{"id":91255,"date":"2017-11-01T14:39:26","date_gmt":"2017-11-01T13:39:26","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=91255"},"modified":"2017-11-01T14:39:26","modified_gmt":"2017-11-01T13:39:26","slug":"deutsche-oper-berlin-linvisible","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/deutsche-oper-berlin-linvisible\/","title":{"rendered":"Deutsche Oper Berlin: “L’Invisible”"},"content":{"rendered":"

Deutsche Oper Berlin, season 2017\/2018
\n<\/em>\u201cL\u2019INVISIBLE\u201d
\n<\/strong>Trilogie lyrique after Maurice Maeterlinck.
\nMusic by Aribert Reimann
\n<\/strong>Ursula\/Marie\/Ygraine<\/em> RACHEL HARNISCH
\nMarthe\/Bellang\u00e8re <\/em>ANNIKA SCHLICHT
\nServant <\/em>RONNITA MILLER
\nFather<\/em> SETH CARICO
\nGrandfather\/Old Man\/Aglovale <\/em>STEPHEN BRONK
\nUncle\/Stranger <\/em>THOMAS BLONDELLE
\nChild\/Tintagiles <\/em>SALVADOR MACEDO
\nThree servants of the Queen <\/em>TIM SEVERLOH, MATTHEW SHAW, MARTIN W\u00d6LFEL
\nOrchester der Deutschen Oper Berlin
\nConductor Donald Runnicles
\n<\/strong>Production Vasily Barkhatov
\n<\/strong>Stage Zinovy Margolin
\n<\/strong>Costumes Olga <\/strong>Shaishmelashvili
\n<\/strong>Video Robert Pflanz
\n<\/strong>Light Ulrich Niepel
\n<\/strong>Berlin, 22nd October 2017
\n\"\"<\/a><\/em>The recent premi\u00e8re of Debussy\u2019s \u201c<\/em>Pell\u00e9as et M\u00e9lisande\u201d at the Komische Oper Berlin made it clear again how much <\/em>Maurice Maeterlinck\u2019s plays matched the Zeitgeist of the fin de si\u00e8cle. While \u201cAriane et Barbe-Bleue\u201d and above all the story about the mysterious M\u00e9lisande whose family background largely remains a secret and who falls in love with her husband\u2019s step-brother gave rise to numerous musical implementations by Paul Dukas, Gabriel Faur\u00e9, Arnold Sch\u00f6nberg, Jean Sibelius and Claude Debussy in the end, other plays had not become a focus of composers until the Berlin-based Aribert Reimann<\/strong> turned to three of Maeterlick\u2019s one act plays which he put together to \u201cL\u2019Invisible\u201d, a Trilogie lyrique sung in French and commissioned by and premi\u00e8red at the Deutsche Oper Berlin on 8th<\/sup> October 2017. The composer has been closely linked with the opera house for more than 60 years. He took on his first job there as a r\u00e9p\u00e9titeur in 1955 and it is proud that his operas \u201cMelusine\u201d, \u201cDie Gespenstersonate\u201d, \u201cDas Schloss\u201d and now \u201cL\u2019Invisible\u201d have seen their world premi\u00e8res at the Deutsche Oper. Reimann chose three short dramas by Maeterlick that are family stories about death with children directly or indirectly involved. The instrumentation is quite unusual. The first plot \u201cL\u2019Intruse\u201d (The intruder) combines the first cry of a baby with the death of his mother. Reimann composed it exclusively for string players with a surprisingly broad sound. In \u201cInt\u00e9rieur\u201d an old man is pondering if he can destroy the Christmas spirit of a family by the news that their daughter has drowned in a river. This second part is composed for the woodwinds only while the composer uses the full \"\"<\/a>orchestra including brass players, drums and two harps for the third and longest part \u201cLa mort de Tentagiles\u201d about the assassination of a young heir to the throne. The much sought-after stage director Vasily Barkhatov<\/strong> has placed the three stories in the same setting created by stage designer Zinovy Margolin<\/strong>. There is a row of houses that can be moved back and forth to provide space for the family\u2019s dining room in the first part or a shop-window like view of the living room at Christmas in the second. Video projections by Robert Pflanz<\/strong> are the final touch. There are shadow images of the acting persons, flashbacks and live silhouettes which are sometimes merged or interfering with each other. It is Barkhatov\u2019s brilliant idea to set the third part in a palliative care unit for children where two nurses (Ygraine and Bellang\u00e8re) and a doctor (Aglovale) are trying to alleviate a boy\u2019s forthcoming death by pretending that he is taking part in a play about Prince Tentagiles. It ends up in a flashback of a burning car and the badly injured boy lying in the street. Olga Shaishmelashvili\u2019s costumes are reminiscent of the 1950s. The Orchester der Deutschen Oper Berlin under the baton of Donald Runnicles <\/strong>and Reimann\u2019s score make a good match. That refers to both musical intensity and consideration for the singers. Moderate dissonances between death chord and harmonic clusters leave enough space for them to create \"\"<\/a>a chamber-music sound. The clear and in the last part outrageously agile soprano of Rachel Harnisch<\/strong> is ideal for the three major female roles of Ursula, Marie and Ygraine supported by the contrasting mezzo of Annika Schlicht<\/strong> in the sister roles of Marthe and Bellang\u00e8re. Stephen Bronk<\/strong>\u2019s bass sounds sublime as both the blind grandfather in the first plot, the old man in the second who has to convey the terrible news about the dead daughter, and the sisters\u2019 brother Aglovale who is trying to save the life of Prince Tintagiles convincingly played by Salvador Macedo<\/strong>, a member of the children\u2019s chorus of the opera house. Thomas Blondelle <\/strong>finds beauty of expression in depressive moments. The cynical uncle at the beginning turns into a touching stranger and his powerful tenor suddenly sounds delicate and gentle. He seems to have specialised in unstable characters. Seth Carico is a desperate father with his virile baritone and Ronnita Miller<\/strong> makes most out of her short appearance as the family\u2019s servant. The unpretentious countertenor trio of Tim Severloh<\/strong>, Matthew Shaw <\/strong>and Martin W\u00f6lfel<\/strong> connects the three parts with comforting interludes to finally appear as the three servants of the Queen who act as messengers of death throughout the 90 minutes. Altogether \u201cL\u2019Invisible\u201d is a successful opening of the 2017\/18 season at the Deutsche Oper Berlin that continues promoting modern opera with Aribert Reimann as its icon. Photo Bernd Uhlig<\/span><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Deutsche Oper Berlin, season 2017\/2018 \u201cL\u2019INVISIBLE\u201d Trilogie lyrique after Maurice Maeterlinck. Music by Aribert Reimann Ursula\/Marie\/Ygraine RACHEL HARNISCH […]<\/p>\n","protected":false},"author":177,"featured_media":91282,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[15741,19412,5061,19411,19419,19418,19413,13791,19415,18578,19416,13734,18577,19417,19414,15982],"class_list":["post-91255","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-annika-schlicht","tag-aribert-reimann","tag-donald-runnicles","tag-linvisible","tag-martin-wolfel","tag-matthew-shaw","tag-maurice-maeterlinck","tag-rachel-harnisch","tag-robert-pflanz","tag-ronnita-miller","tag-salvador-macedo","tag-stephen-bronk","tag-thomas-blondelle","tag-tim-severloh","tag-vasily-barkhatov","tag-zinovy-margolin"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/91255","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\/177"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=91255"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/91255\/revisions"}],"predecessor-version":[{"id":91256,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/91255\/revisions\/91256"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/91282"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=91255"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=91255"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=91255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}