PHILOKTET by Samir Odeh-Tamimi


Music theatre based on the dramas by Sophocles, Heiner Müller & André Gide (2022) 

»Man, living among others, is incapable, incapable of pure and truly selfless action. I, on this island, follow myself, understanding, day by day less Greek, day by day more human…«

(André Gide: Philoctet or the Treatise of the Three Kinds of Virtue. 1904)

»Philoctet is an excluded, an insulted, a potential avenger, in other words, we would say today: potentially a terrorist.«

(Etel Adnan: Notates on the Killing of Philoktet in Heiner Müller. 2004.)

Composition & stage concept: Samir Odeh-Tamimi

Co-Direction: Rosabel Huguet

Libretto: Claudia Pérez Iñesta

Collaboration Costume: Indra Nauck

Sound direction & electronics: Andrei Cucu

Philoktet: Daniel Gloger (countertenor)

Neoptolemos: Martin Nagy (tenor)

Odysseus: Andreas Fischer (bass)

Intruder & Chorus: Guillermo Anzorena (baritone)

Greek Chorus: Johanna Vargas (soprano), Susanne Leitz-Lorey (soprano), Truike van der Poel (mezzo-soprano)

Zafraan Ensemble

Miguel Perez Inesta (double bass clarinet), Daniel Eichholz (percussion), Anna Viechtl (harp), Clemens Hund-Göschel (piano), Emmanuelle Bernard (violin), Josa Gerhard (viola), Zoé Cartier (cello), Beltane Ruiz Molina (double bass)

Duration: approx. 70′

World Premiere at the Festival Neue Musik ECLAT | Musik der Jahrhunderte, Theaterhaus Stuttgart on the 2nd of February 2023

Pictures MDJ/ECLAT © Martin Sigmund

PHARSALIA by Antonio Ruz

“Make us, if you want, enemies of all nations, but keep civil war away from us… It is so miserable to emerge victorious from a civil war!” ». The Cordovan Marco Anneo Lucano (39-65 AD), Seneca’s grandson, wrote this sentence in the only work of his that has survived until today, the ‘Pharsalia’ or ‘Bellum Civile’, an epic poem unfinished in ten songs about the civil war between Julius Caesar and Pompey the Great that has generated, due to its complex vitality, multiple criticisms, meanings and interpretations throughout history. But its validity today exudes a clear message calling for freedom and rejecting tyranny. In his story, only resistance is heroic and his lament proclaims a complaint that reaches a universal character.

Taking Lucano’s ‘Pharsalia’ as a starting point, this choreographic work explores the concept of war from an allegorical approach, putting the body at the service of everyday concepts such as conflict, crisis, resistance, tension, escape. Unfortunately, there are currently more than ten active war conflicts around the world. War has been with us since the beginning of civilisations, desire and ambition are in human nature, which induces collective insecurity and struggle.

With a forceful stage proposal and an original musical creation that travels between the epic and the electronic, 11 performers go through choreographies full of violence, subtlety and theatricality; bodies at war that evoke landscapes of strange and at the same time captivating beauty.

Direction & Choreography
Antonio Ruz

Dancers & Choreographic Collaboration
Anna B. Andresen, Elias Bäckebjörk, Joan Ferre, Carmen Fumero, Jose Alarcón, Manuel Martín, Lucia Montes, Alicia Narejos, Selam Ortega, Isabela Rossi, David Vilarinyo

