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Egmont

Egmont

Opera in 15 scenes

Libretto by Christoph Klimke and the collaboration of the composer

using texts by Johann Wolfgang von Goethe


  • Edition: performance material
  • Language: German

 
Description
Goethe’s drama of the same name served as a sort of matrix. The completely new libretto that Christoph Klimke and I created is similar to an epic poem in which Egmont’s liberal image of society clashes against the calculating dictatorship of the Duke of Alba who is entirely focused on retaining his power. The cast has been reduced to six figures and all protagonists act on an equal footing. However, this is no mere drama between good and evil, as topical issues and conflicts are simultaneously addressed: to what extent is a society manipulable and when does a system collapse independently of its moral and idealistic values?


The connection between my opera and Beethoven results from the choice of subject and is therefore purely content-related. The focus is on Prince Egmont of Gaure as an advocate of freedom, peace and justice – themes that preoccupied Beethoven throughout his life. His famous Egmont overture is priceless for its thematic density and enormous rhythmic enthrallment. Even though I have left his work untouched, my musical material is constructed with complex density and rhythmic momentum. Nevertheless, my opera reveals a different side of Beethoven: extracts from his famous letter ‘to the immortal beloved’. The ubiquitous six-voice chorus leads us into the interior of the figures and behind the masks of their social functions in a fragile, chiselled vocal texture. Christian Jost
Details
Auftragswerk : Ein Auftragswerk des Theater an der Wien anlässlich des Beethoven-Jahres 2020
Content text: I Am helllichten Tag
II Im dampfenden Schlachtfeld
III Im Zentrum der Macht. Mittag
IV Nachmittag
V Spätnachmittag
VI Früher Abend
VII Abend
VIII Zwischenakt, die Vision. Abend
IX Im Zentrum der Macht. Nacht
X Nacht
XI Nacht
XII Morgen- XIII Vormittag
XIV Verwandlung. Mittag
XV Nachmittag
Performance duration: 90'0"
Publisher: Schott Music
Year of composition: 2018-2019
instrumentation: 2 · 2 · 2 · 2 (2. auch Kfg.) - 2 · 2 · 3 · 1 - S. (Vibr. · Mar.) (2 Spieler) - Hfe. · Klav. - Str.
occupation: Graf Egmont · Tenor - Herzog Alba · Bariton - Clara · Sopran - Margarete von Parma · Alt - Ferdinand, Albas Sohn · Mezzosopran - Machiavell · Bariton - Sechsstimmiger Chor
Performances
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-26 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-24 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-21 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-19 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-17 | Wien (Austria), Theater an der Wien — 19:00 | World Premiere
Goethe’s drama of the same name served as a sort of matrix. The completely new libretto that Christoph Klimke and I created is similar to an epic poem in which Egmont’s liberal image of society clashes against the calculating dictatorship of the Duke of Alba who is entirely focused on retaining his power. The cast has been reduced to six figures and all protagonists act on an equal footing. However, this is no mere drama between good and evil, as topical issues and conflicts are simultaneously addressed: to what extent is a society manipulable and when does a system collapse independently of its moral and idealistic values?


The connection between my opera and Beethoven results from the choice of subject and is therefore purely content-related. The focus is on Prince Egmont of Gaure as an advocate of freedom, peace and justice – themes that preoccupied Beethoven throughout his life. His famous Egmont overture is priceless for its thematic density and enormous rhythmic enthrallment. Even though I have left his work untouched, my musical material is constructed with complex density and rhythmic momentum. Nevertheless, my opera reveals a different side of Beethoven: extracts from his famous letter ‘to the immortal beloved’. The ubiquitous six-voice chorus leads us into the interior of the figures and behind the masks of their social functions in a fragile, chiselled vocal texture. Christian Jost
Auftragswerk : Ein Auftragswerk des Theater an der Wien anlässlich des Beethoven-Jahres 2020
Content text: I Am helllichten Tag
II Im dampfenden Schlachtfeld
III Im Zentrum der Macht. Mittag
IV Nachmittag
V Spätnachmittag
VI Früher Abend
VII Abend
VIII Zwischenakt, die Vision. Abend
IX Im Zentrum der Macht. Nacht
X Nacht
XI Nacht
XII Morgen- XIII Vormittag
XIV Verwandlung. Mittag
XV Nachmittag
Performance duration: 90'0"
Publisher: Schott Music
Year of composition: 2018-2019
instrumentation: 2 · 2 · 2 · 2 (2. auch Kfg.) - 2 · 2 · 3 · 1 - S. (Vibr. · Mar.) (2 Spieler) - Hfe. · Klav. - Str.
occupation: Graf Egmont · Tenor - Herzog Alba · Bariton - Clara · Sopran - Margarete von Parma · Alt - Ferdinand, Albas Sohn · Mezzosopran - Machiavell · Bariton - Sechsstimmiger Chor
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-26 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-24 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-21 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-19 | Wien (Austria), Theater an der Wien — 19:00
Conductor: Michael Boder
Orchestra: ORF Radio-Symphonieorchester Wien
2020-02-17 | Wien (Austria), Theater an der Wien — 19:00 | World Premiere