{"id":98895,"date":"2020-02-11T23:56:47","date_gmt":"2020-02-11T22:56:47","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=98895"},"modified":"2020-02-13T20:45:54","modified_gmt":"2020-02-13T19:45:54","slug":"komische-oper-berlin-fruhlingssturme-spring-storms","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/komische-oper-berlin-fruhlingssturme-spring-storms\/","title":{"rendered":"Komische Oper Berlin: “Fr\u00fchlingsst\u00fcrme” (Spring Storms)"},"content":{"rendered":"

Komische Oper Berlin, season 2019\/2020<\/em><\/span>
\n<\/span><\/span>“FR\u00dcHLINGSST\u00dcRME\u201c<\/b><\/span><\/span><\/span><\/strong> (\u201cSpring Storms\u201c)
\n<\/span><\/span><\/span>Operetta in three acts, <\/span><\/span><\/span>Libretto by Gustav Beer, r<\/span><\/span><\/span>econstructed and newly arranged by Norbert Biermann
\n<\/span><\/span><\/span>Music by <\/span><\/span><\/span>Jarom\u00edr Weingartner
\n<\/b><\/span><\/span><\/span>General Wladimir Katschalow<\/i><\/span><\/span> STEFAN<\/span><\/span> KURT
\n<\/span><\/span><\/span>Tatjana <\/i><\/span><\/span><\/span>ALMA SAD\u00c9
\n<\/span><\/span><\/span>Lydia Pawlowska <\/i><\/span><\/span><\/span>VERA-LOTTE BOECKER
\n<\/span><\/span><\/span>Roderich Zirbitz <\/i><\/span><\/span>DOMINIK K\u00d6NINGER
\n<\/span><\/span>Ito<\/i><\/span><\/span> ROMAN PAYER
\n<\/span><\/span>Colonel Baltischew<\/i><\/span><\/span> TINO LINDENBERG
\n<\/span><\/span>Grand Duke Michailowitsch <\/i><\/span><\/span>LUCA SCHAUB
\n<\/span><\/span>Shibato and concierge <\/i><\/span><\/span><\/span>ANNE GOTTSCHLING
\n<\/span><\/span><\/span>Kawa-Kami and Peter <\/i><\/span><\/span>YANNIK HECKMANN
\n<\/span><\/span>Cavalry Captain Strotzky <\/i><\/span><\/span>SASCHA GOEPEL
\n<\/span><\/span>Dancers <\/i><\/span><\/span>ALESSANDRA BIZZARRI<\/span><\/span><\/span>,<\/span><\/span><\/span> CLAUDIA GRECO<\/span><\/span><\/span>,<\/span><\/span><\/span> MARIKA GANGEMI<\/span><\/span><\/span>,<\/span><\/span><\/span> MARTINA BORRONI<\/span><\/span><\/span>,<\/span><\/span><\/span> AZZURRA ADINOLFI<\/span><\/span><\/span>,<\/span><\/span><\/span> JASLYN READER<\/span><\/span><\/span>,<\/span><\/span><\/span> LAUREN MAYER<\/span><\/span><\/span>,<\/span><\/span><\/span> SOPHIE MERRISON<\/span><\/span><\/span>,<\/span><\/span><\/span> MERI AHMANIEMI<\/span><\/span><\/span>,<\/span><\/span><\/span> TARA RANDELL<\/span><\/span><\/span>,<\/span><\/span><\/span> LIVIA DELGADO<\/span><\/span><\/span>,<\/span><\/span><\/span> SARAH STANLEY<\/span><\/span><\/span>,<\/span><\/span><\/span> SARA PAMPLONI
\n<\/span><\/span><\/span>Orchester der Komischen Oper Berlin
\n<\/span><\/span>Conductor <\/span><\/span>Jordan de Souza
\n<\/b><\/span><\/span>Production <\/span><\/span><\/span>Barrie Kosky
\n<\/b><\/span><\/span><\/span>Choreography <\/span><\/span><\/span>Otto Pichler
\n<\/b><\/span><\/span><\/span>Stage and light <\/span><\/span><\/span>Klaus Gr\u00fcnberg
\n<\/b><\/span><\/span><\/span>Stage collaborator <\/span><\/span><\/span>Anne Kuhn
\n<\/b><\/span><\/span><\/span>Costumes <\/span><\/span><\/span>Dinah Ehm
\n<\/b><\/span><\/span><\/span>Dramatic adviser <\/span><\/span><\/span>Ulrich Lenz
\n<\/b><\/span><\/span><\/span>Berlin, 8th February 2020