Set & Costume Design
Alejandro Andújar

Original Music

Light Design
Olga García

Rosabel Huguet Dueñas

Technical Coordination
Espacio Átomo

Assistant Choreography
Begoña Quiñones

Paola Villegas, Gabriel Blanco – SPECTARE

Production Assistant
Andrea Méndez

Costumes Confection
Esther Fiol, Rocío Pozuelo

Video Making
Derek Pedrós

Graphic Identity

María Alperi

Photography during work in progress
Alba Muriel

Valeria Cosi – TINA Agency

Teatros del Canal & Museo de la Universidad de Navarra

With the support of
Gran Teatro de Córdoba, Teatro Central de Sevilla & Mapas

TOSCA by Puccini

New production at Opéra national de Lorraine with director Silvia Paoli

In the play written by Victorien Sardou and first performed by the dazzling Sarah Bernhardt, the world revolves around a diva. However, her jealousy and the unbridled desire of which she is the object precipitates the downfall of that world. Set against the backdrop of the hunt for republicans in Rome in 1800, Puccini pairs his drama with a most sensual and erotic score: music that would ensure the immortality of Tosca while Sardou’s play would tiptoe into oblivion.

Silvia Paoli’s childhood was peppered with the opera anecdotes that her aunt told her. Her version of Tosca could have been called Scarpia, given that the chief of the secret police is its central figure. In her eyes, he is the embodiment of pure evil, the most consummate bastard ever to grace an opera stage. Scarpia and his guard dogs. Scarpia who tortures and rapes to achieve his ends. Sadistic Scarpia the sadomasochistic hygienist who hides his inner corruption and moral decay under his maniacal gestures. Scarpia who would probably end up as king or pope if the kiss of death did not put a halt to his career. Scarpia, whose spectre hangs over the first notes of the orchestra and to whom Tosca’s last words are addressed.

The Italian director is making her French debut with this production. In her view, the terrible effectiveness of Puccini’s opera lies in its optimal use of resources, the concision of its libretto, and a score that is as sharp as a dagger. Here, she stages the raw drama, the tragedy of bodies.

Tosca, opera in three acts
First performed at Teatro Constanzi in Rome on January 14, 1900

New production Opéra national de Lorraine
Coproduction Angers-Nantes Opéra, Opéra de Rennes and Opéra de Toulon

Libretto Giuseppe Giacosa & Luigi Illica from Victorien Sardou’s play

Music Giacomo Puccini

Conductor Antonello Allemandi

Orchestra and Chorus of the Opéra national de Lorraine

Kids Choir of the Conservatoire régional du Grand Nancy

Director Silvia Paoli

Sets Andrea Belli

Costumes Valeria Donata Bettella

Light Design Fiammetta Baldiserri

Collaboration to the movement Rosabel Huguet Dueñas

Director Assistant Tecla Gucci

Sets Assistant Mariangela Mazzeo

Cast Salome Jicia (Floria Tosca), Rame Lahaj (Mario Cavaradossi), Daniel Mirosław (Baron Scarpia), Tomasz Kumięga (Cesare Angelotti), Daniele Terenzi (Sacristan), Marc Larcher (Spoletta), Jean-Vincent Blot (Sciarrone), Yong Kim (Gaoler), Here Bae (Shepherd).

Dancers Hélène Beilvaire, Virginie Benoist, Salya Berraf, Clara Brunet, Teodora Fornari, Gianni Illiaquer, Chloé Scalese, Gilles Taillefer

Shows from the 22nd of June to the 2nd of July at Opéra national de Lorraine

Pictures © Jean-Louis Fernandez

PRESS!! Anaclase

JULIE by Philippe Boesmans

Mademoiselle Julie is crazy tonight. She’s dancing with the servants. She’s also dancing with Jean, her father’s valet, right under the nose of his fiancée Kristin. She dances but the game of seduction gradually turns into a duel, and its outcome will prove to be fatal.

Who is Julie? Is she a bird in a cage? Is she the embodiment of innocence sacrificed on the altar of moral hypocrisy? Is she an enchantress who manipulates two pure human beings to satisfy her urges on that night when death paid a visit on life?

Under the misleading title of a naturalist tragedy, Strindberg’s drama is a “Mean Machine” which crushes its characters. His theatre advances along the fine line that separates the real from the fantastic. It is like those Midsummer nights when, if you fall asleep on the cool grass, your dreams become reality.

