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An opera project by Marina Abramović (2020)

· Mit Musik von Marko Nikodijević und Szenen aus Werken von Vincenzo Bellini, Georges Bizet, Gaetano Donizetti, Giacomo Puccini und Giuseppe Verdi
Mit deutschen und englischen Übertiteln | New Production

Saturday, 05. September 2020
02:00 pm – 03:35 pm
Nationaltheater

Duration est. 1 hours 35 minutes

Prices K

Premiere at 01. September 2020

#BSO7deaths

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  • gefördert von Bernhard und Julia Frohwitter

  • Koproduktion mit Deutsche Oper Berlin, Maggio Musicale Fiorentino, Greek National Opera, Opéra national de Paris

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Cast

Director and sets
Marina Abramović
Co-Director
Lynsey Peisinger
Conductor
Yoel Gamzou
Music
Marko Nikodijević
Written by
Petter Skavlan, Marina Abramović
Film Director
Nabil Elderkin
Visual Intermezzos
Marco Brambilla
Sound-Design
Luka Kozlovacki
Costumes
Riccardo Tisci for Burberry
Conception of the Stage Design
Anna Schöttl
Lighting
Urs Schönebaum
Dramaturgy
Benedikt Stampfli
Choruses
Stellario Fagone

Film Actor and Performance
Marina Abramović
Film Actor
Willem Dafoe
Violetta Valéry
Hera Hyesang Park
Floria Tosca
Selene Zanetti
Desdemona
Leah Hawkins
Cio-Cio-San
Kiandra Howarth
Carmen
Nadezhda Karyazina
Lucia Ashton
Adela Zaharia
Norma
Lauren Fagan
  • Bayerisches Staatsorchester

Extra-Chor der Bayerischen Staatsoper

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Media

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7 DEATHS OF MARIA CALLAS: Bildergalerie

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7 DEATHS OF MARIA CALLAS: Bildergalerie

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Opera
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7 DEATHS OF MARIA CALLAS: Bildergalerie

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7 DEATHS OF MARIA CALLAS: Bildergalerie

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Opera
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7 DEATHS OF MARIA CALLAS: Bildergalerie

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Opera
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7 DEATHS OF MARIA CALLAS: Bildergalerie

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Opera
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7 DEATHS OF MARIA CALLAS: Bildergalerie

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Opera
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7 DEATHS OF MARIA CALLAS: Bildergalerie

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Opera
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7 DEATHS OF MARIA CALLAS: Bildergalerie

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„Vissi d’arte“ – ein Leben für die Kunst. Kurz bevor die berühmte Sängerin Floria Tosca dem bestialischen Zyniker Scarpia das Messer in die Brust stößt, besingt sie in wehmütiger Rückschau ihr Leben. Auch wenn die Arie die Ruhe vor dem Sturm markiert – den Tod ihres Widersachers –, weist dieser Wendepunkt in Giacomo Puccinis Oper auch auf Toscas Schicksal hin. Oft hat die Primadonna assoluta des 20. Jahrhunderts, Maria Callas, diese Arie gesungen. Seit Jahrzehnten ist Marina Abramović vom Leben der „Tigerin“ – wie die Callas genannt wurde – fasziniert. Nun hat sie das Opernprojekt 7 Deaths of Maria Callas konzipiert, in der exemplarisch sieben Bühnentode anhand der musikalisch wie szenisch prägenden Höhepunkte aus der jeweiligen Oper – alles Arien, die für Maria Callas von großer Bedeutung waren – nachempfunden werden. In sieben Filmen wird Marina Abramović zusammen mit Willem Dafoe sieben Mal sterben und am Ende des Abends, wenn es um den realen Tod von Maria Callas 1977 in Paris geht, selbst als Performerin auf der Bühne stehen. Ergänzend zu den bekannten Arien aus dem 19. und 20. Jahrhundert wird der serbische Komponist Marko Nikodijević für die musikalische Gestaltung der Oper Musik komponieren und dabei schildern, dass Callas’ bedingungsloses Leben für die Kunst nie eine Trennung zwischen Bühnenerscheinung und Privatperson zuließ.