\n<\/span><\/span><\/span><\/em>Jarom\u00edr Weinberger<\/i><\/span><\/span><\/span><\/span> born in Prague in 1896 and taught by <\/span><\/span><\/span><\/span>Max Reger<\/i><\/span><\/span><\/span><\/span>, became a highly successful composer in the 1920s next to <\/span><\/span><\/span><\/span>Franz Schreker<\/i><\/span><\/span><\/span><\/span> and <\/span><\/span><\/span><\/span>Erich Wolfgang Korngold<\/i><\/span><\/span><\/span><\/span>. His opera <\/span><\/span><\/span><\/span>Schwanda the Bagpiper<\/i><\/span><\/span><\/span><\/span> from 1927 caused a sensation, the piece surpassed even <\/span><\/span><\/span><\/span>Carmen<\/i><\/span><\/span><\/span><\/span> and <\/span><\/span><\/span><\/span>The<\/i><\/span><\/span><\/span><\/span> Magic Flute <\/i><\/span><\/span><\/span><\/span>in Germany and was played in Vienna, New York, London and Buenos Aires. It was in late January 1933, only ten days before Hitler was sworn in as German chancellor, when Weinberger\u2019s operetta <\/span><\/span><\/span><\/span>Fr\u00fchlingsst\u00fcrme <\/i><\/span><\/span><\/span><\/span>(Spring Storms) had its premiere in the Theatre in Admiralspalast in Berlin starring <\/span><\/span><\/span><\/span>Richard Tauber<\/i><\/span><\/span><\/span><\/span> and <\/span><\/span><\/span><\/span>Jarmila Novotn\u00e1<\/i><\/span><\/span><\/span><\/span>. It was the last operetta of the Weimar Republic, a short and troubled period of German history lasting from the end of World War I until 30<\/span><\/span><\/span><\/span>th<\/span><\/span><\/span><\/sup><\/span> January 1933, when the Nazis took power. The era of the Roaring 1920s, a time of artistic and sexual liberalism, came to a sudden stop. \"\"<\/a>As Jews, both Tauber and Weinberger had to leave Germany and the composer eventually settled in the United States where he committed suicide in 1967. <\/span><\/span><\/span><\/span>Fr\u00fchlingsst\u00fcrme<\/i><\/span><\/span><\/span><\/span> disappeared from Berlin for 87 years until a new, reconstructed and re-orchestrated production by <\/span><\/span><\/span><\/span>Berrie Kosky<\/b><\/span><\/span><\/span><\/span> premiered at the <\/span><\/span><\/span><\/span>Komische Oper Berlin <\/b><\/span><\/span><\/span><\/span>on 25<\/span><\/span><\/span><\/span>th<\/span><\/span><\/span><\/sup><\/span> January. For a long time, it was supposed that Weinberger\u2019s full score of the operetta had been destroyed during World War II but as the Komische Oper\u2019s dramatic adviser <\/span><\/span><\/span><\/span>Ulrich Lenz<\/b><\/span><\/span><\/span> and other researchers found out, it could not have been: there were a performance in Ostrava, now in the Czech Republic, as well as a broadcast in 1947. Yet Mr Kosky and his team had to commission a re-orchestration by <\/span><\/span><\/span>Norbert Biermann<\/i><\/span><\/span><\/span> of a piano-vocal score, the only remnant along with a few old Shellac recordings after they had turned to the broadcaster whether the orchestral parts existed in its archives but nothing showed up in the end. It took Mr Biermann two years to rearrange the operetta extended by a few new pieces and a final quartet. He did a great job such as skilfully using banjo, mandolin, harp and celeste. The music appears like a mix of Smetana, Strauss and jazz, at times all heard in the same aria. The story, an espionage thriller set in 1905 during the Russo-Japanese War, is also a mix of romance, comedy and show-tune spectacle. Unlike in most other operettas, the end resembles that of <\/span><\/span><\/span>Das<\/i><\/span><\/span><\/span> Land des L\u00e4chelns<\/i><\/span><\/span><\/span> (<\/span><\/span><\/span>The Land of Smiles<\/i><\/span><\/span><\/span>) by <\/span><\/span><\/span>Franz