The composer Philippe Boesmans is one of the most respected and highly acclaimed figures in opera today. Long in residence at the Théâtre Royal de La Monnaie in Brussels, he has been a major player in the creation of modern European opera. His music—which never skimps on refinement or the joys of storytelling and fiction—focuses his expressiveness firmly on the drama to reveal the lies and the things that are obscured or unspoken. First performed in 2005, his profound Julie is one of the most intense and polished pieces of the last twenty years. It is conducted by Emilio Pomarico, an ardent defender of the contemporary repertoire.

A performer, director and visual artist, Silvia Costa explores this recent opera and offers us a new vision. Behind the castle’s chipped veneer, she brings to light the rituals and the raw existence; the dance of death by which bodies yield to—or resist—one another to their ultimate destruction. When dawn breaks, it is tinged with the bitter taste of lucidity: a wound which according to René Char is closest to the sun.

JULIE, opera in one act

First Performed at La Monnaie/De Mint in Bruxelles, the 8th March 2005

New production Opéra national de Lorraine
Coproduction Opéra de Dijon

Libretto: Luc Bondy and Marie-Louise Bischofberger from Mademoiselle Julie by August Strindberg

Music: Philippe Boesmans

Orchestra of the Opéra national de Lorraine

Conductor: Emilio Pomarico

Director & set designer: Silvia Costa

Collaboration to the sets: Michele Taborelli

Costumes: Laura Dondoli

Lighting design: Marco Giusti

Dramaturgy: Simon Hatab

Director Assistant: Rosabel Huguet

With: Irene Roberts (Julie), Dean Murphy (Jean), Lisa Mostin (Kristin), Marie Tassin (Julie dancing), Gianni Illiaquer (Acrobat)


© Jean-Louis Fernandez


Les Inrocks



JUDITHA TRIUMPHANTS | Staatsoper Stuttgart

Oratorium sacrum militare by Antonio Vivaldi
Libretto by Iacopo Cassetti after the Old Testament book Judit
sung in Latin

Few myths of occidental culture have been dealt as obsessively as that of the radiantly beautiful Hebrew widow Judith, the gagging angel of her people. She cuts off Holofernes head with his own sword. An icon of resistance, a martyr damaged in body and mind or an erotically charged proto-Salome – many different Judiths have emerged over the centuries in visual arts and drama. They were used as comparison for historical assassins, from Charlotte Corday, murderer of Jean Paul Marats to the RAF terrorist Ulrike Meinhof. Antonio Vivaldi’s Latin oratorio Juditha Triumphans devicta Holofernis barbarie was first performed in Venice in 1716 after Corfu’s liberation from the Ottoman siege. So the music created an allegorical expression of the military self-confidence of the republic. Vivaldi composed the colorful work for the Venetian girls’ orphanage at the Ospedale della pietà, where, hidden behind bars and gauzes, only young women played and sang. Paradoxically, Judith’s use of force against the general Holofernes can also be reported outside of gender differences. The young Italian Silvia Costa approaches the baroque re-narrative with the arsenal of fine arts. With the question of under what circumstances politically motivated aggression can be advocated, she focuses her staging of the Judith myth on the schizophrenia of seduction and destruction.

Musical Direction Benjamin Bayl
Direction & Stage Design Silvia Costa
Artistic Collaboration Rosabel Huguet Dueñas
Stage Design in collaboration with Maroussia Vaes
Costumes Laura Dondoli
Light Bernd Purkrabek
Choir Bernhard Moncado
Dramaturgy Franz-Erdmann Meyer-Herder & Antonio Cuenca Ruiz

Juditha Rachael Wilson
Holofernes Stine Marie Fischer
Abra Gaia Petrone
Ozias Linsey Coppens
Vagaus Diana Haller
Staatsopernchor Stuttgart, Staatsorchester Stuttgart



Kultur im Netz

Frankfurter Rundschau

Photos by Martin Sigmund

Requiem Humain, Brahms | Pygmalion & Raphaël Pichon

Ein deutsches Requiem, Op. 45, Johannes Brahms

*Version for soloists, choir & piano

Between the mourning of his friend Schumann and the imminent one of his mother, Brahms composes his German requiem going beyond the religious dimension to address humanity as a whole.
This work carries with it the heritage of the ancient alchemists of the appeasement of souls (Bach, Schütz). This “human” requiem offers itself as an immense consolation, a true promise of light after pain.

