aufgrund seiner Beteiligung am Dresdner Mai-Aufstand wurde er steckbrieflich gesucht und war deshalb aus Deutschland geflohen. An Franz Liszt, der die Uraufführung in Weimar trotz der politisch schwierigen Personalie ermöglicht hatte, schrieb er danach voller Dankbarkeit: „Liebster Liszt, hatte ich recht, als ich in der Vorrede zum Kunstwerk der Zukunft schrieb, dass nicht der Einzelne, sondern nur die Gemeinsamkeit wahrhafte Kunstwerke schaffen könnte? Sieh, Du hast das Unmögliche geleistet, aber glaube mir, alle müssen das heutzutage Unmögliche leisten, um das in Wahrheit dennoch Mögliche zustande zu bringen.“

Für die Chemnitzer Lohengrin-Inszenierung ist der Regisseur Joan Anton Rechi erstmalig zu Gast in Chemnitz. Geboren 1968 in Andorra, arbeitete er bisher u. a. an den Theatern Barcelona, Bilbao, Bogotá, Freiburg, Madrid, Mainz, Oberhausen und an der Deutschen Oper am Rhein. Sein breit gefächertes Repertoire umfasst Werke wie Adriana Lecouvreur, Il barbiere di Siviglia, Die Csárdásfürstin, Król Roger, Der Mann von La Mancha und Salome.

Deutsch

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