{"id":66597,"date":"2012-02-12T17:48:08","date_gmt":"2012-02-12T15:48:08","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=66597"},"modified":"2014-01-08T17:50:17","modified_gmt":"2014-01-08T15:50:17","slug":"komische-oper-berlindie-seben-todsunden","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/komische-oper-berlindie-seben-todsunden\/","title":{"rendered":"Komische Oper Berlin:”Die seben todsunden”"},"content":{"rendered":"

Berlino, Komische Oper – Stagione Lirica 2011\/2012
\n<\/em>“DIE SIEBEN TODSUNDEN” (I sette peccati capitali)
\n<\/strong>Balletto con canto in sette parti su libretto di Bertold Brecht
\nMusica di Kurt Weill
\n<\/strong>Anna<\/em>\u00a0 DAGMAR MANZEL
\nVater<\/em>\u00a0 JOSKA LEHTINEN
\nBruder<\/em>\u00a0 ADAM CIOFFARI
\nBruder<\/em> MANUEL GUNTHER
\nMutter<\/em> TIM KLASKI
\nOrchestra della Komische Oper Berlin
\nDirettore Kristiina Poska
\n<\/strong>Pianoforte Frank Schulte
\n<\/strong>Regia Barrie Kosky
\n<\/strong>Coreografia Otto Pichler
\n<\/strong>Drammaturgia Bettina Auer
\n<\/strong>Berlino, 12 febbraio 2012<\/em>\u00a0 <\/strong><\/p>\n

\"4969_todsuenden_04\"<\/a>If the Komische Oper\u2019s production of Weill\/Brecht\u2019s 1933 Ballet Chant\u00e9<\/em> proves anything, it is\u00a0 that sins of omission are not <\/strong>deadly, and that sins of addition are only slightly irritating if done well.\u00a0 Following up on the successful collaboration of Director Barrie Kosky<\/strong>, and actress\/singer Dagmar Manzel<\/strong> in Cole Porter\u2019s Kiss Me, Kate<\/em> the Komische Oper apparently decided to produce Die sieben Tods\u00fcnden<\/em> as a one-woman show, with a few piano cabaret songs thrown in before and after the actual title piece.
\nIt was a good one-woman show. Ms. Manzel carried it off with an\u00a0 energetic<\/strong> and varied performance style and a voice of many colors and wide range. She succeeds as both a cabaret singer and a stage performer and certainly makes a good evening out of it, but the program does list this as a \u201cBallett mit Gesang von Kurt Weill\u201d, so one must ask: what Ballett?
\nThe orchestra was at the back of the stage and played Weill\u2019s music beautifully and movingly under the \"4963_todsuenden_02\"<\/a>graceful direction of Kritijana Poska. The male quartet was divided in Loges on either side of the stage which occasionally led to small coordination and intonation problems. Other than a gauzy black curtain which Ms. Manzel opened and closed a few times and a light which descended at the beginning (Berlin im Licht?) the stage was bare and Manzel carried the whole performance.
\nOriginally commissioned as part of the short lived but influential Les Ballets 1933<\/strong> and involving Georges Balanchine as choreographer, as well as another Ballet Russe veteren as co-sponsor, this piece was written for ballerina Tilly Losch and Lotte Lenya, apparently look alikes, and wives of the rich American patron of Surrealists Edward James, and Weill, respectively. Whatever the reasons for having a singer and a dancer portray two aspects of the same character, the influence of dance has an intrinsic and palpable impact on the piece. As valiantly as she tried with strenuous theatrical gestures and effective use of spotlighting, Ms. Manzel could not fill the gaps. Perhaps most telling was her near success\u00a0 in a piece clearly intended to be danced and accompanied by the male quartet. \"4960_todsuenden_01\"<\/a>Ms. Manzel turned in circles for what seemed an eternity-how she managed was in itself a wonder-and when she suddenly stopped the audience applauded. The physical tension and release-an essential element of dance-gave this music the life which was so sorely missed in many places.
\nThe performance started with Ms. Manzel and pianist Frank Schulte<\/strong> running through a medley of cabaret and Broadway songs including Surabaya Johnny, and alternating sentimental Weill with the edgier pieces with Brecht\u2019s lyrics. Not a bad beginning, and perhaps a way to extend a short performance to over an hour and a half. A single piano accompanied song was added after the moving conclusion of Die sieben Tods\u00fcnden, maybe for symmetry or as a Brechtian gesture. It was a mistake, but not a deadly one. While the evening was entertaining it was not nearly sinful enough.<\/p>\n","protected":false},"excerpt":{"rendered":"

Berlino, Komische Oper – Stagione Lirica 2011\/2012 “DIE SIEBEN TODSUNDEN” (I sette peccati capitali) Balletto con canto in […]<\/p>\n","protected":false},"author":85,"featured_media":30255,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[9272,4828,9354,9484,3090,985,145],"class_list":["post-66597","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-barrie-kosky-it","tag-die-sieben-todsunden","tag-foreign-readers","tag-frank-schulte","tag-komische-oper-berlin","tag-kurt-weill","tag-opera-lirica"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66597","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/85"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=66597"}],"version-history":[{"count":0,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/66597\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/30255"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=66597"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=66597"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=66597"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}