Pygmalion takes over this choral monument in an immersive and interactive version imagined by Jochen Sandig. Created in Berlin in 2012 as a scenic object where the border between the audience and the performers blurs for the benefit of the community, this creation is here redesigned and adapted for the huge concrete vessel that is the Submarine Base.

In this place, the Requiem is more akin than ever to an immersion in the depths of human hearts.

Human Requiem, Brahms

Pygmalion & Raphaël Pichon

Scenic creation – ambulatory concert

Jochen Sandig, concept and direction
Jörg Bittner, light creation
Rosabel Huguet Dueñas, assistant director

Davide Camplani & Martha Hincapié assistant choreography

Sabine Devieilhe, soprano
Konstantin Krimmel, baritone
Tanguy de Williencourt, piano
Pygmalion, choir

Raphaël Pichon, conductor

Creation of Rundfunkchor Berlin – Radialsystem Berlin – 2012

Sasha Waltz & Guests

Show created thanks to the generous support of Ms. Aline Foriel-Destezet, Grand Patron of the Pulsations Festival

Dates: July 15, 16, 17 & 18, 2021 – 10 p.m at Les Bassins de Lumières – Bordeaux


Photos by Fred Mortagne

Press reviews

COMBATTIMENTO: The black swan theory | Ensemble Correspondances & Silvia Costa at Festival d’Aix-en-Provence


A new production of the FESTIVAL D’AIX-EN-PROVENCE in co-production with THÉÂTRE DE CAEN with Lamentations, Madrigaux, Airs & Instrumental pieces by Claudio Monteverdi (1567-1643), Tiburtio Massaino (1550-1609), Francesco Cavalli (1602-1676), Giacomo Carissimi (1605-1674), Tarquino Merula (1595-1665), Luigi Rossi (1597-1653)

Let us not weep for those who weep; it is pointless for everyone. Rather, let us explore the realm of possibilities— i.e., the chances for transformation or emancipation bound to all these figures in tears.

Georges Didi-Huberman, Peuples en larmes, peuples en armes (2016)

What tides of fate have led Tancredi to a battlefield where he unknowingly affronts Clorinda, his true love, and eventually kills her? This improbable event that nonetheless occurs is known as a “black swan”: an inconceivable catastrophe to which a community must give meaning in order to surpass their tears and construct a brighter future on the ruins. With Il combattimento di Tancredi e Clorinda (“The Combat of Tancredi and Clorinda”), an incredible masterpiece of the baroque period, Monteverdi also seemed like an unexpected and highly prolific musical event. In Combattimento: The Black Swan Theory, conductor Sébastien Daucé and stage director Silvia Costa have imagined a symbolic journey through some of the most powerful emotions in Italian baroque music, including laments, madrigals, arias and instrumental pieces composed by Monteverdi, Rossi, Cavalli and their contemporaries during one of the heights of the era. For the audience, the emotional force provides an occasion for powerful catharsis.

