DER FINDLING

„Eine phänomenale Inszenierung im Alten Dom – Linz darf sich glücklich schätzen!“ Kronen Zeitung

„Faszinierend! Fabelhaft!“ OÖNachrichten

„Beeindruckter Jubel für diesen Beitrag zum Bruckner-Jahr!“ Die Presse

„Ein klangmächtiges Musiktheater!“ APA

„Eindrücklich!“ Der Standard

Hier haben wir den Trailer zu DER FINDLING für euch.

Der Findling – Trailer

Es gibt nur noch zwei Termine!

17. & 18. Juni, Alter Dom Linz

https://bit.ly/ltl_findling

Jonatan Salgado Romero

OPERA IN CHURCH

“The Erratic Boulder”: Deep into the heart of Anton Bruckner

“On Friday, the Old Cathedral in Linz became the stage for large, new musical theater for the first time: “The Findling” by Franz Hummel and Susan Oswell follows Anton Bruckner. Many departments of the Linz State Theater and the Bruckner Orchestra are involved. The premiere met an enthousiastic applause!

Figures embodying Bruckner’s various ages and stages of development wind their way through the evening’s twelve-stage events in splendid storytelling. You experience something imaginative: a wild river landscape, a bird-like dwarf creature; it could have come from the picture of Hieronymus Bosch. Or a sleigh loaded with organs and plans.

There is water from which healing comes, a starry sky, a tree, a boulder that also has a bit of the Venus of Willendorf in it. And a rose quartz. These dreamy set pieces are vehicles for getting closer to Bruckner. Yes, it is a thrilling ride into the depths of his mind, his desires, his fears, his creations, his heart.

The fact that this is successful is due to the interaction between all departments at the State Theater. Stage designer Margherita Palli placed a walkway in the middle of the church, with the audience sitting in the normal benches. There are performances from all sides – around 150 participants, orchestra and choir in the gallery. Luca Scarzella contributes impressive videos, Sasha Nikolaeva’s costumes remain in Bruckner’s time. The lighting direction by Johann Hofbauer and Ingo Kelp is magical.

Director Lukas Hemleb gives the stunned, enthusiastic audience a magnificent musical and viewing experience!

The church interior is acoustically difficult, but Martin Achrainer (X) as “Bruckner”, Gotho Griesmeier (S for soprano), Manuela Leonhartsberger (A), Matthäus Schmidlechner (T) and Dominik Nekel (B) shine in their nameless roles. You can feel how they feel comfortable in the sacred space and how their respective colors begin to blossom effortlessly.

The choir used as well as the children’s and youth choir, conducted by Elena Pierini, are powerful; The extra choir, conducted by David Alexander Barnad, is also there.

Of course, the sensational ensemble of the Bruckner Orchestra Linz under the direction of Markus Poschner is also essential to the great success. The composition contains beautiful solos for violin or cello, appropriate quotes from Bruckner’s work including alienations. The Bruckner organ is mastered by Bernhard Prammer, who has been able to call it “his house organ” for years. A lively Tanz-Linz ensemble – choreographed by Yuko Harada – implements the music excellently.

A great work (only a few performances!) and a phenomenal production in the Old Cathedral – Linz can count itself lucky!”

Johannes Sonnberger

𝐃𝐞𝐫 𝐅𝐢𝐧𝐝𝐥𝐢𝐧𝐠

Uraufführung am 7.6.2024, Alter Dom Linz

Das Landestheater wartet zum Bruckner-Jahr 2024 mit einem ganz besonderen Programmpunkt auf: An Bruckners langjähriger Wirkungsstätte im Alten Dom wird die Oper Der Findling von Franz Hummel und Susan Oswell auf einen Text von Hermann Schneider uraufgeführt. Der Findling möchte dabei nicht vordergründig lediglich die biografischen Lebensstationen Bruckners präsentieren. Vielmehr ist dieses Werk eine vielschichtige musiktheatrale Spurensuche zum Thema Bruckner, das der speziellen klanglichen und ideellen Aura, die die Werke dieses Komponisten auszeichnet, auf den Grund gehen möchte.

Markus Poschner | Musikalische Leitung

Lukas Hemleb | Inszenierung

Margherita Palli | Bühne

Sasha Nikolaeva | Kostüme

Marco Cristini | Bühnenbild-Mitarbeit

Luca Scarzella | Video

Martin Schönbauer | Dramaturgie

Bruckner Orchester Linz

The Landestheater is coming up with a very special program item for the Bruckner Year 2024: Der Findling, the opera by Franz Hummel and Susan Oswell, based on a text by Hermann Schneider, will be premiered at Bruckner’s long-time creative domain in the Alter Dom (Old Cathedral). Der Findling does not want to present only the biographical stages of Bruckner’s life. Rather, this work is a multi-layered music-theatrical search for traces on the subject of Bruckner, which wants to get to the bottom of the special tonal and ideal aura that characterizes the works of this composer.

