Hier der Auszug veröffentlicht von der Oper Frankfurt:
DIE SACHE MAKROPULOS
(Vec Makropulos)
Leos Janacek
1854 - 1928
Oper in drei Akten
Text vom Komponisten nach der gleichnamigen Komödie von Karel Čapek
Zum Werk
Besuche von alten Damen können gefährlich werden, auch wenn diese ihr Alter unter der Zaubermaske der Schönheit verbergen. »Großer Gott«, ruft in der grotesk-makabren Komödie des tschechischen Autors Karel Čapek ein Büroangestese llter aus, bevor er die entscheidende Frage stellt: »Was ist den denn das postmortale Leben, die Unsterblichkeit der Seele anderes als der fürchterliche Protest gegen die Kürze des Lebens?« Die umjubelte Sängerin Emilia Marty lebt schon dreihundertsechsunddreißig Jahre. Zur Zeit des alchemieversessenen Kaiser Rudolf II. war sie das Objekt für einen Versuch ewigen Lebens durch ein Elixier. In immer neuen Verwandlungen, aber stets mit den gleichen Namensinitialen durchwandelt sie die vorbeiziehenden Zeiten. Längst ist sie melancholisch geworden, hält sich an Whiskeygläsern fest und liegt beim Liebesakt starr wie eine Leiche. Nun aber, im Prag des Jahres 1922, wird das Stigma der Unsterblichkeit aufgehoben. Emilia schaltet sich in einen hundertjährigen Erbschaftsprozess ein, dessen Erledigung bereits Gebirge von Dokumenten produziert hat. Es geht vordergründig um die Suche nach einem für das Verfahren entscheidenden Testament eines vor hundert Jahren verstorbenen, millionenschweren und adligen Geliebten der Sängerin. Dahinter freilich versteckt sich der gleichnishafte Kern, der für Janáček in seinem Alterswerk die entscheidende Bedeutung hatte. Nämlich: Wirkliches Glück kann nur empfinden, wer sterblich ist. Liebe und Tod sind ein uraltes Zwillingspaar der Menschengeschichte. Emilia Marty aber, die weltberühmte Sängerin, kann nicht lieben, weil sie zum ewigen Leben verdammt ist. Am Ende des Werkes aber, wenn rotes Licht die Bühne überflutet und alles in erschütterndem Schweigen erstarrt, geschieht ein Mysterium.
Handlung
Vorgeschichte: Hieronymus Makropulos, dem aus Kreta stammenden Leibmedikus des in Prag residierenden Kaisers Rudolf II., vermochte ein Lebenselixier herzustellen, das er zunächst an seiner Tochter auszuprobieren hatte. Elina wurde darauf schwer krank. Der Kaiser warf ihren Vater ins Gefängnis. Währenddessen war Elina genesen und mit dem Rezept entkommen. Dreihundert Jahre später: Elina, inzwischen weltberühmte Opernsängerin, bei der das Wundermittel allmählich seine Wirkung verliert, mischt sich in einen uralten, immer wieder neu verhandelten Erbschaftsprozess ein. Ihr Ziel ist die Wiedererlangung der Rezeptur, die sie bei einem ihrer zahlreichen einstigen Geliebten zurückgelassen hatte. In den zurückliegenden drei Jahrhunderten hat die Diva, die bei gleichen Initialen immer wieder ihren Namen gewechselt hat, eine arge Desillusionierung erfahren. Am Ende, als sich alles zuspitzt und ihr Geheimnis und ihre Identität ans Tageslicht gelangen, geht eine entscheidende Wandlung in ihr vor.
Und wie üblich, Bilder aus der Pause, es war noch nicht dunkel. Hier ist der Zeltplatz der Occupy zu sehen.
Opera 'THE MAKROPOULOS CASE '
We had to fulfill our subscription of the opera and decided to see an opero of Leos Janacek. We saw already some of his opera and liked it. This time it was nice as always. So I will - as usually write fom the OPER FRANKFURT Und wie üblich, Bilder aus der Pause, es war noch nicht dunkel. Hier ist der Zeltplatz der Occupy zu sehen.