Lehar<\/i><\/span><\/span><\/span>: bittersweet rather than joyous. Berrie Kosky arranges everything around a large wooden trunk (stage and light by <\/span><\/span><\/span>Klaus Gr\u00fcnberg<\/b><\/span><\/span><\/span>) which opens to the bright, joyful melodies of the prelude as if it had contained <\/span><\/span><\/span>Fr\u00fchlingsst\u00fcrme <\/i><\/span><\/span><\/span><\/span>for nearly 90 years to be revealed to Berlin once again. Later a show stair is moved to the trunk and finally, a revolving door is installed in it. The final act starts with fireworks, probably referring to the outbreak of the Russo-Japanese War. <\/span><\/span><\/span><\/span>Jordan de Souza <\/b><\/span><\/span><\/span>is a deftly navigating <\/span><\/span><\/span>conductor of the <\/span><\/span><\/span><\/span>Orchester der Komischen Oper Berlin <\/b><\/span><\/span><\/span><\/span>while <\/span><\/span><\/span><\/span>Otto Pichler\u2019s <\/b><\/span><\/span><\/span>brilliant <\/span><\/span><\/span><\/span>choreography of the female dancers strongly emphasizes the show tunes. <\/span><\/span><\/span>Centre of the plot is the ball-throwing widow <\/span><\/span><\/span><\/span>Lydia Pawlowska<\/i><\/span><\/span><\/span> from St Petersburg<\/span><\/span><\/span><\/span> <\/i>sung by <\/span><\/span><\/span>Vera-Lotte Boecker <\/b><\/span><\/span><\/span>whose tireless light soprano makes the lyrical lines verge on opera. <\/span><\/span><\/span>Tansel Akzeybek <\/b><\/span><\/span><\/span>brings a<\/span><\/span><\/span> <\/b>boyish rather than honeyed timbre to the role of the Japanese officer <\/span><\/span><\/span>Ito<\/i><\/span><\/span><\/span> who falls in love with the Russian widow, and he compellingly sings Tauber\u2019s hit <\/span><\/span><\/span>Du w\u00e4rst die Frau f\u00fcr mich gewesen<\/i><\/span><\/span><\/span>. The actor <\/span><\/span><\/span>Stefan Kurt<\/b><\/span><\/span><\/span><\/span> excels in the comical speaking role of <\/span><\/span><\/span>General Katschalow<\/i><\/span><\/span><\/span> who is also keeping an eye on Lydia with gorgeous slapstick and dancing scenes, as well as the beginning of Lenski\u2019s aria from <\/span><\/span><\/span>Yevgeniy Onegin<\/i><\/span><\/span><\/span> sung in Russian. As the father of <\/span><\/span><\/span> Tatjana<\/i><\/span><\/span><\/span> (<\/span><\/span><\/span>Alma Sad\u00e9<\/b><\/span><\/span><\/span>,<\/span><\/span><\/span> <\/b>ravishingly frisky), he is not amused that she has an affair with <\/span><\/span><\/span>Roderich Zirbitz<\/i><\/span><\/span><\/span>, an undercover journalist from Berlin, briskly played and sung by <\/span><\/span><\/span>Dominik K\u00f6ninger<\/b><\/span><\/span><\/span>. This time Kosky does not overdo the show elements like in previous productions in spite of two hours and a half of playing time, which makes for an entirely successful show. I am looking forward to the production of <\/span><\/span><\/span>Schwanda the Bagpiper <\/i><\/span><\/span><\/span><\/span>coming later this season<\/span><\/span><\/span><\/span>. <\/span><\/span><\/span><\/p>\n