LIBRETTO of Combattimento: The black swan theory

Conductor: Sébastien Daucé

Stage Director & Set Designer: Silvia Costa

Costume Designer: Laura Dondoli

Lighting Designer: Bernd Purkrabek

Dramaturgy: Antonio Cuenca Ruiz

Staging Collaborator: Rosabel Huguet Dueñas

Set Collaborator: Maroussia Vaes

CAST: Valerio Contaldo, Lucile Richardot, Julie Roset, Etienne Bazola, Nicolas Brooymans, Caroline Weynants, Antonin Rondepierre, Blandine de Sansal & Justine Assaf-Hausfater with the Orchestra Ensemble Correspondances

PREMIERE on the 3rd of July and following shows on the 5th, 7th, 9th, 10th, 14th, 16th & 18 July at Théâtre du Jeu de Paume, Aix-en-Provence

© Monika Rittershaus

Vocal introduction about the piece (in French)



IHR SEID BEREITS EINGESHIFFT | 4 works by Silvia Costa

The Lake Constance panorama and a sentence from Blaise Pascal’s PENSÉES are the inspiration for a series of performances and installations that the artist Silvia Costa creates for Bregenz, which thematize the natural infinite sequence of day and night, of life and death.
In DE RERUM NATURA, Lucretius describes the relationship of a viewer to the open sea, which reveals itself to him while he observes from the safe earthly border. But if you want to experience reality, you have to sail out bravely.

IHR SEID BEREITS EINGESHIFFT consists of four works that were specially created for art locations in Bregenz; if you want to experience it, you also have to go out, have to move from one place to another. The work is only completed through one’s own effort: the viewer: inside the picture, becomes the subject of the representation.

Concept, Direction, Scenography: Silvia Costa
Field Recordings, Music, Sounddesign: Nicola Ratti
Costume: Laura Dondoli
Artistic collaboration: Rosabel Huguet Dueñas
Scenography collaboration: Alessio Valmori
Sculptures & special accesoires: Istvan Zimmermann & Giovanna Amoroso, Plastikart Studio

“We sail within a vast sphere, ever drifting in uncertainty, driven from end to end. When we think to attach ourselves to any point and to fasten to it, it wavers and leaves us; and If we follow it, it eludes our grasp, slips past us, and vanishes for ever. Nothing stays for us. This is our natural condition, and yet most contrary to our inclination; we burn with desire to find solid ground and an ultimate sure foundation whereon to build a tower reaching to the Infinite”

Blaise Pascal

Etappe 1 – Festspielhaus | SEE STUDIO 

To elude the farewell 

with an organ composition by Kali Malone

The panorama occupies the right side wall of a space completely covered with wood. The vision of water forcefully enters the room, flows through the glass with its shades of blue and the regular lapping of its waves. This beauty leaves no way out, magnificent and terrifying. It seems to be sailing, in the belly of a ship, carrying the body of a young child through a ritual journey, a span of life. On this journey against an impalpable wind I wanted the music of Kali Malone, performed on the organ, an instrument that uses natural forces, compresses the air, blows the wind that inflates the sails and pushes the ship.

with Florian Zörner, Rosabel Huguet Dueñas, Anna Martens, Verena Reiter, Gloria Dorlinguzzo, Johannes


Etappe 2 – Vorarlberg Museum | PANORAMARAUM

Welfare is achieved with zeal, otherwise nothing

Due to the particular architecture of the room, the panorama is seen here from above and framed as if from the lens of a huge camera and is unreal in its perfection and immensity. A young creature inhabits this space, she is perhaps its guardian, and her body seems to have undergone millennial modifications from a sick and black sun that has calcified the bones in ways they shouldn’t have, from an unstable light that has taken away all color. The only thing it brings with it are the sounds of the outside world. The soundtrack of that polarized and distant postcard is his treasure and his company. A form of hope and prayer perhaps.

with Sarah Barth


Etappe 3 – Vorarlberger Landestheater |BOX

Throw everything you’ve got into the fire, even your shoes

sound installation based on “Prometeo chained” by Aeschylus

In front of Prometeo the panorama disappears, it goes out immersed in the night black of space. All what remains is the sound and unstable sandy ground of a deserted beach on which it is difficult to walk. Nature becomes dark and rebels in front of the figure who with a violent action conquered an element foreign to him and not granted to man. There is no remedy for this act. The theft of Prometheus is the tearing of the image, the hole in the canvas from which a tormented voice comes. The infinite lament of man. The sound is treated as a body dragged, lifted, struck, in the check of a mechanical movement that does not stop, an infinite way of no return.