 

1. Violetta dies of tuberculosis.
I am a flickering flame on a lone candle. Exposed to the elements: To
wind and rain, to love and hate — to sickness and health. The flame can
warm me or burn me. It can light my way or be my guide. But when it goes
out, it cannot be relit. It goes out forever.

Violetta’ aria from La traviata, Act III: “Addio, del passato”

2. Tosca plunges into the depths.
It is not dangerous to jump. It is not dangerous to fall. The rush of air, of
blood through the lungs. Suspended, yet falling. Space. You have time
to feel, time to love. Forever. No, it is not dangerous to fall. It is when you
land it gets dangerous.

Tosca’ aria from Tosca, Act II: “Vissi d’arte”

3. Desdemona is strangled by Otello.
There is an intuition, a premonition, a sense, a suspicion, a dread and a
forewarning. Desdemona knew. She dressed in her marriage gown and
prayed. When Othello came, she was ready.

Desdemona’ aria from Otello, Act IV: “Ave Maria”

4. Cio-Cio-San commits suicide.
In science, butterfly was the name given to an effect, in which small
causes lead to unpredictable consequences. In superstition, the butterfly
is your beloved coming to see you. In mythology, the butterfly is a
human soul; whether it be living, dying, or already dead …

Cio-Cio-San’ aria from Madama Butterfly, Act II: “Un bel dì, vedremo”

5. Carmen is stabbed by Don José.
Her fearlessness fascinates me. Her love of freedom mirrors mine. Her
smoldering sexuality empowers her. She knows what she wants and
takes it. Love guides her heart. Her beauty and her body are hers and
hers alone. She will not be owned. She is her own.

Carmen’ aria (habanera) from Carmen, Act I: “L’amour est un oiseau
rebelle”

6. Lucia dies of madness.
When the universe conspires against you; trampling on your heart, crushing
your soul and invading your brain, you go mad. And when you go
mad, you are no longer responsible. Not for yourself. Not for those around
you. Love becomes hate, hate becomes love, and death becomes the
ultimate release.

Lucia’ aria from Lucia di Lammermoor, Act III: “Il dolce suono”

7. Norma goes into the fire.

You walk towards the pyre. The first steps are warm, then they become
hot, only to become scorching. Your skin crawls, your eyes water, your
hair is singed. Walk. Your skin goes red before it blisters. But you keep
on walking. The smell of burning flesh. Your skin turns black. Blindness.
Hair on fire. Singed lungs. Yet you walk on — each step requiring otherworldly
effort. Just before the fire engulfs you — you realize you are not
alone! Then that last step into the furnace. United in flames.

Norma’ aria from Norma, Act I: “Casta Diva”

8. Maria Callas dies from a broken heart.
Marina Abramović enters Maria Callas’s bedroom in Avenue Georges-
Mandel No. 36 in Paris, in which the singer died on September 16th, 1977,
at the age of 53.
But is Maria Callas really dead, or does she still exist, oscillating
between life and death? Marina Abramović slips into Maria Callas’s
bygone life, to which she exposes herself unconditionally. She sits in
her bed and looks at photographs, watches herself in the mirror, opens
the window and inhales the air of Paris, until one last time the voice of
Maria Callas resounds.

The texts printed in italics by Petter Skavlan were written for the Operaproject 7 Deaths of Maria
Callas
. They were voiced by Marina Abramović and are heard befor each of the seven arias.

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Biographies

Marina Abramović, geboren in Belgrad, ist seit den 1970er-Jahren Pionierin auf dem Feld der Performance-Kunst. In ihren Werken ist ihr Körper sowohl Gegenstand als auch Medium. Ihre Performances wurden u. a. aufgeführt im Centre Georges Pompidou in Paris, der Neuen Nationalgalerie in Berlin, dem Museum of Modern Art und dem Guggenheim Museum in New York sowie bei der Documenta. Sie erhielt zahlreiche Auszeichnungen, darunter für ihr Werk Balkan Baroque den Goldenen Löwen als beste Künstlerin der 47. Biennale di Venezia. Ihre Retrospektive The Cleaner ist von 2017 bis Januar 2020 in zahlreichen europäischen Metropolen zu sehen. Am Opera Ballet Vlaanderen in Antwerpen gestaltete sie Bühne und Konzept für Pelléas et Mélisande.(Stand: 2020)

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