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Advance booking start: 14 September 2020, 12:00h

Waldesruh

A campsite without trees – with Morton Feldman
Tue 13.10.2020 - 19:00 h
15,00 - 25,00 €

A breaktime drink is included in the price.

Informationen zum Werk

Documentary music theatre (interviews with foresters, tree experts etc.)
Music by Morton Feldman, Felix Mendelssohn Bartholdy, Robert Schumann, Franz Schubert und Richard Strauss.
Arranged by Michael Wilhelmi

World premiere on 2 October 2020 at the Tischlerei of the Deutsche Oper Berlin

recommended from 14 years

In German ans English language

ca. 2 hrs 30 mins / one interval – Breaktime drink included

Cast

Stage Director & Concept

Anna-Sophie Mahler

Dramaturgy & Concept

Falk Rößler

Conductor & Composer

Michael Wilhelmi

Set- and Costume design

Sophie Krayer

Video design

Georg Lendorff

Dramaturgy

Lars Gebhardt

Chorus Master of the Youth Chorus

Christian Lindhorst

Design & construction of mobile loudspeakers

Annatina Huwiler

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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