3 x Così fan tutte

[Oper anders denken]

Wolfgang Amadeus Mozart (1756-1791)

Dramma giocoso in two acts
Libretto by Lorenzo da Ponte

In Italian language

open

Cast

close

Cast

Stage Director Clara Hinterberger (25.10.2013)
Margo Zalite (26.10.2013)
Michael von zur Mühlen (27.10.2013)
Set-design, Costume-design Anika Söhnholz (25.10.2013)
Martin Miotk (26.10.2013)
Christoph Ernst (27.10.2013)
Composition Anna Kropfelder (25.10.2013)
Video, Sound-Design Siavosh Banihashemi (25.10.2013)
Sound-Design Marian Weger (26.10.2013)
Video Peter Venus (27.10.2013)
Fiordiligi Margarita Misihaev (25.10.2013)
Léa Trommenschlager (26.10.2013)
Gabrijela Nedok (27.10.2013)
Dorabella Valentyna Halushko (25.10.2013)
Rahel Indermaur (26.10.2013)
Antonija Fabijanovic (27.10.2013)
Despina Zuzana Ballanova (25.10.2013)
Katsiaryna Melnikava (26.10.2013)
Ferrando Mahdi Zareiniakan (25.10.2013)
Magnús Hallur Jónsson (26.10.2013)
Despina Theresa Zisser (27.10.2013)
Guglielmo David Park (25.10.2013)
Grga Peros (26.10.2013)
Ferrando Matthias Siddhartha Otto (27.10.2013)
Don Alfonso Szabolcs Hamori (25.10.2013)
Slaven Abazovic (26.10.2013)
Guglielmo Attila Mokus (27.10.2013)
Piano, Cembalo Soo Yeon You (25.10.2013)
Organ, Basse Benjamin Zsoldos (26.10.2013)
Don Alfonso Severin Praßl (27.10.2013)
Concept / Composition Anna Kropfelder (25.10.2013)
and with Nico Delpy (27.10.2013)
Tubax Matej Bunderla (25.10.2013)
Guitar Julian Rogge (25.10.2013)
Accordeon Ivan Trenev (25.10.2013)
Harmonium Yulan Yu (25.10.2013)
and with Soyoun Kim (27.10.2013)
Conductor Moritz Gnann (25.10.2013 | 26.10.2013 | 27.10.2013)
Orchestra Symphonieorchester der Universität der Künste (25.10.2013 | 26.10.2013 | 27.10.2013)
Artistic Director Barbara Beyer (25.10.2013 | 26.10.2013 | 27.10.2013)
open

Information

close

Information

How can works from the Opera's repertoire be produced in such a way that they shed new light on a piece without the director's signature or the dubious pressure to be modern dominating unduly. What forms can musical theatre take in the 21st century? Might the answer lie in the performative dimension – an aspect of opera that allows elements of chaos and unpredictability, opting for developments that surprise and questions that niggle?

A research project headed by Barbara Beyer at the University of the Arts in Graz has been studying these issues for a number of years. The Opera is now presenting three different versions of Wolfgang Amadeus Mozart's COSÌ FAN TUTTE, with three young directorial teams taking three different approaches to the work and three ensembles enacting their respective visions. Performances will be on three successive evenings in the Tischlerei and will coincide with a symposium on the theme “The Future of Opera”.

A guest production of the University of the Arts Graz.
Subsidised by the Austrian FWF [Scientific Research Fund]
In partnership with Hochschule für Musik „Hanns Eisler“ Berlin, Universität der Künste Berlin, Bayerischen Theaterakademie, Deutsche Bank Stiftung, Aventis Foundation and Förderkreises der Deutschen Oper Berlin e. V.