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  • © 2017, Eike Walkenhorst

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  • © 2017, Eike Walkenhorst

  • © 2017, Eike Walkenhorst

  • © 2017, Eike Walkenhorst

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  • © 2017, Eike Walkenhorst

  • © 2017, Eike Walkenhorst

  • © 2017, Eike Walkenhorst

  • © 2017, Eike Walkenhorst

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New Scenes III

An Opera-Triptychon

Musical theatre by Malte Giesen, Irene Galindo Quero und Thierry Tidrow
Libretto by Uta Bierbaum, Debo Koetting und Fanny Sorgo
First performed at the Tischlerei on 28th April, 2017
Commissioned by the Deutsche Oper Berlin

Cast

Conductor

Manuel Nawri
Nodoka Okisawa (29.04.2017)

Musical assitant

Ni Fan

Künstlerische Leitung / Mentorat / HfM / Gesang

Martin Bruns

Set-Design

Ivan Ivanov

Light design

Ismael Schott

Production management / Tischlerei

Anna von Gehren

Production management / HfM

Dirk Girschik

Orchestra

Echo Ensemble

Composition (1)

Thierry Tidrow

Libretto (1)

Uta Bierbaum

Stage-Director (1)

Zsófia Geréb

Musical study (1)

Byron Knutson

Artistic assistant (1)

Sophia Binder

Vocalist

Constanze Jader

Composition (2)

Irene Galindo Quero

Libretto (2)

Debo Koetting

Stage-Director (2)

Anna Melnikova

Musical study (2)

Martin Schneuing

Artistic assistant (2)

Nikita Swiridow

Part 3

Tako Tsubo

Composition (3)

Malte Giesen

Libretto (3)

Fanny Sorgo

Stage Director (3)

Ulrike Schwab

Video

Jana Tost

Musical study (3)

Byron Knutson

Artistic Assistant (3)

Christoph Clausen

Vocalist

Laura Murphy

Vocalist

Hanna Jung

The Concert Programme

2015 marked the third collaboration with the Hanns Eisler School of Music Berlin to hold a competition to find composers of new works for presentation in the Tischlerei. On 27th November 2015 a jury made up of Aribert Reimann, Elena Mendoza and Wolfgang Heiniger inter alia selected three composers from a field of 41. The winners have meanwhile liased with the three librettists, all luminaries of the “Writing for the Stage” course offered by the Berlin University of the Arts, and settled on a common theme for the evening. Uta Bierbaum and Thierry Tidrow, Debo Koetting and Irene Galindo Quero and Fanny Sorgo and Malte Giesen are now busy developing works on the subject of the “drilling through” of the planet. The springboard into the creative process is provided by the legend-mongering surrounding the superdeep drilling project on Russia’s Kola Peninsula, where the talk is of a bore hole so deep that it has broken through to hell itself. The three works of musical theatre explore three very different instances of drilling. The theme can be interpreted in the widest possible sense and one work might, for example, look at the act of drilling into a human body to remove a human heart or the drilling of holes in the air. Drilling as a way to shed light on something leads to questions relating to the transparency of the individual, surveillance made possible by the collection of data, etc.

In cooperation with Hochschule für Musik Hanns Eisler Berlin