From Fledermaus to Wozzeck the Viennese spirit in masterpieces of the fin du siècle
Queen Elisabeth Music Chapel, Waterloo, Belgium
The music of Wozzeck and Lulu is not thinkable without the experience of the Viennese style of music, theatre, philosophy, life. The portrait of a society given by an Operette like Fledermaus is important for the understanding of Alban Berg’s portraits of the social outsider Wozzeck as well as of Lulu, the lady who confuses and blows up the society around herself.
There are many theatrical and musical parallels between Johann Strauß and Alban Berg, from the inspiration by the Wiener Walzer up to the sarcasm of the story, from intoxication to frenzy of individuals and societies. As much as Strauß’ and Lehar’s Operette are describing the feeling of the fin-de-siècle epoch in a light and sparkling way, as intensely is the psychological description of this epoch by Berg leading to its different conclusion: the real ending. The musical parameters, though, are nearly the same.
The WORKSHOP focusses on
- vocal training, techniques, pronunciation
- musical understanding and interpretation
- interaction between the characters in the ensemble scenes
We’ll work on arias and scenes by vocal and musical coaching, scenic and choreographic training.
A link with contemporary music: the particular demands of Berg’s and Schoenberg’s writing for voice with a clear differentiation of sang, half-sang and spoken passages already define the basic structure of modern singing technique in operas until today. The workshop gives a focus on the calculated use of these techniques to create expressivity.
An interdisciplinary aspect: the Waltzer as an element in opera is often to be danced by the singers themselves. Part of the workshop is the preparation of the basic skills in dancing valse in order to fitting in a given choreographic frame.
The programme will be given in concert at the Music CHapel into the period of workshop.
- Dietrich Henschel
The baritone Dietrich Henschel is a singer who’s repertoire extends from the beginning of baroque opera to modern day avantgarde. In addition to opera, a wide range of acclaimed recordings testifies to Dietrich Henschel’s success as a lied interpreter and an oratorio singer. Mr. Henschel’s collaboration with great conductors such as Gardiner, Harnoncourt, Herreweghe or Colin Davis is documented on many CD’s and DVD’s. In a daring attempt to visualize the literary and emotional content of the lieder he sings, Mr. Henschel has also been exploring the intersection between art music, theatre, and the visual media.
- Darren Ross
Born in Manchester, England, Darren Ross studied at the Laban Centre for Movement and Dance in London. Then he moved to France to dance in many creations.
In 1998 he started a long collaboration as movement director and choreographer with director Jean-Claude Berutti in opera and theatre.
Darren Ross also teaches movement and dance to singers and actors.
Application process for the artists willing to apply:
- the artist must be connected to one of the 13 enoa member institutions
- the artist must contact his/her sending institution, which decides if they recommend his/her application
- the hosting institution confirms the list of participants after the registration deadline
- the network assumes the responsibility for the training fees, the costs of accommodation and travel (fully or partly according to each institution’s internal rules)
*Per-diem are paid or not according to each institution’s internal rules
location445 Chaussée de Tervuren
1410 Waterloo, Belgium
One role from
WOZZECK and/or LULU
FLEDERMAUS and/or Die lustige Witwe
Three songs by Berg, Schönberg, Webern, Zemlinsky, Schreker