Cast

Musical direction: Dinis Sousa / Johannes Braun (Mär: 28, Apr: 2)

Artistic direction: Barbara-David Brüesch

Stage design: Alain Rappaport

Costume design: Sabin Fleck

Lighting design: Daniel Weiss

Video: Georg Lendorff

Dramaturgy: Christin Hagemann

Choir: Johannes Köhler

Fiordiligi: Corina Koller

Dorabella: Sofia Vinnik

Guglielmo: Nikita Ivasechko

Ferrando: Ted Black

Despina: Ekaterina Solunya

Don Alfonso: Daeho Kim (Mär: 6, 12, 21, 26, 28) / Wilfried Zelinka (Mär: 1, 9, 16, 23, Apr: 2, 5)

Amor: Ann-Kathrin Adam

Two young couples head over heels in love and a bet about fidelity! Director Barbara-David Brüesch brings one of Mozart’s most famous operas into the present day, questioning its relevance. Dinis Sousa is in charge of musical direction, who took over conducting of Berlioz’ Les Troyens at the Salzburg Festival 2023 on short notice and caused a true sensation.

Don Alfonso proposes a bold thesis: according to him, no woman can be faithful. Guglielmo and Ferrando are outraged, as they are absolutely certain that their partners Fiordiligi and Dorabella will remain faithful. Without hesitation, they embark on an experiment; a fictitious test of fidelity with all kinds of madness, disguises and confusion. Light-hearted and humorous at first, the game comes to a head and, despite a superficially happy ending, leads to profound emotional wounds and an irreversible gain in knowledge for the couples.
Così fan tutte, Mozart’s third congenial collaboration with the librettist Lorenzo Da Ponte, was commissioned by Emperor Joseph II of Austria. The subject of this dramma giocoso is enveloped in a story that belongs to the realm of legend, while simultaneously holding up a mirror to society at the time. It was said that the story of the exchange of partners had actually taken place shortly beforehand at a Viennese carnival ball. Moral smoothing and misinterpretations determined the opera’s reception in the 19th and 20th centuries. Once Così fan tutte was finally recognised in its true grandeur and significance, it subsequently became one of the most frequently performed operas of all time. Mozart subverts the questionable test of fidelity with musical mastery, painting a magnificent portrait of the soul that reveals its depth of real emotions.

Cast

Musical direction: Dinis Sousa / Johannes Braun (Mär: 28, Apr: 2)

Artistic direction: Barbara-David Brüesch

Stage design: Alain Rappaport

Costume design: Sabin Fleck

Lighting design: Daniel Weiss

Video: Georg Lendorff

Dramaturgy: Christin Hagemann

Choir: Johannes Köhler

Fiordiligi: Corina Koller

Dorabella: Sofia Vinnik

Guglielmo: Nikita Ivasechko

Ferrando: Ted Black

Despina: Ekaterina Solunya

Don Alfonso: Daeho Kim (Mär: 6, 12, 21, 26, 28) / Wilfried Zelinka (Mär: 1, 9, 16, 23, Apr: 2, 5)

Amor: Ann-Kathrin Adam

Two young couples head over heels in love and a bet about fidelity! Director Barbara-David Brüesch brings one of Mozart’s most famous operas into the present day, questioning its relevance. Dinis Sousa is in charge of musical direction, who took over conducting of Berlioz’ Les Troyens at the Salzburg Festival 2023 on short notice and caused a true sensation.

Don Alfonso proposes a bold thesis: according to him, no woman can be faithful. Guglielmo and Ferrando are outraged, as they are absolutely certain that their partners Fiordiligi and Dorabella will remain faithful. Without hesitation, they embark on an experiment; a fictitious test of fidelity with all kinds of madness, disguises and confusion. Light-hearted and humorous at first, the game comes to a head and, despite a superficially happy ending, leads to profound emotional wounds and an irreversible gain in knowledge for the couples.
Così fan tutte, Mozart’s third congenial collaboration with the librettist Lorenzo Da Ponte, was commissioned by Emperor Joseph II of Austria. The subject of this dramma giocoso is enveloped in a story that belongs to the realm of legend, while simultaneously holding up a mirror to society at the time. It was said that the story of the exchange of partners had actually taken place shortly beforehand at a Viennese carnival ball. Moral smoothing and misinterpretations determined the opera’s reception in the 19th and 20th centuries. Once Così fan tutte was finally recognised in its true grandeur and significance, it subsequently became one of the most frequently performed operas of all time. Mozart subverts the questionable test of fidelity with musical mastery, painting a magnificent portrait of the soul that reveals its depth of real emotions.

