fremd english

FREMD

Opera in three scenes, one intermezzo and one epilogue

Hans Thomalla

Johannes Kalitzke (Conductor)

Anna Viebrock (Stage Director, Stage Design, Costumes)

Annette Seiltgen (Medea)

Stefan Storck (Jason)

Julia Späth (Kind 1)

Carlos Zapien (Kind 2)

Herren und Damen des Staastopernchores (Argonauten)

Staatsorchester Stuttgart

Hans Thomalla’s opera „Fremd“ is a commission from the Stuttgart Opera. A first study of the second scene was produced by the Forum Neues Musiktheater Stuttgart in 2006. The entire was now be premiered on July 2nd 2011. The work will be conducted by Johannes Kalitzke. Stage director is Anna Viebrock, who also designed stage and costumes. Annette Seiltgen portraits Medea. The parts of the Argonauts have been composed by Hans Thomalla for individual members of the opera choir.

Fremd

The topic of “Fremd” is an encounter and its consequences.

The Argonauts are Greek seafarers, their ship is the Argo. At the eastern shore of the Black Sea they encounter Medea. The strange, non-systematic world of the “barbaric” magician is alien to the heroes and their rational self-understanding. Medea’s forms of articulation – more sound than concept – and her attitude towards others – guided more by curiosity than oriented towards her own gain – leave their marks on the Argonauts. The foundations of their very own identity are shattered. “I have become a stranger to myself. Somebody else thinks inside of me, somebody else acts for me,” says Jason, their leader.

Below the surface of the confrontation between Greeks and Medea lies a conflict, though, that pinpoints the contradictions of Western thought: the conflict of nature and concept. The process of objectification of the Other – of nature inside and outside ourselves – begins with the Argonauts’ embarkation in Colchis, the strange and undomesticated country.

The Myth of Medea cannot simply be „set to music“, as if „music“ is a non-resisting medium for any narrative. The conflict of nature and concept is intrinsic to music itself. It is the contradiction of temporary, irreproducible sound, and the attempt to conceptualize and systematize it in any musical idiom (whether that idiom is the expressive syntax of Belcanto-Opera, the naiveté of children’s songs, or the technical organization of chromaticity). It is the central conflict of musical language. Therefore, opera that dramatizes the conflict of Medea and the Argonauts will always reflect on music’s own intrinsic conflict.

Hans Thomalla, June 2011

Plot

Frist Scene – „Drift“

Text: Excerpts from the Argonautika (3rd Century B.C.) by Apollonius of Rhodes

The first scene crossfades the „Catalogue of Heroes“ in which all members of the Argo’s illustrious crew are named with episodes from the first two parts of the epos. They describe events from the beginning of the heroes’ journey – their gathering at Jolkos – up to their disembarkation in Colchis at the eastern shore of the Black Sea. Episodes include their stay with the seductive women from Lemnos; their fight with the elements; Heracles breaking his rudder; Hylas’ abduction by a nymph and Heracles’ as well as Polyphemos’ frantic search for him; the Argonauts’’ decision to leave these “real heroes” behind; the death of Idmon the seer as well as of Typhis their pilot; and finally the successful passage through the violent rocks of the Symplegades into the Black See.

Second Scene – „Colchis”

Text: excerpts from Franz Grillparzer‘s Die Argonauten (1821); quotations from Luigi Cherubini’s Medea

(1797)
During the encounter of the barbarian princess Medea with the Greek Argonauts at Colchis identities drift: Self becomes Other and the Other becomes familiar. Medea falls in love with the Argonauts’ leader Jason.

Intermezzo for Orchestra – „Flüchtig“
After capturing the Golden Fleece Medea and Jason flee from her father’s prosecution. Their flight turns into a movement towards each other. Two children are born.

Third Scene – „Finale (Corinth)“

Text: Medea‘s Monologue from the 3. Act of Cherubini‘s Opera Medea (1797); Hush, Little Baby (American Lullaby, Anonymous)
Jason wants to gain advantage in their Corinthian exile by abandoning Medea and remarrying. In the light of his treason Medea continues the destruction he began in the most radical way: she murders their children.

Epilogue for choir a Capella
Attempts of articulation after the total destruction of language – fractured, halting, stumbling expressions at the border of silence.


