roots Bender sleet of flutes, oboes, clarinets, bassoons and saxophone tanned with us in the ear. Trombones and Tuba grunting quite horrible as Behemoth and Leviathan. As a last unholy battle between the sky, the earth, the air and the sea rages. And this commotion has been created in the stunning Staatskapelle Berlin, Matthias pintscher in the trench of the Staatsoper unter den Linden, conductor, Japanese bridle and reins, so he keeps it all in the hands, this cosmos crushing noise entragen some of the Minor triads, such as charred beams zermalmter churches, the blowing sand of the Baltic dunes. You are to REM ghosts become relics of the Familiar, and home search in an eerily become a home. But then, the clock 89 of this prelude to the Opera “Violet snow” by Beat Furrer, slide the strings down, level by level, increasing with each re-use. There was a Plunge in two directions, as in the Text, the choir, the stupendous vocal consort Berlin, from bar 141 to more humming than singing those lines from the document “De rerum natura” of Lucretius, where the thundering sky “to the top entstürzen”, as Furrer translated “and the earth is relieved of the foot ripping”.
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Furrer a rousing, pack in his new Opera, the end of imagination, of storytelling, sound on the day. The silence of the winter air, the crunch of snow, the silver sums of the flakes in the case, he sets in contrast to the whips of the storm and the cry of the creature under the impositions of the elements.
Was written by Ludwig van Beethoven in his pastoral Symphony: “More the expression of feeling than painting,” says Furrer relationship debunks the Maxim of Willy-nilly as a formulation of a power relationship, the nature of representation raises in the art, the primacy of the human Psyche. In his Opera, it is exactly Vice versa. Music as an agent of nature drives the six characters, whose souls are driven. Nature is no longer a space of resonance of the soul. Rather, the Psyche and the tormented body of the people to the level of a ravaged, from the anchoring torn nature.
A history of Russian writer Vladimir Sorokin a group of researchers, which is enclosed by a catastrophic drift of snow in a house, is the basis for this Opera. Furrer felt Sorokins Libretto-design as a non-vertonbar and asked Händl Klaus, with whom he had already worked together, a linguistic reorganization. It was even inserted a scene from Andrei Tarkovsky’s Film “Solaris”, in the description of Pieter Bruegel’s picture “hunters in the snow” plays an important role. Whether the good deed of the Opera, may be doubted. The catastrophic force is now framed by a very solid, Seminaris table grace at the end of image viewing, which gives the viewer and listener right back to the feeling of the uninvolved one.
The Director, Claus Guth, stage designer, Etienne Pluss, the costume designer: Ursula Kudrna and video artist Arian Andiel, the Opera, in the Vienna Museum of Art history, let our days begin; Martina Gedeck as Tanya speaks the description of the picture in fear zitterndem delusional. And we travel through the Details of the motion, zoomed-in painting, as in the beautiful TV series of Nikita Mikhalkov’s “Sentimental journey through the Russian painting of the nineteenth century”: the mind is full of educational television, the only scenic with a bit of a disaster tickle enriched.
What to negotiate and bustle of the figures later in the snow, obeys either of the Emergency your location (you burn the furniture you are considering from Hunger, to eat each other), or the dramaturgy of a gradual acceptance of the Inevitable. Like the music, also the sensitive direction, this is to Accept the Unalterable, this loss of options for action trace, in turn, is compelling. In the moments of silence, an Idyll of horror.