Cast

Musical direction: Dinis Sousa / Johannes Braun (Mär: 28, Apr: 2)

Artistic direction: Barbara-David Brüesch

Stage design: Alain Rappaport

Costume design: Sabin Fleck

Lighting design: Daniel Weiss

Video: Georg Lendorff

Dramaturgy: Christin Hagemann

Choir: Johannes Köhler

Fiordiligi: Corina Koller

Dorabella: Sofia Vinnik

Guglielmo: Nikita Ivasechko

Ferrando: Ted Black

Despina: Ekaterina Solunya

Don Alfonso: Daeho Kim (Mär: 6, 12, 21, 26, 28) / Wilfried Zelinka (Mär: 1, 9, 16, 23, Apr: 2, 5)

Amor: Ann-Kathrin Adam

Two young couples head over heels in love and a bet about fidelity! Director Barbara-David Brüesch brings one of Mozart’s most famous operas into the present day, questioning its relevance. Dinis Sousa is in charge of musical direction, who took over conducting of Berlioz’ Les Troyens at the Salzburg Festival 2023 on short notice and caused a true sensation.

Don Alfonso proposes a bold thesis: according to him, no woman can be faithful. Guglielmo and Ferrando are outraged, as they are absolutely certain that their partners Fiordiligi and Dorabella will remain faithful. Without hesitation, they embark on an experiment; a fictitious test of fidelity with all kinds of madness, disguises and confusion. Light-hearted and humorous at first, the game comes to a head and, despite a superficially happy ending, leads to profound emotional wounds and an irreversible gain in knowledge for the couples.
Così fan tutte, Mozart’s third congenial collaboration with the librettist Lorenzo Da Ponte, was commissioned by Emperor Joseph II of Austria. The subject of this dramma giocoso is enveloped in a story that belongs to the realm of legend, while simultaneously holding up a mirror to society at the time. It was said that the story of the exchange of partners had actually taken place shortly beforehand at a Viennese carnival ball. Moral smoothing and misinterpretations determined the opera’s reception in the 19th and 20th centuries. Once Così fan tutte was finally recognised in its true grandeur and significance, it subsequently became one of the most frequently performed operas of all time. Mozart subverts the questionable test of fidelity with musical mastery, painting a magnificent portrait of the soul that reveals its depth of real emotions.

Cast

Musical direction: Dinis Sousa / Johannes Braun (Mär: 28, Apr: 2)

Artistic direction: Barbara-David Brüesch

Stage design: Alain Rappaport

Costume design: Sabin Fleck

Lighting design: Daniel Weiss

Video: Georg Lendorff

Dramaturgy: Christin Hagemann

Choir: Johannes Köhler

Fiordiligi: Corina Koller

Dorabella: Sofia Vinnik

Guglielmo: Nikita Ivasechko

Ferrando: Ted Black

Despina: Ekaterina Solunya

Don Alfonso: Daeho Kim (Mär: 6, 12, 21, 26, 28) / Wilfried Zelinka (Mär: 1, 9, 16, 23, Apr: 2, 5)

Amor: Ann-Kathrin Adam

Two young couples head over heels in love and a bet about fidelity! Director Barbara-David Brüesch brings one of Mozart’s most famous operas into the present day, questioning its relevance. Dinis Sousa is in charge of musical direction, who took over conducting of Berlioz’ Les Troyens at the Salzburg Festival 2023 on short notice and caused a true sensation.