Der 1896 in Prag geborene und von <\/span><\/span>Max Reger <\/i><\/span><\/span>ausgebildete <\/span><\/span>Jarom\u00edr Weinberger<\/i><\/span><\/span> wurde in den goldenen Zwanzigern des vergangenen Jahrhunderts einer der erfolgreichsten Komponisten neben <\/span><\/span>Franz Schreker<\/i><\/span><\/span> und <\/span><\/span>Erich Wolfgang Korngold<\/i><\/span><\/span>. Seine Oper <\/span><\/span>Schwanda der Dudelsackpfeifer<\/i><\/span><\/span> von 1927 wurde zur Sensation, das St\u00fcck \u00fcbertraf in Deutschland sogar <\/span><\/span>Carmen<\/i><\/span><\/span> und <\/span><\/span>Die Zauberfl\u00f6te <\/i><\/span><\/span>und wurde in Wien, New York, London und Buenos Aires gespielt. \"\"<\/a>Es war gegen Ende Januar 1933, nur zehn Tage bevor Hitler als Reichskanzler vereidigt wurde, als Weinbergers <\/span><\/span>Fr\u00fchlingsst\u00fcrme <\/i><\/span><\/span>startr\u00e4chtig<\/span><\/span> <\/i>mit <\/span><\/span>Richard Tauber<\/i><\/span><\/span> und <\/span><\/span>Jarmila Novotn\u00e1<\/i><\/span><\/span> in den Hauptrollen<\/span><\/span> <\/i>im Berliner Theater im Admiralspalast Premiere hatte. Es war die letzte Operette der Weimarer Republik vor der Macht\u00fcbernahme durch die Nazis am 30. Januar 1933, als die Zeit k\u00fcnstlerischer und sexueller Freiz\u00fcgigkeit abrupt zu Ende ging. Als Juden mussten sowohl Tauber als auch Weinberger Deutschland verlassen und der Komponist lie\u00df sich zu guter Letzt in den USA nieder, wo er 1967 Selbstmord beging. <\/span><\/span>Fr\u00fchlingsst\u00fcrme<\/i><\/span><\/span> war 87 Jahre aus Berlin verschwunden, bis am 25. Januar eine rekonstruierte und neu orchestrierte Fassung von <\/span><\/span>Berrie Kosky<\/b><\/span><\/span> an der <\/span><\/span>Komischen Oper Berlin<\/b><\/span><\/span> Premiere hatte. Lange Zeit nahm man an, dass die Gesamtpartitur der Weinberger-Operette dem zweiten Weltkrieg zum Opfer gefallen war, aber wie der Dramaturg der Komischen Oper <\/span><\/span>Ulrich Lenz<\/b><\/span> und weitere Forscher herausfanden, konnte das kaum sein: es gab n\u00e4mlich 1947 im heute tschechischen Ostrava sowohl eine Auff\u00fchrung als auch eine Rundfunk\u00fcbertragung. Herr Kosky und sein Stab mussten schlie\u00dflich die Neuorchestrierung eines Klavierauszuges durch <\/span>Norbert Biermann<\/i><\/span> in Auftrag geben, dem einzigen \u00dcberbleibsel neben ein paar alten Schellackplatten, nachdem sie sich an die Rundfunkanstalt gewandt hatten, ob die Orchesterpartitur sich in ihren Archiven befinde, was aber nichts zu Tage f\u00f6rderte. Herr Biermann brauchte zwei Jahre, um die Operette neu einzurichten und um ein paar Nummern und ein Schlussquartett zu erweitern. Das ist ihm gro\u00dfartig gelungen, beispielsweise durch gekonnten Einsatz von Banjo, Mandoline, Harfe und Celesta. Die Musik kommt wie ein Mix aus Smetana, Strau\u00df und Jazz daher, zuweilen alles zusammen in derselben Arie. Die Handlung, ein 1905 w\u00e4hrend des Russisch-Japanischen Krieges spielender Spionagethriller, ist ebenfalls eine Mischung aus Lovestory, Kom\u00f6die und Showspektakel. Anders als bei den meisten Operetten, \u00e4hnelt das eher bitters\u00fc\u00dfe als freudige Ende dem von <\/span>Franz Lehars Land des L\u00e4chelns<\/i><\/span>. Berrie Kosky arrangiert alles um einen gro\u00dfen Schrankkoffer herum (B\u00fchne und Beleuchtung von <\/span>Klaus Gr\u00fcnberg<\/b><\/span>), der sich zu den strahlend-fr\u00f6hlichen Melodien des Vorspiels \u00f6ffnet, als ob er <\/span>Fr\u00fchlingsst\u00fcrme<\/i><\/span><\/span> seit fast 90 Jahren bewahrt h\u00e4tte, damit sie nun wieder in Berlin entdeckt werden. Sp\u00e4ter wird eine Showtreppe an ihn herangeschoben und zum Schluss wird eine Dreht\u00fcr in ihn eingebaut. Der letzte Akt beginnt mit einem Feuerwerk, was wohl auf den Ausbruch des <\/span><\/span>Russisch-Japanischen Krieges anspielen