Der Kaiser von Atlantis (Viktor Ullmann) - Teatro Colón 2006 (Completa)

Der Kaiser von Atlantis o La muerte abdica, Op. 49
Leyenda en cuatro escenas (1975)
Música de Viktor Ullmann
Libreto de Peter Kien
Dirección musical
Guillermo Brizzio
Puesta en escena
Marcelo Lombardero
Escenografía y vestuario
Gastón Joubert
Iluminación
Rubén Conde
Ópera de Cámara del Teatro Colón
Ensamble de la Ópera de Cámara del Teatro Colón
Reparto
Kaiser Overall: Luciano Garay
Der Tod: Hernán Iturralde
Der Lautsprecher: Gui Gallardo
Harlekin: Enrique Folger
Bubikopf: Laura Rizzo
Der Trommler: Alejandra Malvino
Ein Soldat: Gabriel Renaud
Ensamble de la Ópera de Cámara del Teatro Colón
Violines Primero
Elías Gurevich (concertino)
Segundo Sebastián Masci
Viola
Gabriel Falconi
Violoncello
André Mouroux
Flauta
Jorge de la Vega
Oboe
Gerardo Bondi
Clarinete
Rolando D Hellemmes
Saxo alto
María Noel Luzardo
Trompeta
Fernando Ciancio
Banjo y guitarra
Ariel López Saldívar
Armonio
Armando Fernández Arroyo
Piano
Irene Amerio
Percusión
Pablo La Porta
Fabián Keoroglanian

[@wilhiamas]

Skip to 3:33. Otherwise you will be in the dark for three and a half minutes. Splendid production.

[@LR-uw2iq]

Qué maravilla. Deberían programarla más seguido. Excelente producción y exquisito elenco.

[@mariollombart6951]

Felicidades al Teatro Colon, no solo me encanta la opera y la producción, envidio a Buenos Aires por programar algo así. En Barcelona Wagner y Puccini son lo más contemporaneo que se suele ver. Hace años vi un Billy Bud y una Lady Macbeth pero supongo que si el compositor no lleva más de 100 años muertos no se consideran sus obras lo bastante contrastadas!

[@donmigueldecuenca]

Magnificent. Thank you!

[@nikanorsoter7123]

Viktor Ullmann's parents both converted to the roman catholic religion. Ullmann's father was a colonel and nobilitated in Austria-Hungary.
But Viktor Ullmann himself was an Anthroposophist, too. ("Jewish roots alone are not enough?"). This explains, why Ullmann had been concealed for a long time despite his jewish roots. We should hold him in honourable memory, since neither the catholics nor the jews do so.
Ullmann's opera is an overwhelming example of tragedy and hope in horrible times.

[@angusmcrandy]

Kaiser Overall: Luciano Garay, baritone
Death: Hernán Iturralde, bass-baritone
The Loudspeaker: Gui Gallardo, bass-baritone
Harlekin: Enrique Folger, tenor
Bubikopf (a maiden): Laura Rizzo, soprano
Der Trommler (drummer girl): Alejandra Malvino, mezzo soprano
A Soldier: Gabriel Renaud, tenor
Prologue
A voice heard over a loudspeaker sets the scene and presents the characters.
Scene 1
Harlequin describes his sorry life without laughter or love. Death joins him and together they lament how slowly time passes in their grim environment. Death belittles Harlequin's wish to die and explains how much more dire his own situation is than that of Harlequin. He lacks respect now that the "old-fashioned craft of dying" has been replaced by "motorized chariots of war" that work him to exhaustion with little satisfaction. The Drummer announces the latest decree of the Emperor: Everyone will be armed and everyone will fight until there are no survivors. Death denounces the Emperor for usurping his role: "To take men's souls is my job, not his!" He declares that he is on strike and breaks his saber.
Scene 2
In his palace, the Emperor gives battle orders and monitors the progress of the universal war. He learns of a man who continues to live eighty minutes after being hanged and shot. The Loudspeaker reports that thousands of soldiers are "wrestling with life...doing their best to die" without success. Fearful that his power will not endure without death, the Emperor announces that he has decided to reward his subjects with the gift of eternal life. More honestly, he asks: "Death, where is thy sting? Where is thy victory, Hell?"
Scene 3
A Soldier and a Maiden (the Bobbed-Hair Girl) confront one another as enemies. Unable to kill each other, their thoughts turn to love. They dream of distant places where kind words exist alongside "meadows filled with color and fragrance." The Drummer attempts to lure them back to battle with the sensual attraction of the call. The Maiden responds: "Now death is dead and so we need to fight no more!" She and the Soldier sing: "Only love can unite us, unite us all together."
Scene 4
The Emperor continues to oversee his failing realm, where his subjects angrily protest their suspension in limbo between life and death. Harlequin appeals to him, reminding him of his innocent childhood. The Drummer urges the Emperor to maintain his resolve, but the Emperor's memories turn his thoughts from his plans for the annihilation of all. Instead he gazes into a covered mirror and asks: "What do men look like? Am I still a man or just the adding machine of God?" He pulls away the mirror's cloth and faces the reflection of Death. "Who are you?" he demands. Death describes his role modestly, like that of a gardener "who roots up wilting weeds, life's worn-out fellows." He regrets the pain his strike is causing. When the Emperor asks him to resume his duties, Death proposes a resolution to the crisis: "I'm prepared to make peace, if you are prepared to make a sacrifice: will you be the first one to try out the new death?" After some resistance, the Emperor agrees and the suffering people find release in death once more. The Emperor sings his farewell. In a closing chorus, Death is praised and asked to "teach us to keep your holiest law: Thou shalt not use the name of Death in vain now and forever!"

[@ramonmundin2125]

Thanks

[@juliogonzalezcampayo3201]

@Mario llombart: Tiene usted razón, pero EL EMPERADOR DE ATLANTIS se vio en Madrid hace dos años en el Real en una buena producción. Ese mismo año se representó BRUNDIBAR de Krasa.

[@ezequielstepanenko3229]

Muy buena, lástima que no tiene subtítulos

[@edwinkim6197]

29:45

[@oscarrocabert6268]

Pero Ullmann fue asesinado en Auschwitz en 1944. ¿A qué se refiere la fecha de 1975?

[@oscarrocabert6268]

Ok. Se refiere al estreno.