Don Alfonso proposes a bold thesis: according to him, no woman can be faithful. Guglielmo and Ferrando are outraged, as they are absolutely certain that their partners Fiordiligi and Dorabella will remain faithful. Without hesitation, they embark on an experiment; a fictitious test of fidelity with all kinds of madness, disguises and confusion. Light-hearted and humorous at first, the game comes to a head and, despite a superficially happy ending, leads to profound emotional wounds and an irreversible gain in knowledge for the couples.
Così fan tutte, Mozart’s third congenial collaboration with the librettist Lorenzo Da Ponte, was commissioned by Emperor Joseph II of Austria. The subject of this dramma giocoso is enveloped in a story that belongs to the realm of legend, while simultaneously holding up a mirror to society at the time. It was said that the story of the exchange of partners had actually taken place shortly beforehand at a Viennese carnival ball. Moral smoothing and misinterpretations determined the opera’s reception in the 19th and 20th centuries. Once Così fan tutte was finally recognised in its true grandeur and significance, it subsequently became one of the most frequently performed operas of all time. Mozart subverts the questionable test of fidelity with musical mastery, painting a magnificent portrait of the soul that reveals its depth of real emotions.

Cast

Musical direction: Dinis Sousa / Johannes Braun (Mär: 28, Apr: 2)

Artistic direction: Barbara-David Brüesch

Stage design: Alain Rappaport

Costume design: Sabin Fleck

Lighting design: Daniel Weiss

Video: Georg Lendorff

Dramaturgy: Christin Hagemann

Choir: Johannes Köhler

Fiordiligi: Corina Koller

Dorabella: Sofia Vinnik

Guglielmo: Nikita Ivasechko

Ferrando: Ted Black

Despina: Ekaterina Solunya

Don Alfonso: Daeho Kim (Mär: 6, 12, 21, 26, 28) / Wilfried Zelinka (Mär: 1, 9, 16, 23, Apr: 2, 5)

Amor: Ann-Kathrin Adam

Two young couples head over heels in love and a bet about fidelity! Director Barbara-David Brüesch brings one of Mozart’s most famous operas into the present day, questioning its relevance. Dinis Sousa is in charge of musical direction, who took over conducting of Berlioz’ Les Troyens at the Salzburg Festival 2023 on short notice and caused a true sensation.

Don Alfonso proposes a bold thesis: according to him, no woman can be faithful. Guglielmo and Ferrando are outraged, as they are absolutely certain that their partners Fiordiligi and Dorabella will remain faithful. Without hesitation, they embark on an experiment; a fictitious test of fidelity with all kinds of madness, disguises and confusion. Light-hearted and humorous at first, the game comes to a head and, despite a superficially happy ending, leads to profound emotional wounds and an irreversible gain in knowledge for the couples.
Così fan tutte, Mozart’s third congenial collaboration with the librettist Lorenzo Da Ponte, was commissioned by Emperor Joseph II of Austria. The subject of this dramma giocoso is enveloped in a story that belongs to the realm of legend, while simultaneously holding up a mirror to society at the time. It was said that the story of the exchange of partners had actually taken place shortly beforehand at a Viennese carnival ball. Moral smoothing and misinterpretations determined the opera’s reception in the 19th and 20th centuries. Once Così fan tutte was finally recognised in its true grandeur and significance, it subsequently became one of the most frequently performed operas of all time. Mozart subverts the questionable test of fidelity with musical mastery, painting a magnificent portrait of the soul that reveals its depth of real emotions.

Cast

Musical direction: Dinis Sousa / Johannes Braun (Mär: 28, Apr: 2)

Artistic direction: Barbara-David Brüesch

Stage design: Alain Rappaport

Costume design: Sabin Fleck

Lighting design: Daniel Weiss

Video: Georg Lendorff

Dramaturgy: Christin Hagemann

Choir: Johannes Köhler

Fiordiligi: Corina Koller

Dorabella: Sofia Vinnik

Guglielmo: Nikita Ivasechko

Ferrando: Ted Black

Despina: Ekaterina Solunya

Don Alfonso: Daeho Kim (Mär: 6, 12, 21, 26, 28) / Wilfried Zelinka (Mär: 1, 9, 16, 23, Apr: 2, 5)

Amor: Ann-Kathrin Adam

Two young couples head over heels in love and a bet about fidelity! Director Barbara-David Brüesch brings one of Mozart’s most famous operas into the present day, questioning its relevance. Dinis Sousa is in charge of musical direction, who took over conducting of Berlioz’ Les Troyens at the Salzburg Festival 2023 on short notice and caused a true sensation.