URAUFFÜHRUNG AM 7. JUNI 2024 | ALTER DOM LINZ

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幻蘊迷宮 – L’illusion de Corneille

https://ysmaze.wixstudio.io/illusion

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國立臺灣藝術大學 NATIONAL TAIWAN UNIVERSITY OF ARTS

《Six Characters from A City of Sadness》

The six intruders on a theater set in Luigi Pirandello’s “Six characters in search of an author” are incomplete beings, locked in a tragedy with no way out, in search of recognition as whole beings, the search for an exit towards a livable reality. They subsist in a suspended space, deprived of a true identity. Their story is unfinished. They are the metaphor of the indescribable. If the directors of different eras have built their vision of the play by confronting it with the reality of their time, we are led to look at it from the angle of the news that concerns us. What can be said of the “Six characters…”, is it not valid for Taiwan too? Taiwan is a very real country that the international community does not want to recognize as such….

“A City of Sadness” by Hou Hsiao Hsien, shot in 1988 from a script by Chu Tien-Wen and Wu Nian-Zhen, is a major event in the recent history of Taiwanese cinema. He is the forerunner of a process of reflection that will lead Taiwan to democratization. For the first time, the heavy lead cover that weighed on Taiwanese culture during the years of martial law was carefully lifted and allowed to tell the story of an ordinary family caught in the grip of the violent political upheavals of its time.

Gradually, an idea took shape which is based on an imaginary link between the two materials, Pirandello’s play, and Hou Hsiao Hsien’s film script.

What if the six characters who come to introduce themselves in a theater rehearsal of Pirandello were characters from Hou Hsiao Hsien’s movie?

《悲情劇中人》

國立臺灣藝術大學的戲劇工作坊

在路伊吉· 皮蘭德羅的《六個尋找作者的劇中人》這部作品中，出現佔領舞台的六個人物，是被關在一部無出處的悲劇中，他們想要尋找活生生地、真實的存在。他們在時間停止的空間裡存活著，且缺乏真實身份，他們的故事未完待續，他們是不可言喻的比喻，不同時代的導演自當有該時代對此戲劇不同的看法，我們也能以我們的時代來解讀此作品。我們對《六個尋找作者的劇中人》的解讀，是否也跟我們對台灣的解讀類似？台灣是不是一個不被多數國家外交承認的真實國家？

由朱天文與吳念真選編的對話劇本，由侯孝賢電影導演於1988年拍攝成的《悲情城市》是在台灣近期電影史上具有重大迴響的作品。他是引導台灣走向民主化的反思過程的先驅。這是第一次，在戒嚴時期被壓在台灣文化上的鉛板，小心翼翼地揭開，讓他們講述一個普通家庭在那個時代的劇烈政治起伏中的故事。

於是，關於兩作品間的虛構連結之想法逐漸成形：我們假設皮蘭德羅戲劇中，六位闖入排演的角色是侯孝賢電影中的人物。

《Six personnages à La cité des douleurs》

laboratoire de théâtre à la Taiwan National University of Arts

Les six intrus sur un plateau de théâtre dans les “Six personnages cen quête d’auteur” de Luigi Pirandello sont des êtres incomplets, enfermés dans une tragédie sans issue, en quête d’une reconnaissance en tant qu’êtres à part entier, à la recherche d’une sortie vers une réalité vivable. Ils subsistent dans un espace suspendu, privées d’une véritable identité. Leur histoire est inachevée. Ils sont la métaphore de l’inénarrable. Si les metteurs en scène de différentes époques ont bâti leur vision de la pièce en la confrontant à la réalité de leur époque, nous sommes amenés de la regarder sous l’angle de l’actualité qui nous concerne. Ce que l’on peut dire des “Six personnages…”, n’est-ce pas valable pour Taïwan aussi? Taïwan est un pays bien réel que la communauté internationale ne veut reconnaître en tant que tel….

“La cité des douleurs” de Hou Hsiao Hsien, tourné en 1988 sur un scénario de Chu Tien-Wen et Wu Nian-Zhen, est un évènement majeur dans l’histoire récente du cinéma Taïwanais. Il est précurseur d’un processus de réflexion qui conduira Taïwan à la démocratisation. Pour la première fois, la chape de plomb qui pesait sur la culture taïwanaise durant les années de loi martiale fut prudemment levée et permit de raconter le destin d’une famille ordinaire prise en étau par les violentes péripéties politiques de son époque.

Peu à peu, une idée a pris forme qui est basé sur un lien imaginaire entre les deux matériaux, la pièce de Pirandello, et le scénario du film de Hou Hsiao Hsien.

Et si les six personnages qui viennent s’introduire dans une répétition de théâtre de Pirandello étaient des personnages du film de Hou Hsiao Hsien?