with Luzian Hirzel


Etappe 4 – KUB Sammlungsschaufenster

And God rested on the seventh day 

Being embarked here finds the space for a common enterprise. From sharing from generation to generation the creation of a new landscape from nothing, to looking for ways to tell it, represent it, preserve it. A grandmother, a mother and a daughter are seated on a bench in order of age. They have a blank canvas in front of them. They paint together, as they can, and try to reproduce a panorama. They will do this until the picture is finished.

PREMIERE Friday, 4. Juni 2021


Images © anja koehler |

IN PARADISUM by Antonio Ruz | Compañía Nacional de Danza Spain

As a travel in time, In Paradisum proposes a dialogue between religious & folklore music, the sacred and the mundane, the colectivity and the individual. A humanistic consideration about the concept and the search of spirituality in our time. A scenic ritual full of movement, rhythm, subtleness, pulse, emotion and energy. This piece pays tribute to the Renaissance composer Tomás Luis de Victoria, with original score from Pablo Martín Caminero, and scenography based in El Greco paintings, with set design by Paco Azorín, costume design by Rosa García Andújar, and lighting design by Olga García. In Ruz own words, this work is a “homage to dance, a colective ritual that serves as an instrument to connect not only with yourself, but with the others. The concept of trascending and feeling as part of a whole. We propose a humanistic reflection about spirituality in our time. Along with playwright Rosabel Huguet and the whole creative team, we’ve worked on making the audience feel entitled to make their own interpretation through imagery, music, the mise en scène, and of course, the choreography”.

In Paradisum will provide a boost of energy, freedom, emotion and movement that will leave nobody indifferent. A human travel in time that will connect the expert audience with those less accustomed to contemporary dance. The opportunity to see the CDN cast working on this new challenge should not be missed.

PREMIERE on April 8th to 11th 2021 as part of a triple program at Teatros del Canal, Madrid.

Next performances:

April 16th & 17th  2021 at Teatro Arriaga Bilbao 

April 29th 2021 performance and meeting with Ruz, Nacho Duato and Joaquín De Luz at Alcobendas

September 16th 2021 at Museo Universidad de Navarra

Video & Images © Alba Muriel

“Unopended openings – Verstörungen” by Marek Kedzierski

Contribution to “Unopended openings – Verstörungen” | Bühne & Pandemie written by Marek Kedzierski for the culture magazine Lettre International Berlin next to precious colleagues and Theatre makers as Krystof Warlikowski, Kristian Lupa, Thierry Bosc, Romeo Castellucci, Silvia Costa, Zoe Hutmacher, Fabienne Truessel, Barry Mc Govern, Coner Lovett, Karl Duner, Nathalie Ringler, Bob Scanlan, Dirkan Tulain, Lucas Margarit. 

Lettre International Berlin Kulturzeitschrift

La Maison de Bernarda Alba, F.G Lorca


A small Andalusian village, in the 1930s. When her second husband died, Bernarda Alba forced her five unmarried daughters into mourning in which complete isolation was required: for eight years, “the wind from the streets must not enter this house “. Behind the closed shutters, the woman will be cut off from the world. “La Maison de Bernarda Alba” gives to see, in the form of a camera, the violence of a society locked from the inside, which finally, passion shatters.

