In August 2023, Ferdinand von Schirach’s new book »Regen« was published. A narrative that Ferdinand von Schirach is now performing himself as a monologue on stage: A man comes drenched out of the rain into a bar – onto the stage – and talks about the great and the terrible of our time, about human dignity, loneliness, love, loss and failure.
| Ferdinand von Schirach | Acting |
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These events are similar in terms of concept, place, musicians or the program.
»Das Lied von der Erde« – so schlicht dieser Titel ist, so ungemein viel verbirgt sich hinter diesem Spätwerk Mahlers, das halb Liederzyklus ist und halb Sinfonie. Es gehört zum Besten aus seiner Feder: die Musik hypersinnlich, die Texte extrem atmosphärisch. Ein großes Lied wie aus einer anderen Welt. Auf der Basis von Nachdichtungen altchinesischer Lyrik hat Mahler einen allumfassenden Abgesang komponiert, ein Abschiednehmen von der Erde, vom Leben, das Alain Altinoglu und das hr-Sinfonieorchester mit zwei exzellenten Solisten realisiert. Und wie geht es jenseits weiter? »Metacosmos«, diesen Titel gab Anna Þorvaldsdóttir 2017 ihrem sinfonischen Gedicht, und es geht darin genau um die dunkle Reise, die über jeden Horizont hinaus geht. »Der Titel bezieht sich auf den Gedanken, in ein Schwarzes Loch zu fallen und an einem Ort anzukommen, den niemand kennt und über den Sie keine Kontrolle haben«, so die isländische Komponistin. Ihr ist darin eine Musik von fast Mahler’scher Atmosphäre gelungen, mal düster-amorph, mal von unwirklicher nordischer Schönheit. Konzertdauer: ca. 90 Minuten – keine Pause!
»Das Lied von der Erde« – so schlicht dieser Titel ist, so ungemein viel verbirgt sich hinter diesem Spätwerk Mahlers, das halb Liederzyklus ist und halb Sinfonie. Es gehört zum Besten aus seiner Feder: die Musik hypersinnlich, die Texte extrem atmosphärisch. Ein großes Lied wie aus einer anderen Welt. Auf der Basis von Nachdichtungen altchinesischer Lyrik hat Mahler einen allumfassenden Abgesang komponiert, ein Abschiednehmen von der Erde, vom Leben, das Alain Altinoglu und das hr-Sinfonieorchester mit zwei exzellenten Solisten realisiert. Und wie geht es jenseits weiter? »Metacosmos«, diesen Titel gab Anna Þorvaldsdóttir 2017 ihrem sinfonischen Gedicht, und es geht darin genau um die dunkle Reise, die über jeden Horizont hinaus geht. »Der Titel bezieht sich auf den Gedanken, in ein Schwarzes Loch zu fallen und an einem Ort anzukommen, den niemand kennt und über den Sie keine Kontrolle haben«, so die isländische Komponistin. Ihr ist darin eine Musik von fast Mahler’scher Atmosphäre gelungen, mal düster-amorph, mal von unwirklicher nordischer Schönheit. Konzertdauer: ca. 90 Minuten – keine Pause!
A small tree needs roots to eat and drink. Eventually it grows into a big tree with strong branches and thick roots. The wood from big trees is used to build lots of things, including musical instruments that produce wonderful sounds. Instruments like recorders, pianos, clarinets, xylophones, violins, guitars, or bassoons. In the concert, we will explore the bassoon and see which songs suit it best.
A small tree needs roots to eat and drink. Eventually it grows into a big tree with strong branches and thick roots. The wood from big trees is used to build lots of things, including musical instruments that produce wonderful sounds. Instruments like recorders, pianos, clarinets, xylophones, violins, guitars, or bassoons. In the concert, we will explore the bassoon and see which songs suit it best.
About the work DIE MEISTERSINGER VON NÜRNBERG was Richard Wagner’s only light-hearted opera and remains one of his most popular works. This notwithstanding, MEISTERSINGER is also the musical manifesto of a German national art movement and, as such, has accumulated so much baggage over the years that people are apt to lose sight of the opera’s essence – a jolly and coherent comedy with its helter-skelter storyline centring on illusion and reality, love, ageing and the plying of one’s art – and this despite the core theme of a life dominated by music determining not only the cast of characters but also the action of the piece. The members of the master-singers guild have convened to make music in accordance with their strict rulebook. One of the singers, the wealthy Veit Pogner, has granted his daughter Eva the freedom to choose which suitor she will marry – with the proviso that it be a master singer, in other words the winner of a public singing competition. A pity, then, that Eva is in love with Walther von Stolzing, who is talented but devoid of formal training. Nonetheless he takes part in the competition, aided and abetted by master singer Hans Sachs, who has to forego his love for Eva in the process. About the production Richard Wagner’s DIE MEISTERSINGER VON NÜRNBERG comes to the Deutsche Oper Berlin courtesy of a production trio made up of Jossi Wieler, Anna Viebrock and Sergio Morabito, whose slant on the material focuses on a “music-oriented society”, with Nuremberg’s late mediaeval guild of master singers transposed to the hermetic setting of a college of music. The institution is controlled by powerful professors and attended by their “lads” and “lassies”. The staff includes reformers like Hans Sachs and also pedants, one of whom, Sixtus Beckmesser, is likewise keen to win Eva’s hand in marriage. When new boy Walther von Stolzing, the only non-musical pupil, arrives in this ultra-regulated but at times oddball environment, the entire college is soon ...