Don Alfonso proposes a bold thesis: according to him, no woman can be faithful. Guglielmo and Ferrando are outraged, as they are absolutely certain that their partners Fiordiligi and Dorabella will remain faithful. Without hesitation, they embark on an experiment; a fictitious test of fidelity with all kinds of madness, disguises and confusion. Light-hearted and humorous at first, the game comes to a head and, despite a superficially happy ending, leads to profound emotional wounds and an irreversible gain in knowledge for the couples.
Così fan tutte, Mozart’s third congenial collaboration with the librettist Lorenzo Da Ponte, was commissioned by Emperor Joseph II of Austria. The subject of this dramma giocoso is enveloped in a story that belongs to the realm of legend, while simultaneously holding up a mirror to society at the time. It was said that the story of the exchange of partners had actually taken place shortly beforehand at a Viennese carnival ball. Moral smoothing and misinterpretations determined the opera’s reception in the 19th and 20th centuries. Once Così fan tutte was finally recognised in its true grandeur and significance, it subsequently became one of the most frequently performed operas of all time. Mozart subverts the questionable test of fidelity with musical mastery, painting a magnificent portrait of the soul that reveals its depth of real emotions.

Operetta has always been an escape from everyday life into a dream world. But what if what is happening in the world is so terrible that it can no longer be forgotten? In the first months of 1938, current political life intrudes into the Volksoper during rehearsals for the operetta Gruß und Kuss aus der Wachau. What do intolerance, discrimination and fascism do to the staff of the Volksoper?

In the course of rehearsals, the seizure of power by the National Socialists brings about serious changes for the Volksoper: dismissals follow at all levels of the house. A captivating look into the mirror of the past can also mean a confrontation with a painful period in the history of the Volksoper. We don't want to avoid that. By telling the story of the Volksoper staff, we preserve the memory of ALL victims. At the same time, we do not lose sight of the actions of the perpetrators, which could happen again at any time, but we also remember the countless people who did not raise their voices.

Ein Stück mit Musik von Theu Boermans und Keren Kagarlitsky

In deutscher Sprache mit englischen Übertiteln

Operette war immer auch Eskapismus, Flucht aus dem Alltag in eine andere Welt, eine Traumwelt. Was jedoch, wenn sich dieser Alltag nicht mehr ignorieren lässt? Was, wenn die Vorgänge in der Welt so furchtbar sind, dass man sie nicht mehr vergessen kann? In den ersten Monaten des Jahres 1938 dringt das aktuelle politische Leben in die Volksoper ein, und zwar während der Proben zur Operette Gruß und Kuss aus der Wachau. Was machen Intoleranz, Diskriminierung und Faschismus mit den Mitarbeiter:innen der Volksoper?

Politische Diskussionen und Anschuldigungen untergraben die Zusammenarbeit. Im Laufe der Proben bringt die Machtübernahme der Nationalsozialisten für die Volksoper gravierende Veränderungen mit sich: Entlassungen auf allen Ebenen des Hauses folgen, von Opernsängerinnen und -sängern über Dirigenten, Orchestermusiker und Librettisten. Menschen, die aufgrund ihrer jüdischen Wurzeln oder ihrer politischen Einstellung verfolgt werden. Ein fesselnder Blick in den Spiegel der Vergangenheit kann auch eine Konfrontation mit einer schmerzhaften Periode in der Geschichte der Volksoper bedeuten. Dem wollen wir nicht aus dem Weg gehen.

In Lass uns die Welt vergessen bringt Regisseur Theu Boermans die schöne, fröhliche Unterhaltung der Beneš-Operette zurück auf die Volksopernbühne und stellt ihr die kalte politische Realität der NS-Zeit gegenüber. Dirigentin Keren Kagarlitsky rekonstruierte die Partitur von Gruß und Kuss aus der Wachau von Jara Beneš aus dem wenigen erhaltenen Material.

Das Ensemble von heute spielt das Ensemble von damals.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

Operetta has always been an escape from everyday life into a dream world. But what if what is happening in the world is so terrible that it can no longer be forgotten? In the first months of 1938, current political life intrudes into the Volksoper during rehearsals for the operetta Gruß und Kuss aus der Wachau. What do intolerance, discrimination and fascism do to the staff of the Volksoper?