Federico García Lorca wrote his last play in 1936 in the prison where the Phalangists had thrown him, two months before his execution at the age of 38. If it has long been censored by Franco’s power, it is because García Lorca criticizes the weight of traditions at the same time as he announces the long confinement of a gagged Spain, prisoner of its obscurantism and its superstitions.
Lorca tells us about his vision of the apocalypse, not to say that everything will collapse, but to affirm that there will be no other world, and, at the same time, that a positive story must be started over. The room for maneuver has always existed, starting with the forces of desire and beauty that walk the streets.
Its apocalypse is positive, it allows us to get rid of false hopes, there are plenty of stories where the losers win in the end. Lorca fought 38 years against the death of hope.
Although giving pride of place to women, who are the victims of a physical and moral confinement that they paradoxically set up themselves, this work nonetheless denounces the secondary role that women occupy in a Rural Spain at the start of the 20th century, strangely close to us. Lorca gave young Adela to lug around her herds of rage. The world, crossed by the thunderbolts of singular revolts, cannot be completely dark.
Facing the wolf, the goat has not said its last word.
Yves Beaunesne

text –Federico García Lorca

direction – Yves Beaunesne

cast – Manika Auxire, Johanna Bonnet, Myriam Boyer, Milena Csergo, Lina El Arabi, Fabienne Lucchetti, Catherine Salviat, Alexiane Torres & Eglantine Latil (cellist)

translation & dramaturgy –Marion Bernède

scenography – Damien Caille-Perret

light design – Joël Hourbeigt

musical creation – Camille Rocailleux

costume design – Jean-Daniel Vuillermoz

choreography – Rosabel Huguet Dueñas

director assistance – Pauline Buffet

production – Comédie Poitou-Charentes – CDN |co-production –Théâtre Montansier, Versailles & Théâtre des Quartiers d’Ivry – Centre Dramatique National du Valde-Marne

French Tour 2020/2021 (subject to changes due to Covid-19):


08th Théâtre Montansier, Versailles – Premiere
17th Théâtre George Leygues, Villeneuve-sur-Lot
27th Théâtre de la Colonne, Miramas


1st Centre d’Animation de Beaulieu, Poitiers
9th Théâtre du Passage, Neuchâtel


7th › 8th Théâtre National de Nice – Centre dramatique national
12th Théâtre Jacques Cœur, Lattes
19th › 23rd La Manufacture – Centre dramatique National, Nancy
27th › 28th Théâtre Firmin-Gémier – La Piscine, Scène Nationale de Chatenay-Malabry


2nd L’ABC, scène pluridisciplinaire de Dijon
5th › 6th Théâtre Bernadette Lafont, Nîmes
13th Scène Nationale 61, Flers
21st Théâtre Jean Vilar, Suresnes
24th › 26th Comédie de Picardie, Amiens

More information at Comédie Poitou-Charentes

Lazarus ∞ Lonely Child | Winteroper Potsdam

This year’s Potsdam Winter Opera dares an experiment and unites two sound worlds in one evening. The focus is on the biblical Lazarus, of whom the Gospel of John reports that he was brought back to life four days after his death by Jesus. Franz Schubert’s Religious Drama “Lazarus” from 1820 for soloists, choir and orchestra has been handed down as a fragment and the miracle of the resurrection has not been set to music. The question of eternal life and infinity is open. A new sound cosmos created by the Canadian composer Claude Vivier in his “Long Song of Solitude” seeks an answer: “Lonely Child” for soprano and chamber orchestra from 1980 completes Schubert’s unfinished oratorio.

LAZARUS by F. Schubert

Text by August Hermann Niemeyer & Claude Vivier

Trevor Pinnock, musical direction
Frederic Wake-Walker, stage director
Carola Gerbert, dramaturgy
Rosabel Huguet, choreographic collaboration
Linda Tiebel, costumes
Miguel Pérez Iñesta, musical assistance
Rita Herzog, musical rehearsals
Johannes Lang, choir rehearsals
Toby Spence, Lazarus
Johanna Winkel, Martha & Lonely Child
Dorota Szczepańska, Maria
Lauryna Bendziunaite, Jemina
Angelo Pollak, Nathanel
Ashley Riches, Simon
& Kammerakedemie Potsdam
Choir Vocalkreis Potsdam

Performances at the Friedenskirche, Potsdam
Co-production between Hans Otto Theater & Kammerakademie Potsdam


Pictures © Stefan Gloede