Schuld an Bühne
royal opera house london
2013
oper von giuseppe verdi
LES vepres siciliennes
Oper von
Giuseppe Verdi
Royel Opera House London
Premiere: 17. Oktober 2013
Giuseppe Verdi
Royel Opera House London
Premiere: 17. Oktober 2013
Der Abend bringt das Stück zurück
zum Zeitpunkt seiner Uraufführung 1855 in Paris.
Wir sitzen in Covent Garden und
blicken durch das Portal seitlich in ein Opernhaus der Belle Epoque. Dort
wiederum blickt das französische Publikum auf ihre Bühne, wo die Italiener
gezwungen werden, die Besatzer zu unterhalten.
Die Inszenierung kreist um die Frage,
wann die Kunst wem wie dienstbar gemacht wird. Wie Rache, Hass, Liebe und
Politik sich die Kunst einverleiben und sich ihrer bemächtigen. Wie das Stück
selbst, das als Auftragsarbeit die italienische Operntradition mit der
französischen Grand Opéra verbinden sollte, auch in seiner Aufführungsgeschichte
den jeweiligen Orten und politischen Verhältnissen durch Zensur angepasst
wurde.
Die Produktion wurde im April 2014 mit einem Olivier Award als "Best New Opera Production" ausgezeichnet.
Die Produktion wurde im April 2014 mit einem Olivier Award als "Best New Opera Production" ausgezeichnet.
Photos: Bill Cooper / Royal Opera House © 2013
Besetzung
|
Hélène
Henri Procida Guy de Montforte Regie Dramaturgie Bühne Kostüme Licht Choreographie |
Lianna Haroutounian
Bryan Hymel Erwin Schrott Michael Volle Stefan Herheim Alexander Meier-Doerzenbach Philipp Fürhofer Gesine Voellm Anders Poll André de Jong |
Bühnenmodell: Daniel Unger © 2013
Pressestimmen
„It's the first time, too, that a production by the much admired Norwegian director Stefan Herheim has been seen here. Together with designer Philipp Fürhofer, Herheim not only shifts the action of the opera from 13th-century, French-occupied Sicily to Paris in the year of its premiere, but locates it specifically in the Salle le Peletier, the theatre in which that first performance took place. Fürhofer's sets provide spectacular cross-sections of auditorium and stage, their geometry always shifting, and the original story of the uprising of the Sicilians against their French oppressors becomes something more complex and more intricately layered, both a study of the tension between the people and the military and an exploration of how artists are exploited by the society that creates them.“
The Guardian, Oktober 2013
„Modern British audiences not being overly exercised by Risorgimento politics, it’s necessary to find a new way into the story, and Covent Garden has had the wit to bring in the Berlin-based Norwegian director Stefan Herheim, who has set the piece in a stylised version of the opera house for which it was written, and who has translated its political struggle into one in which art itself is the territory over which battle is raging.
This may sound a hackneyed idea, but, aided by Philip Furhofer’s amazing and inventive designs, Herheim loses no time in putting it brilliantly to work."
The Independent, Oktober 2013
„Then Philipp Fürhofer’s wondrous set begins to move. Mirrored walls rotate, converge and separate and, at times, seem to dissolve entirely, shifting the scene from the rehearsal room to a cross-section of the Opéra’s auditorium, lined with parterre boxes filled with French soldiers."
The New York Times, Oktober 2013
The Guardian, Oktober 2013
„Modern British audiences not being overly exercised by Risorgimento politics, it’s necessary to find a new way into the story, and Covent Garden has had the wit to bring in the Berlin-based Norwegian director Stefan Herheim, who has set the piece in a stylised version of the opera house for which it was written, and who has translated its political struggle into one in which art itself is the territory over which battle is raging.
This may sound a hackneyed idea, but, aided by Philip Furhofer’s amazing and inventive designs, Herheim loses no time in putting it brilliantly to work."
The Independent, Oktober 2013
„Then Philipp Fürhofer’s wondrous set begins to move. Mirrored walls rotate, converge and separate and, at times, seem to dissolve entirely, shifting the scene from the rehearsal room to a cross-section of the Opéra’s auditorium, lined with parterre boxes filled with French soldiers."
The New York Times, Oktober 2013
Bühnenmodell: Daniel Unger © 2013