In the course of rehearsals, the seizure of power by the National Socialists brings about serious changes for the Volksoper: dismissals follow at all levels of the house. A captivating look into the mirror of the past can also mean a confrontation with a painful period in the history of the Volksoper. We don't want to avoid that. By telling the story of the Volksoper staff, we preserve the memory of ALL victims. At the same time, we do not lose sight of the actions of the perpetrators, which could happen again at any time, but we also remember the countless people who did not raise their voices.

Ein Stück mit Musik von Theu Boermans und Keren Kagarlitsky

In deutscher Sprache mit englischen Übertiteln

Operette war immer auch Eskapismus, Flucht aus dem Alltag in eine andere Welt, eine Traumwelt. Was jedoch, wenn sich dieser Alltag nicht mehr ignorieren lässt? Was, wenn die Vorgänge in der Welt so furchtbar sind, dass man sie nicht mehr vergessen kann? In den ersten Monaten des Jahres 1938 dringt das aktuelle politische Leben in die Volksoper ein, und zwar während der Proben zur Operette Gruß und Kuss aus der Wachau. Was machen Intoleranz, Diskriminierung und Faschismus mit den Mitarbeiter:innen der Volksoper?

Politische Diskussionen und Anschuldigungen untergraben die Zusammenarbeit. Im Laufe der Proben bringt die Machtübernahme der Nationalsozialisten für die Volksoper gravierende Veränderungen mit sich: Entlassungen auf allen Ebenen des Hauses folgen, von Opernsängerinnen und -sängern über Dirigenten, Orchestermusiker und Librettisten. Menschen, die aufgrund ihrer jüdischen Wurzeln oder ihrer politischen Einstellung verfolgt werden. Ein fesselnder Blick in den Spiegel der Vergangenheit kann auch eine Konfrontation mit einer schmerzhaften Periode in der Geschichte der Volksoper bedeuten. Dem wollen wir nicht aus dem Weg gehen.

In Lass uns die Welt vergessen bringt Regisseur Theu Boermans die schöne, fröhliche Unterhaltung der Beneš-Operette zurück auf die Volksopernbühne und stellt ihr die kalte politische Realität der NS-Zeit gegenüber. Dirigentin Keren Kagarlitsky rekonstruierte die Partitur von Gruß und Kuss aus der Wachau von Jara Beneš aus dem wenigen erhaltenen Material.

Das Ensemble von heute spielt das Ensemble von damals.

Operetta has always been an escape from everyday life into a dream world. But what if what is happening in the world is so terrible that it can no longer be forgotten? In the first months of 1938, current political life intrudes into the Volksoper during rehearsals for the operetta Gruß und Kuss aus der Wachau. What do intolerance, discrimination and fascism do to the staff of the Volksoper?

In the course of rehearsals, the seizure of power by the National Socialists brings about serious changes for the Volksoper: dismissals follow at all levels of the house. A captivating look into the mirror of the past can also mean a confrontation with a painful period in the history of the Volksoper. We don't want to avoid that. By telling the story of the Volksoper staff, we preserve the memory of ALL victims. At the same time, we do not lose sight of the actions of the perpetrators, which could happen again at any time, but we also remember the countless people who did not raise their voices.

Ein Stück mit Musik von Theu Boermans und Keren Kagarlitsky

In deutscher Sprache mit englischen Übertiteln

Operette war immer auch Eskapismus, Flucht aus dem Alltag in eine andere Welt, eine Traumwelt. Was jedoch, wenn sich dieser Alltag nicht mehr ignorieren lässt? Was, wenn die Vorgänge in der Welt so furchtbar sind, dass man sie nicht mehr vergessen kann? In den ersten Monaten des Jahres 1938 dringt das aktuelle politische Leben in die Volksoper ein, und zwar während der Proben zur Operette Gruß und Kuss aus der Wachau. Was machen Intoleranz, Diskriminierung und Faschismus mit den Mitarbeiter:innen der Volksoper?