				Hans Thomalla



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		FREMD Opera in three scenes, one intermezzo and one epilogue Hans Thomalla Johannes Kalitzke (Conductor) Anna Viebrock (Stage Director, Stage Design, Costumes) Annette Seiltgen (Medea) Stefan Storck (Jason) Julia Späth (Kind 1) Carlos Zapien (Kind 2) Herren und Damen des Staastopernchores (Argonauten) Staatsorchester Stuttgart Hans Thomalla’s opera „Fremd“ is a commission from the Stuttgart Opera. A first study of the second scene was produced by the Forum Neues Musiktheater Stuttgart in 2006. The entire was now be premiered on July 2nd 2011. The work will be conducted by Johannes Kalitzke. Stage director is Anna Viebrock, who also designed stage and costumes. Annette Seiltgen portraits Medea. The parts of the Argonauts have been composed by Hans Thomalla for individual members of the opera choir. Fremd The topic of “Fremd” is an encounter and its consequences. The Argonauts are Greek seafarers, their ship is the Argo. At the eastern shore of the Black Sea they encounter Medea. The strange, non-systematic world of the “barbaric” magician is alien to the heroes and their rational self-understanding. Medea’s forms of articulation – more sound than concept – and her attitude towards others – guided more by curiosity than oriented towards her own gain – leave their marks on the Argonauts. The foundations of their very own identity are shattered. “I have become a stranger to myself. Somebody else thinks inside of me, somebody else acts for me,” says Jason, their leader. Below the surface of the confrontation between Greeks and Medea lies a conflict, though, that pinpoints the contradictions of Western thought: the conflict of nature and concept. The process of objectification of the Other – of nature inside and outside ourselves – begins with the Argonauts’ embarkation in Colchis, the strange and undomesticated country. The Myth of Medea cannot simply be „set to music“, as if „music“ is a non-resisting medium for any narrative. The conflict of nature and concept is intrinsic to music itself. It is the contradiction of temporary, irreproducible sound, and the attempt to conceptualize and systematize it in any musical idiom (whether that idiom is the expressive syntax of Belcanto-Opera, the naiveté of children’s songs, or the technical organization of chromaticity). It is the central conflict of musical language. Therefore, opera that dramatizes the conflict of Medea and the Argonauts will always reflect on music’s own intrinsic conflict. Hans Thomalla, June 2011 Plot Frist Scene – „Drift“ Text: Excerpts from the Argonautika (3rd Century B.C.) by Apollonius of Rhodes The first scene crossfades the „Catalogue of Heroes“ in which all members of the Argo’s illustrious crew are named with episodes from the first two parts of the epos. They describe events from the beginning of the heroes’ journey – their gathering at Jolkos – up to their disembarkation in Colchis at the eastern shore of the Black Sea. Episodes include their stay with the seductive women from Lemnos; their fight with the elements; Heracles breaking his rudder; Hylas’ abduction by a nymph and Heracles’ as well as Polyphemos’ frantic search for him; the Argonauts’’ decision to leave these “real heroes” behind; the death of Idmon the seer as well as of Typhis their pilot; and finally the successful passage through the violent rocks of the Symplegades into the Black See. Second Scene – „Colchis” Text: excerpts from Franz Grillparzer‘s Die Argonauten (1821); quotations from Luigi Cherubini’s Medea (1797) During the encounter of the barbarian princess Medea with the Greek Argonauts at Colchis identities drift: Self becomes Other and the Other becomes familiar. Medea falls in love with the Argonauts’ leader Jason. Intermezzo for Orchestra – „Flüchtig“ After capturing the Golden Fleece Medea and Jason flee from her father’s prosecution. Their flight turns into a movement towards each other. Two children are born. Third Scene – „Finale (Corinth)“ Text: Medea‘s Monologue from the 3. Act of Cherubini‘s Opera Medea (1797); Hush, Little Baby (American Lullaby, Anonymous) Jason wants to gain advantage in their Corinthian exile by abandoning Medea and remarrying. In the light of his treason Medea continues the destruction he began in the most radical way: she murders their children. Epilogue for choir a Capella Attempts of articulation after the total destruction of language – fractured, halting, stumbling expressions at the border of silence.