Rehearsals began in October for Olga Neuwirth’s Orlando. Based on Virginia Woolf’s novel of the same name, the opera has its premiere at the Wiener Staatsoper on 8 December.
Neuwirth is the first female composer ever to receive a commission in the house’s 150-year history. With a libretto by Catherine Filloux and Olga Neuwirth, the opera is staged by Polly Graham and conducted by Matthias Pintscher – both of whom celebrate their Staatsoper debut with this production.
is Virginia Woolf’s first big literary success. Woolf is to be considered one of the most prominent classics of English modernism. The central theme of the novel is the interlocking of gender identity, love and artistic creativity. Personal and social realities are cracked in a poetic and cunning way.
Conductor Matthias Pintscher at rehearsals
During this past summer, anticipation for Orlando
reached a new peak with the announcement of an extraordinary collaboration: Rei Kawakubo, legendary fashion designer and founder of the international brand Comme des Garçons, will create the costumes for Orlando
. Her subsequent shows at Paris Fashion Week served as the project’s first two “acts”, offering the audience an early peek at the production. The opera by Olga Neuwirth, “a sister rule-breaker in her field” (Vogue), represents Act III, concluding Kawakubo’s study in gender-identity “Transformation and Liberation”. Meanwhile, the Wiener Staatsoper has provided a sampling of Neuwirth’s music for the opera in a video featuring the composer, conductor Matthias Pintscher and two performers in rehearsal.
– eine fiktive musikalische Biografie –
Libretto by Catherine Filloux and Olga Neuwirth
based on Virginia Woolf
Singers: 2S.3Ms.Ct.3Bar.3B - 2Act - 4Chr (male, female and children’s chorus with each 24 voices and children’s chorus with 16 voices)
Orchestra: 2.2.3.asax.2 - 220.127.116.11 - 3perc - e-git.2synth.samp.org - 18.104.22.168.4 - el.video - 12 stage musicians
World Premiere: 08.12.2019, Vienna
Duration: full length
Wiener Staatsoper commission
Further performances on 11, 14, 18 and 20 December 2019
Introductory matinée on 24 November 2019
Ever since I was a child I have always been interested in everything, from arts to politics, sciences to human psychology. Passionate towards everything. I let myself be inspired in the same way by the small and big things that the world has to offer, by the wonderful diversity of life, and that is something that I see reflected in. The essence of this fictional biography is the love for oddities, the supernatural, deceit, virtuosity, exaltation and exaggeration. It’s also about remembrance, about a sophisticated form of sexual allure and against the restrain toward a single gender.
Olga Neuwirth with tenor Wolfram Igor Derntl
Another important topic is also the refusal to be patronised and to be treated in a condescending way, which is something that happens over and over again to women and will keep on happening. Virginia Woolf questioned the roles of man and woman, the status of women in society and their approach to literature. My musical theatre won’t be about a theoretical proof, but about different possibilities that unfold – also musically – scene by scene.
For me Orlando
and music are very similar: through the centuries the story of Orlando
conveys, in the same way as (classical) music, on the one side the bittersweet pain that goes beyond words, and on the other hand the precise structures, proportions, abstraction and mathematical-scientific thinking and solace. Each life arises from a process of self-creation. As we live, we create our own world. In the same way as we do with music, or with and through Orlando
Photos: Wiener Staatsoper / Michael Pöhn
On 8 December 2019, the opera Orlando by Olga Neuwirth had its premiere at the Vienna State Opera.
“Danke für diesen guten Morgen”, a song by Martin Gotthard Schneider, was sung at the end of the opera’s first part.
The copyright holders (estate of Martin Gotthard Schneider and publishers Gustav Bosse Verlag, Kassel) of this song have expressly distanced themselves from this usage and the form of its presentation. The song is used in a caricaturing, degrading form in order to represent bigotry in society, dealing here with, among other things, child sexual abuse. Using the song “Danke für diese guten Morgen” in this context, even when this is done with artistically discriminating means, in no way corresponds to the intentions of the composer Martin Gotthard Schneider.
The use of the song along with its arrangement and presentation as well as any further use of the “Danke” song in this context are therefore not authorized by the copyright holders.