Coming Alive

Jesse Simon

lunes, 13 de febrero de 2017

Berlin, sábado, 28 de enero de 2017.

Komische Oper Berlin. Stravinsky: Petrushka. Tiago Alexandre Fonseca (Petrushka). Pauliina Räsänen (Ptitshka the Acrobat). Slava Volkov (Patap the Strongman). Ravel: L’Enfant et les Sortilèges. Nadja Mchantaf (The Child). Esgi Kutlu (Mother, Teacup, Dragonfly). Talya Liebermann (Sun, Princess, Nightingale). Maria Fiselier (White Cat, Squirrel). Brigitte Geller (Shepherdess, Bat), Mirka Wagner (Chair, Owl). Carsten Sabrowski (Rocking Chair, Tree). Denis Milo (Father Time, Black Cat). Ivan Turšić (Teapot, Arithmetic Book, Frog). Katarzyna Włodarczyk (Shepherd). Barbara Stephenson (The Child (Double)). 1927 (Suzanne Andrade, Esme Appleton, Paul Barritt), concept, animation and direction. Vocalconsort Berlin. Children’s Choir of the Komische Oper Berlin. Orchestra of the Komische Oper Berlin. Markus Poschner, conductor

Stravinsky’s much-loved Petrushka and Ravel’s lesser-known L’Enfant et les Sortilèges are connected by a central notion of animation: in the former the three puppets are given an autonomy that extends beyond the puppet-master’s hands, while in the latter a series of inanimate objects are brought mysteriously to life for the purpose of punishing a wayward child. Indeed, the two works would seem an obvious choice for a double-bill, and it is perhaps only the restrictions of genre that have prevented the two from appearing together more often. Traditional notions of ballet and opera, however, proved largely irrelevant to the theatre group 1927; their astonishing new productions at the Komische Oper, in which the dazzling orchestration of each score was matched by unceasing visual invention, made for an evening of near-constant delight.

The st…

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