Politische Diskussionen und Anschuldigungen untergraben die Zusammenarbeit. Im Laufe der Proben bringt die Machtübernahme der Nationalsozialisten für die Volksoper gravierende Veränderungen mit sich: Entlassungen auf allen Ebenen des Hauses folgen, von Opernsängerinnen und -sängern über Dirigenten, Orchestermusiker und Librettisten. Menschen, die aufgrund ihrer jüdischen Wurzeln oder ihrer politischen Einstellung verfolgt werden. Ein fesselnder Blick in den Spiegel der Vergangenheit kann auch eine Konfrontation mit einer schmerzhaften Periode in der Geschichte der Volksoper bedeuten. Dem wollen wir nicht aus dem Weg gehen.

In Lass uns die Welt vergessen bringt Regisseur Theu Boermans die schöne, fröhliche Unterhaltung der Beneš-Operette zurück auf die Volksopernbühne und stellt ihr die kalte politische Realität der NS-Zeit gegenüber. Dirigentin Keren Kagarlitsky rekonstruierte die Partitur von Gruß und Kuss aus der Wachau von Jara Beneš aus dem wenigen erhaltenen Material.

Das Ensemble von heute spielt das Ensemble von damals.

Operetta has always been an escape from everyday life into a dream world. But what if what is happening in the world is so terrible that it can no longer be forgotten? In the first months of 1938, current political life intrudes into the Volksoper during rehearsals for the operetta Gruß und Kuss aus der Wachau. What do intolerance, discrimination and fascism do to the staff of the Volksoper?

In the course of rehearsals, the seizure of power by the National Socialists brings about serious changes for the Volksoper: dismissals follow at all levels of the house. A captivating look into the mirror of the past can also mean a confrontation with a painful period in the history of the Volksoper. We don't want to avoid that. By telling the story of the Volksoper staff, we preserve the memory of ALL victims. At the same time, we do not lose sight of the actions of the perpetrators, which could happen again at any time, but we also remember the countless people who did not raise their voices.

Ein Stück mit Musik von Theu Boermans und Keren Kagarlitsky

In deutscher Sprache mit englischen Übertiteln

Operette war immer auch Eskapismus, Flucht aus dem Alltag in eine andere Welt, eine Traumwelt. Was jedoch, wenn sich dieser Alltag nicht mehr ignorieren lässt? Was, wenn die Vorgänge in der Welt so furchtbar sind, dass man sie nicht mehr vergessen kann? In den ersten Monaten des Jahres 1938 dringt das aktuelle politische Leben in die Volksoper ein, und zwar während der Proben zur Operette Gruß und Kuss aus der Wachau. Was machen Intoleranz, Diskriminierung und Faschismus mit den Mitarbeiter:innen der Volksoper?

Politische Diskussionen und Anschuldigungen untergraben die Zusammenarbeit. Im Laufe der Proben bringt die Machtübernahme der Nationalsozialisten für die Volksoper gravierende Veränderungen mit sich: Entlassungen auf allen Ebenen des Hauses folgen, von Opernsängerinnen und -sängern über Dirigenten, Orchestermusiker und Librettisten. Menschen, die aufgrund ihrer jüdischen Wurzeln oder ihrer politischen Einstellung verfolgt werden. Ein fesselnder Blick in den Spiegel der Vergangenheit kann auch eine Konfrontation mit einer schmerzhaften Periode in der Geschichte der Volksoper bedeuten. Dem wollen wir nicht aus dem Weg gehen.

In Lass uns die Welt vergessen bringt Regisseur Theu Boermans die schöne, fröhliche Unterhaltung der Beneš-Operette zurück auf die Volksopernbühne und stellt ihr die kalte politische Realität der NS-Zeit gegenüber. Dirigentin Keren Kagarlitsky rekonstruierte die Partitur von Gruß und Kuss aus der Wachau von Jara Beneš aus dem wenigen erhaltenen Material.

Das Ensemble von heute spielt das Ensemble von damals.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

Interpret:innen

Wiener Akademische Philharmonie
Michał Juraszek, Dirigent
ProChoro Wien
Consortium Musicum Wien
Schola Cantorum
Männerchor der Kärntner in Wien, Chor
Aleksandra Szmyd, Sopran
Sofia Vinnik, Mezzosopran

Interpret:innen

Wiener Akademische Philharmonie
Michał Juraszek, Dirigent
ProChoro Wien
Consortium Musicum Wien
Schola Cantorum
Männerchor der Kärntner in Wien, Chor
Aleksandra Szmyd, Sopran
Sofia Vinnik, Mezzosopran

Operetta has always been an escape from everyday life into a dream world. But what if what is happening in the world is so terrible that it can no longer be forgotten? In the first months of 1938, current political life intrudes into the Volksoper during rehearsals for the operetta Gruß und Kuss aus der Wachau. What do intolerance, discrimination and fascism do to the staff of the Volksoper?

