|Komische Oper Berlin, Germany, 2011|
Tour Dates: 7 Sep - 17 Sep, 2011
"This Prokofiew is so intoxicating as to draw the audience into allout ecstasy. The extraordinary amusement provided by this sultry and playful ensemble, choir and orchestra never fails to leave the audience in hihg spirits."-- Opernwelt Echart Schwinger
Komisch Oper Berlin
Since its founding, the Komische Oper Berlin has been the place where both world of the phrase 'musical theatre' receive equal attention. In 2007, the Komische Oper Berlin was voted "opera house of the year", and its choir soloists received the title of "opera choir of the year". These awards confirm that the Komische Oper Berlin's high-status profile opera houses in the German-speaking world. Its "high profile" is not in the sense of representative routines, but of a distinctive, strongly individual, and unique artistic institute. With Komische Oper Berlin opera is not merely a culinary spectacle, but instead a predominantly theatrical event. Making this profile visible and palpable during every performance and during the daily work of all departments on-stage and off-stage is the most important aim of work.
When Walter Felsenstein opened the Komische Oper in December 1947, the name he bestowed upon it was also intended to govern its programme. Thename derives from the French »opéra comique«, whose theatrical liveliness, general and direct comprehensibility, and attitude of anti-elitism served as a model for Felsenstein and his understanding of realistic musical theatre. As the current theatre manager of the Komische Oper Berlin, Andreas Homokihas consistently continued Felsenstein's creed into the 21st century. With gripping, touching, entertaining, and involving productions, the Komische Oper Berlin proves afresh each time that opera is a vital and contemporary art form. At the Komische Oper Berlin, the supposedly familiar is turned into something new and interesting: certainties are questioned, and new perspectives are offered, not just of the pieces themselves, but of the form as a whole.
Every year, at total of approximately 180,000 people attend Oper Berlin's 250 performances. Each season, the Komische Oper offers seven new productions, around 18 revivals, eight symphony concerts, numerous foyer concerts, concerts for children, and special events.
Through its efforts to provide contemporary musical theatre, the Komische Oper has managed to inspire a new, young audience with musical theatre.
According to a visitors' survey conducted in collaboration with the polling institute forsa in 2008, the average age of visitors to the Komische Oper Berlin is only 44.9 years.
The Orchestra of the Komische Oper Berlin Founded in 1947 under Leo Spies, the orchestra of the Komische Oper Berlin today encompasses 112 musicians. Among the renowned conductors who led the orchestra in the years which followed were Otto Klemperer, Václav Neumann, and Kurt Masur. Rolf Reuter and Yakov Kreizberg were the later general music directors, before Kirill Petrenko took over this position in 2002, and was named "conductor of the year" in 2007. Carl St.Clair has been the general music director of the Komische Oper Berlin since the 2008/09 season, and will be leaving the Komische Oper at the end of the 2009/2010 season. Patrick Lange was made the head conductor with the start of the 2010/11 season.
The Love for three Oranges
Opera in four acts and one prologue by Sergei S.Prokofiew
The king is desperate. His son, who should take over the reign in the kingdom, is incurably melancholic. He will die if the king does not succeed to make him laugh. The last remaining hope is Truffaldino, the joker, however he would have failed as well, if the evil fairy Fata Morgana had not have come to the party, which was organised for the prince’s amusement. She heals the prince, completely against her own will with a pathetic blunder. An alliance between the evil fairy and the King’s niece, who has her eye on the throne - prevent an early Happy Ending. A march through the desert, a love for oranges, expected refreshment, princesses who die of thirst and of course the lovely Ninetta promise an evening full of entertainment.
Theatre seems to be a basic need of man... Change seems to be a basic human need...
In this sense Prokofjew's opera is above all a commitment to the theatre in its variety, which is the diversity of life. But most importantly it is a commitment to the playful character of the theatre.« Andreas Homoki This grotesque piece about the prince and his love for three fruits is a fulminating declaration of love for the theatre...
“This Prokofiev is so intoxicating as to draw the audience into allout ecstasy. The extraordinary amusement provided by this sultry and playful ensemble, choir and orchestra never fails to leave the audience in high spirits.”
“Prokofiev’s The Love for Three Oranges is a magical moment of Music Theater. The production by Komische Oper Berlin is perfectly attuned in all respects; dynamics, variety, comediatic wit, fine irony, poetic romance and burlesque exuberance. ”
“A marvelous piece of theater! Or more accurately: a marvelous music theater. Love for Three Oranges by Komische Oper Berlin is like an exciting Formula 1 race for the trophy. Who will be victorious – Andreas Komoki, the director, or Michail Juraowski, the conductor? The exquisitely combined powers of the two lead this normally rather flat and blithe Russian-Opera to triumph, leaving the audience with sore hands, as it should be.”