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  • © Ein Trailer von bollemedia

  • © 2017, Bettina Stöß

  • Lohengrin © 2012, Marcus Lieberenz

    Scene Impression

  • © 2017, Bettina Stöß

    Thomas Johannes Mayer as Friedrich von Telramund, Anna Smirnova as Ortrud

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant, Marko Mimica as Heinrich der Vogler

  • Marko Mimica as Heinrich der Vogler, Thomas Johannes Mayer as Friedrich von Telramund, Rachel Willis-Sørensen as Elsa von Brabant

  • © 2017, Bettina Stöß

  • © 2017, Bettina Stöß

    Brandon Jovanovich as Lohengrin, Marko Mimica as Heinrich der Vogler

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant, Brandon Jovanovich as Lohengrin

  • © 2017, Bettina Stöß

    Marko Mimica as Heinrich der Vogler

  • © 2017, Bettina Stöß

    Brandon Jovanovich as Lohengrin

  • © 2017, Bettina Stöß

    Anna Smirnova as Ortrud, Thomas Johannes Mayer as Friedrich von Telramund

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant, Anna Smirnova as Ortrud, Thomas Johannes Mayer as Friedrich von Telramund

  • © 2017, Bettina Stöß

    Anna Smirnova as Ortrud, Rachel Willis-Sørensen as Elsa von Brabant

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant, Brandon Jovanovich as Lohengrin, Anna Smirnova as Ortrud

  • © 2017, Bettina Stöß

    Thomas Johannes Mayer as Friedrich von Telramund, Rachel Willis-Sørensen as Elsa von Brabant, Anna Smirnova as Ortrud et al.

  • Lohengrin © 2012, Marcus Lieberenz

    Scene Impression

  • © 2017, Bettina Stöß

    Anna Smirnova as Ortrud, Brandon Jovanovich as Lohengrin, Thomas Johannes Mayer as Friedrich von Telramund, Marko Mimica as Heinrich der Vogler

  • © 2017, Bettina Stöß

    Marko Mimica as Heinrich der Vogler, Anna Smirnova as Ortrud, Thomas Johannes Mayer as Friedrich von Telramund, Brandon Jovanovich as Lohengrin

  • © 2017, Bettina Stöß

    Brandon Jovanovich as Lohengrin, Rachel Willis-Sørensen as Elsa von Brabant

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant, Brandon Jovanovich as Lohengrin

  • Lohengrin © 2012, Marcus Lieberenz

    Scene Impression

  • Lohengrin © 2012, Marcus Lieberenz

    Scene Impression

  • © 2017, Bettina Stöß

  • Lohengrin © 2012, Marcus Lieberenz

    Scene Impression

  • © 2017, Bettina Stöß

    Brandon Jovanovich as Lohengrin

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant

  • © 2017, Bettina Stöß

    Brandon Jovanovich as Lohengrin, Rachel Willis-Sørensen as Elsa von Brabant

  • © 2017, Bettina Stöß

    Anna Smirnova as Ortrud, Rachel Willis-Sørensen as Elsa von Brabant, Brandon Jovanovich as Lohengrin, Marko Mimica as Heinrich der Vogler

  • © 2017, Bettina Stöß

  • © 2017, Bettina Stöß

    Rachel Willis-Sørensen as Elsa von Brabant, Brandon Jovanovich as Lohengrin

/31

Lohengrin

Richard Wagner (1813 – 1883)
Sun 10.09.2017 / 18:00 h / D-Prices: € 128,– / 94,– / 67,– / 39,– / tickets

Romantic opera in three acts
First performed on 28th August, 1850 at Weimar
Premiered at the Deutsche Oper Berlin on 15th April 2012

In German language with German and English surtitles

4 hrs 30 mins / 2 intervals

Introduction (in German language): 45 minutes before beginning; Rang-Foyer

Cast

Conductor

Donald Runnicles

Director

Kasper Holten

Stage design, Costume design

Steffen Aarfing

Light design

Jesper Kongshaug

Chorus Master

Jeremy Bines

Heinrich

Marko Mimica

King's Herald

Dong-Hwan Lee

1st Brabantic nobleman

Ya-Chung Huang

2nd Brabantic nobleman

Andrew Dickinson

3rd Brabantic nobleman

Byung Gil Kim

4th Brabantic nobleman

Dean Murphy

1st Childe

Saskia Meusel

2nd Childe

Andrea Schwarzbach

3rd Childe

Cordula Messer

The Concert Programme

Our feelings tell us immediately that Elsa is the one who can claim greater justification and that Lohengrin’s condition »Never ask me questions…« can only shrug off the appearance of wanton tyranny if it can be demonstrated to be necessary; this condition must be justified, since on its own, faced with the higher law that states that there may be no secrets between lovers, it is hollow and without foundation, especially as Lohengrin would be hard put to comply if Elsa were to demand the same devotion from him. In an age when faith in the mystery of the Holy Grail was alive, Lohengrin’s demand might seem fair and Elsa’s question a presumption deserving of punishment; any age, in fact, that still respects subservient trust and unwavering subordination to authority will reconcile itself to the demand. We, on the other hand, see Elsa’s actions as the one true course, see her downfall as unmotivated.
[Excerpt from an article on the Berlin premiere of LOHENGRIN (January 1859) in Berlinische Nachrichten von Staats- und gelehrten Sachen; premiere in the Königliches Hoftheater in Weimar: August 1850.]

Atonement for Elsa’s mistake can only take the form of punishment, and there are few more consistent, more indispensable punishments than that of enforced separation: Elsa cannot be flogged or put to death. Any punishment other than the penalty of separation would be an arbitrary ruling and open to criticism. The severest penalty, that of separation, appears as the most indispensable, and it cannot seem to be too hard as it is the fairest and most logical punishment of them all. Elsa has forfeited Lohengrin […]. As for the fable’s symbolism I will just say: the overlap between extrasensory manifestation and human nature and the impossibility of such an overlap surviving for any length of time.
[Richard Wagner in a letter to Hermann Franck, 30th May 1846]

Kindly supported by Förderkreis der Deutschen Oper Berlin e. V.