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Waldesruh

A campsite without trees – with Morton Feldman
Sat 03.10.2020 - 20:00 h
Prices: € 20,– / concs.* € 10,–

*) All those eligible to pay reduced prices (concessions) can claim the discount rate as soon as tickets go on general sale. If purchasing online, please select the "ermäßigt" 'sale type' in the dropdown menu under the hall chart, after choosing your seat(s).

Informationen zum Werk

Documentary music theatre (interviews with foresters, tree experts etc.)
Music by Felix Mendelssohn Bartholdy, Robert Schumann, Franz Schubert
Arranged by Michael Wilhelmi
World premiere on 30 September 2020 at the Tischlerei of the Deutsche Oper Berlin

recommended from 14 years

In German language

ca. 2 hours / no interval

Cast

Composer, Performance

Michael Wilhelmi

Set- and Costume design

Sophie Krayer

Video design

Georg Lendorff

Dramaturgy, concept, performance

Falk Rößler

Dramaturgy

Lars Gebhardt

Conductor of the youth chorus

Christian Lindhorst

About the performance

The topos of the Wood as a focus for German Romantic sensibility has undergone considerable shifts over the last 200 years. Be it as an epitome of narrow-mindedness, militaristic uniformity and romantic withdrawal from society, as a touchstone to eco-spirituality or as a seismic gauge of climate change, the wood has always served and continues to serve as a projection surface for socio-political phenomena.

Director Anna-Sophie Mahler and her team have used interviews with experts and scientists as the basis for their two-part evening of musical theatre, an event that not only invites the audience to learn and experience but will also be engineering a shift in public perspective. In the process the austere Tischlerei will morph into an imaginary wood, Romantic choral music and sylvan song material will be delivered in a campsite ambience and the audience will gain insights into fungal structures and the communications systems of trees. The evening will culminate in a condensed presentation of Morton Feldman‘s »Triadic Memories« – an extraordinary piece for solo piano that was written in 1981, late in his career, and is a gem of clarity, openness and minimalism.

Anna-Sophie Mahler is at home with opera and theatre in equal measure. She works regularly as part of a team putting together events that are based on research findings and cause familiar stage material to rub up against the biographies of »real people«.

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