The Little Match Girl
Helmut Lachenmann (*1935)
Music with pictures; Libretto by Helmut Lachenmann after the fairytale of the same name by Hans Christian Andersen and words by Leonardo da Vinci and Gudrun Ensslin
First performed on 26. January 1997 in Hamburg
Premiered at the Deutsche Oper Berlin on 15. September 2012
In German language
|Matthias Hermann (23.09.2012)|
|Stage Production||David Hermann|
|Stage-Design, Costume-Design||Christof Hetzer|
|Musical Assistance||Matthias Hermann|
|Solo Soprano 1||Hulkar Sabirova|
|Solo Soprano 2||Yuko Kakuta|
|The Girl||Bini Lee|
|The Cineast||Steffen Scheumann|
|The Girl on the shelf||Jennie Gerdes|
|The Man in the well||Ahmed Soura|
|The wet uncle||Benjamin Block|
|The Grandmother||Florian Bilbao|
|Solo Piano||Yukiko Sugawara|
|Solo Piano||Tomoko Hemmi|
|Chorus||Chor der Deutschen Oper Berlin|
|Orchestra||Orchester der Deutschen Oper Berlin|
|Composer / Moderation of the Introduction-Lectures||Helmut Lachenmann|
Helmut Lachenmann's THE LITTLE MATCH GIRL is one of the most radical works in the history of opera and a milestone in the music of the second half of the 20th century. Lachenmann adapted Hans Christian Andersen's story of a young girl dying from hypothermia to produce a riveting musical study of societal frigidity, human isolation and what it is to be homeless in the modern age. Lachenmann describes as "music with pictures" this form of musical theatre in which the language is a fragmentation of individual sounds and the music undergoes constant shifts in temperature and consistency, ranging from scarcely perceivable silences and abrasive or drilling noises to sweeping waves of warming sound. Lachenmann stretched instruments to the limits of their acoustic capabilities and then used special techniques to push them even further. His quest for new sounds finds a parallel in the demands he makes of his audiences, who he hopes will listen with a fresh ear and bring to their reception of his work a childlike inquisitiveness and sense of wonder at unconventional, surprising music.
Director David Hermann and set designer Christof Hetzer have made a name for themselves with their strikingly original perspectives and powerful productions at the Salzburger Festival and in cities such as Frankfurt, Basel, Heidelberg, Mannheim and Karlsruhe. Musical direction is by Lothar Zagrosek, who directed the very first performance of the piece in Hamburg in 1997.
Partially funded with grants from the Hauptstadtkulturfonds
Supported by the Förderkreis der Deutschen Oper Berlin e.V.
Presented by kulturradio vom rbb and tip.