About the work DIE MEISTERSINGER VON NÜRNBERG was Richard Wagner’s only light-hearted opera and remains one of his most popular works. This notwithstanding, MEISTERSINGER is also the musical manifesto of a German national art movement and, as such, has accumulated so much baggage over the years that people are apt to lose sight of the opera’s essence – a jolly and coherent comedy with its helter-skelter storyline centring on illusion and reality, love, ageing and the plying of one’s art – and this despite the core theme of a life dominated by music determining not only the cast of characters but also the action of the piece. The members of the master-singers guild have convened to make music in accordance with their strict rulebook. One of the singers, the wealthy Veit Pogner, has granted his daughter Eva the freedom to choose which suitor she will marry – with the proviso that it be a master singer, in other words the winner of a public singing competition. A pity, then, that Eva is in love with Walther von Stolzing, who is talented but devoid of formal training. Nonetheless he takes part in the competition, aided and abetted by master singer Hans Sachs, who has to forego his love for Eva in the process. About the production Richard Wagner’s DIE MEISTERSINGER VON NÜRNBERG comes to the Deutsche Oper Berlin courtesy of a production trio made up of Jossi Wieler, Anna Viebrock and Sergio Morabito, whose slant on the material focuses on a “music-oriented society”, with Nuremberg’s late mediaeval guild of master singers transposed to the hermetic setting of a college of music. The institution is controlled by powerful professors and attended by their “lads” and “lassies”. The staff includes reformers like Hans Sachs and also pedants, one of whom, Sixtus Beckmesser, is likewise keen to win Eva’s hand in marriage. When new boy Walther von Stolzing, the only non-musical pupil, arrives in this ultra-regulated but at times oddball environment, the entire college is soon ...
About the work DIE MEISTERSINGER VON NÜRNBERG was Richard Wagner’s only light-hearted opera and remains one of his most popular works. This notwithstanding, MEISTERSINGER is also the musical manifesto of a German national art movement and, as such, has accumulated so much baggage over the years that people are apt to lose sight of the opera’s essence – a jolly and coherent comedy with its helter-skelter storyline centring on illusion and reality, love, ageing and the plying of one’s art – and this despite the core theme of a life dominated by music determining not only the cast of characters but also the action of the piece. The members of the master-singers guild have convened to make music in accordance with their strict rulebook. One of the singers, the wealthy Veit Pogner, has granted his daughter Eva the freedom to choose which suitor she will marry – with the proviso that it be a master singer, in other words the winner of a public singing competition. A pity, then, that Eva is in love with Walther von Stolzing, who is talented but devoid of formal training. Nonetheless he takes part in the competition, aided and abetted by master singer Hans Sachs, who has to forego his love for Eva in the process. About the production Richard Wagner’s DIE MEISTERSINGER VON NÜRNBERG comes to the Deutsche Oper Berlin courtesy of a production trio made up of Jossi Wieler, Anna Viebrock and Sergio Morabito, whose slant on the material focuses on a “music-oriented society”, with Nuremberg’s late mediaeval guild of master singers transposed to the hermetic setting of a college of music. The institution is controlled by powerful professors and attended by their “lads” and “lassies”. The staff includes reformers like Hans Sachs and also pedants, one of whom, Sixtus Beckmesser, is likewise keen to win Eva’s hand in marriage. When new boy Walther von Stolzing, the only non-musical pupil, arrives in this ultra-regulated but at times oddball environment, the entire college is soon ...
Trapped in a loveless, patriarchal world, Katerina seeks liberation from her tyrannical father-in-law and impotent husband. A passionate affair with the worker Sergey ignites a spark of hope but ends in four deaths. The opera, initially celebrated, drew Stalin's ire, plunging composer Shostakovich into fear and silencing his voice, but fueling the subversive power of his music.
Trapped in a loveless, patriarchal world, Katerina seeks liberation from her tyrannical father-in-law and impotent husband. A passionate affair with the worker Sergey ignites a spark of hope but ends in four deaths. The opera, initially celebrated, drew Stalin's ire, plunging composer Shostakovich into fear and silencing his voice, but fueling the subversive power of his music.
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