+ + Apply until 28 May for the diploma programme Stage Design & until 4 June for the teacher training programmes Art Education and Design: Technology.Textile! Details on respective study page, application platform here +++
Turmoil in the fairy kingdom: the ruling couple Oberon and Titania have fallen out over a boy whom they both jealously claim for their own. Oberon instructs his confidant Puck to bring a certain herb, the juice of which, when dribbled into the eyes of a sleeping person, will make him fall in love with the first person he sees when he wakes up. In this way he wants to punish Titania for her infidelity...
Musical Director
Kai Röhrig
Scenic Director
Karoline Gruber
Stage
Charlina Lucas & Amelie Ottmann
Costumes
Egon Stocchi
Dramaturgy
Ronny Dietrich
Music
Symphony Orchestra of the Mozarteum University
Puck, however, also catches two wandering lovers with this magic formula, who now fall in love in completely the wrong constellation, which leads to a total love mess. Now it's up to Puck to set things straight. Initially unaffected by these events, six craftsmen in the realm of the elves are rehearsing the comic tragedy Pyramus and Thisbe , which they want to perform on the occasion of the upcoming wedding of their sovereign. But they too get caught up in the confusion of this midsummer night. Night, forest, a fairytale-like subject with elves, fairies and ghosts - preferred themes of the Romantic period are so frequently anticipated in hardly any other work of world literature as in Shakespeare's A Midsummer Night's Dream from 1595. It is not surprising that this comedy has inspired numerous composers to set it to music. For example, Henry Purcell wrote his opera The Fairy Queen and Ambroise Thomas his opera Le songe d'une nuit d'été based on Shakespeare's original. Felix Mendelssohn created his famous overture and incidental music (including the wedding march) to A Midsummer Night's Dream and Carl Maria von Weber used elements of the material for his romantic opera Oberon . Benjamin Britten, on the occasion of his festival in Aldeburgh in 1960, took up this material and formed a three-act opera from the five-act play, adopting Shakespeare's language almost verbatim. Britten found specific sound spaces for each of the magical and human spheres. Thus the different levels of rulers, lovers, craftsmen and elves are also characterized musically in very different ways. In addition, there are numerous allusions to operatic history in the score, culminating in the performance of the craftsmen in the third act: Britten presents the performance of the play Pyramus and Thisbe as a parody of Italian opera.
21. June 2018, 7:00 p.m. June
23, 2018, 5
:00 p.m. June 25, 2018, 7:00 p.m.
Max Schlereth Hall
If you want to change your privacy settings (grant consent or revoke your previously granted consent), you can change your settings.