In the course of rehearsals, the seizure of power by the National Socialists brings about serious changes for the Volksoper: dismissals follow at all levels of the house. A captivating look into the mirror of the past can also mean a confrontation with a painful period in the history of the Volksoper. We don't want to avoid that. By telling the story of the Volksoper staff, we preserve the memory of ALL victims. At the same time, we do not lose sight of the actions of the perpetrators, which could happen again at any time, but we also remember the countless people who did not raise their voices.

Ein Stück mit Musik von Theu Boermans und Keren Kagarlitsky

In deutscher Sprache mit englischen Übertiteln

Operette war immer auch Eskapismus, Flucht aus dem Alltag in eine andere Welt, eine Traumwelt. Was jedoch, wenn sich dieser Alltag nicht mehr ignorieren lässt? Was, wenn die Vorgänge in der Welt so furchtbar sind, dass man sie nicht mehr vergessen kann? In den ersten Monaten des Jahres 1938 dringt das aktuelle politische Leben in die Volksoper ein, und zwar während der Proben zur Operette Gruß und Kuss aus der Wachau. Was machen Intoleranz, Diskriminierung und Faschismus mit den Mitarbeiter:innen der Volksoper?

Politische Diskussionen und Anschuldigungen untergraben die Zusammenarbeit. Im Laufe der Proben bringt die Machtübernahme der Nationalsozialisten für die Volksoper gravierende Veränderungen mit sich: Entlassungen auf allen Ebenen des Hauses folgen, von Opernsängerinnen und -sängern über Dirigenten, Orchestermusiker und Librettisten. Menschen, die aufgrund ihrer jüdischen Wurzeln oder ihrer politischen Einstellung verfolgt werden. Ein fesselnder Blick in den Spiegel der Vergangenheit kann auch eine Konfrontation mit einer schmerzhaften Periode in der Geschichte der Volksoper bedeuten. Dem wollen wir nicht aus dem Weg gehen.

In Lass uns die Welt vergessen bringt Regisseur Theu Boermans die schöne, fröhliche Unterhaltung der Beneš-Operette zurück auf die Volksopernbühne und stellt ihr die kalte politische Realität der NS-Zeit gegenüber. Dirigentin Keren Kagarlitsky rekonstruierte die Partitur von Gruß und Kuss aus der Wachau von Jara Beneš aus dem wenigen erhaltenen Material.

Das Ensemble von heute spielt das Ensemble von damals.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.

She loves him and he loves her, she loves her and she loves him, but he loves her. This is how the turmoil of love in A Midsummer Night’s Dream begins. After a lot of back and forth, everyone seems to have found the right partner after all, haven’t they? Well, what happens in the forest stays in the forest …

Benjamin Britten’s adaptation of Shakespeare’s A Midsummer Night’s Dream follows Shakespeare’s dramaturgy in a cleverly abridged form, adopting the language of the great master, with the exception of a single sentence added by Britten. Britten centres his focus on the fairy world of the forest, whose enchanting sound is transformed into music, giving space to unusual instrumentation: a countertenor as Oberon, a coloratura soprano as Tytania, and the children’s voices of the fairies.
The musical counterpart is made up with coarser tones by the theatrical craftsmen. The different soundscapes are also reflected in the orchestration, and so each world, that of the elves, the lovers, and the troupe of craftsmen, is embodied by its own specific instruments.
Director Bernd Mottl is no stranger to both the Schauspielhaus and the Oper Graz. Most recently, he and his team presented Nino Rota’s Il cappello di paglia di Firenze (The Florentine Hat) at the opera.
In A Midsummer Night’s Dream, Bernd Mottl focuses on the numerous varieties of love surrounding Hermia, Helena, Demetrius and Lysander, as well as Oberon and Tytania, and accompanies the lovers’ journey through their trials and tribulations to the final resolution. Not only do different forms of love play a leading role here, but also those of gender far beyond heteronormativity.