Name: Satyricon
Start: 2013-01-23T00:00:00.000Z
End: 2013-01-23T00:00:00.000Z
Location: Theater an der Wien

Organization

Singer

Tenor

Christoph Homberger

Trimalchio

Soprano

Ursula Langmayr

Criside

Johanna von der Deken

Quartilla

Bass

Colin Mason

Niceros

Bass-baritone

Gerd Kenda

Eumolpus

Conductor

Emilio Pomárico

Mezzo-soprano

Janina Baechle

Fortunata

MusikTheater an der Wien

Others

Klangforum Wien

Satyricon

Vienna

Austria

Theater an der Wien

Approved

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 gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Contralto

Baritone

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

In his only partially preserved novel Satyriconthe Roman senator Titus Petronius castigates the perverted debauchery of the nouveau riche upper class in Rome at the time of Nero. Petronius, nicknamed the “arbiter” because he was Nero's “arbiter” of elegance, portrays the political and social decadence of a society on the edge of the abyss with apparent naivety. In 1973, the year he died, Bruno Maderna set the satirical inventory of a society that was dissolving to music. The focus is on the Trimalchio's feast. The former slave has achieved immeasurable wealth, which he flaunts on display in a feast. Maderna worked on this part musically and uncovered the parallels to the twentieth century by means of contemporary expression. The piece avoids any moralizing statement, but creates cross-references through the musical collage technique to the present day. Maderna self-deprecatingly claimed that not a single note was from him. In disordered, loosely arranged scenes, which can be supplemented by recordings, he paints the picture of a society that is bound to perish due to its own decadence. In complete isolation, only music can comfort the broken souls.

English

Satyricon by Maderna, Aπό (2013/2013), αγωγός Emilio Pomárico, Theater an der Wien, Vienna, Austria

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