soll. <\/span>Jordan de Souza <\/b><\/span>ist ein souver\u00e4n navigierender Dirigent des <\/span>Orchesters der Komischen Oper Berlin<\/b><\/span><\/span>, w\u00e4hrend <\/span><\/span>Otto Pichlers <\/b><\/span>gro\u00dfartige <\/span><\/span>Choreografie der T\u00e4nzerinnen sich stark am Showcharakter orientiert. \"\"<\/a>Im Mittelpunkt steht die Witwe und Ballgastgeberin <\/span>Lydia Pawlowska <\/i><\/span>aus <\/span>St. Petersburg, gesungen von <\/span><\/span>Vera-Lotte Boecker<\/b><\/span>, deren unerm\u00fcdlicher hoher Sopran die Gesangslinien in Opernn\u00e4he r\u00fccken l\u00e4sst.<\/span> Tansel Akzeybek <\/b><\/span>bringt f\u00fcr die Rolle des japanischen Offiziers <\/span>Ito<\/i><\/span>, der sich in die russische Witwe verliebt, mehr jungenhaftes Timbre als stimmlichen Schmelz mit, wobei er den Tauber-Hit <\/span>Du w\u00e4rst die Frau f\u00fcr mich gewesen<\/i><\/span> mit bezwingender \u00dcberzeugungskraft singt. Der Schauspieler <\/span>Stefan Kurt <\/b><\/span><\/span>gl\u00e4nzt in der komischen Sprechrolle des <\/span><\/span>General Katschalow<\/i><\/span>, der seinerseits ein Auge auf Lydia geworfen hat, mit gro\u00dfartigen Slapstick- und Tanzeinlagen, sowie Lenskis in Russisch intonierter Arie aus <\/span>Eugen Onegin<\/i><\/span>. Als Vater von <\/span>Tatjana<\/i><\/span> (<\/span>Alma Sad\u00e9<\/b><\/span>,<\/span> <\/b>hinrei\u00dfend ausgelassen), ist er nicht begeistert, dass sie eine Aff\u00e4re mit <\/span>Roderich Zirbitz <\/i><\/span>hat, einem Undercover-Journalisten aus Berlin, von <\/span>Dominik K\u00f6ninger <\/b><\/span>lebhaft gespielt und gesungen. Diesmal \u00fcberzieht Kosky nicht die Showelemente wie in fr\u00fcheren Inszenierungen, was trotz zweieinhalb Stunden Spielzeit f\u00fcr einen ungeteilten Auff\u00fchrungserfolg sorgt. Ich freue mich auf die Inszenierung von <\/span>Schwanda der Dudelsackpfeifer <\/i><\/span><\/span>noch in dieser Spielzeit<\/span><\/span>. Photo Iko Freese<\/em>
\n<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Komische Oper Berlin, season 2019\/2020 “FR\u00dcHLINGSST\u00dcRME\u201c (\u201cSpring Storms\u201c) Operetta in three acts, Libretto by Gustav Beer, reconstructed and […]<\/p>\n","protected":false},"author":177,"featured_media":98899,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[24838,19307,4831,19308,17159,9354,24835,24834,19305,19306,3090,16610,17282,24836,24837,17161,23632,23980],"class_list":["post-98895","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-alma-sade","tag-anne-kuhn","tag-barrie-kosky","tag-dinah-ehm","tag-dominik-koninger","tag-foreign-readers","tag-fruhlingssturme","tag-jaromir-weingartner","tag-jordan-de-souza","tag-klaus-grunberg","tag-komische-oper-berlin","tag-orchester-der-komischen-oper-berlin","tag-otto-pichler","tag-spring-storms","tag-stefan-kurt","tag-tansel-akzeybek","tag-ulrich-lenz","tag-vera-lotte-boecker"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/98895","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=98895"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/98895\/revisions"}],"predecessor-version":[{"id":98900,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/98895\/revisions\/98900"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/98899"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=98895"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=98895"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=98895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}