Opera 'THE MAKROPOULOS CASE '
THE MAKROPOULOS CASE
Leos Janacek
1854 - 1928
Opera in three acts
Libretto by the composer after the comedy of the same name by Karel Čapek
About the piece
Visits by old ladies can be dangerous, especially when they hide their age under a magic mask of beauty. »Good Lord!« exclaims an office worker in Karel Čapel’s (a Czech author, famous for his sarcasm) grotesque, macabre comedy, before asking: »What is this post mortale life, the immortality of the soul, is it nothing but a terrible protest against the shortness of life?«. The celebrated singer Emilia Marty, a stereotype of an operatic diva, has lived for 336 years. She was a guinea-pig when alchemy obsessed Kaiser Rudolf II was searching for an elixir that granted eternal life. She has wandered through the intervening years reinventing herself, but always using the same initials. She has long suffered from melancholy, drinks too much whisky, lies rigid as a corpse when making love and starts to snore when she hears the same compliments again and again. But now, in Prague in 1922, the stigma of immortality is no more. Emilia is involved in a 100 year old inheritance battle, which has produced mountains of documents and Kafkaesque, seemingly endless corridors full of files. The case revolves around the search for the last will and testament of an aristocratic millionaire, one of Emilia’s lovers, who died a hundred years ago. This is a vehicle for Janáček to make his allegorical point: true happiness can only be felt by one who is mortal. But Emilia Marty cannot love because she is damned to live forever. Then, at the end of the work, when red light floods the stage and everything freezes in shattering silence, something mysterious takes place.
Synopsis
Albert Gregor is waiting with his solicitor Dr. Kolenaty’s assistant Vitek for the final ruling on a law suit that has dragged on for nearly a century. Vítek,’s daughter Krista arrives raving about an opera singer, Emilia Marty, who appears at the same time as Dr. Kolenatý. She wants news about the Gregor v Prus case. A vital document, a will, is lost. She baffles everyone by saying that she knows where it is and that it will prove that Albert Gregor is the rightful heir. Kolenatý sets off to visit Jaroslav Prus. Albert Gregor is bewitched by her. Kolenatý returns with Prus, the will and other papers. The rightful heir’s name does not appear in full. E.M. says that she can provide a document proving that Ferdinand Gregor was descended from Ferdinand Prus.
Gregor Krista’s father Vitek, Prus and his son Janek are waiting for the great singer after a performance. Old Baron Hauk, who is a bit ga ga, is amazed by E.M’s similarity to a woman he fell passionately in love with many years ago in Spain. Her only desire is to get her hands on an envelope containing a Greek document that must be among Ferdinand Prus’ papers and begs his son Janek to steal it. Prus returns and sends his son packing. He agrees to give E.M the envelope in return for a night of love.
Prus feels short changed. E.M. did not fulfil his erotic expectations at all. His son has committed suicide. He blames E.M. but she doesn’t seem to care. Men burst in. Dr. Kolenatý accuses E.M. of forgery. The signature on the document proving Albert Gregor’s rights gave her away. Many things bearing the initials E.M are found in her luggage. She tells them that her father was Dr Hieronymos Makropulos, who made an elixir for Rudolf II to extend his life. They tested it out on his daughter, Elina, who has lived for more than 300 years calling herself Ekaterina Myschkin, Ellian McGregor, Elsa Müller, Eugenia Montez and Emilia Marty. The effects are wearing off. She needs the formular so that she can extend her life again. She faints, then changes her mind and is ready to die. She offers the formula to the others. They all turn it down. E.M. is left, alone.
Gregor Krista’s father Vitek, Prus and his son Janek are waiting for the great singer after a performance. Old Baron Hauk, who is a bit ga ga, is amazed by E.M’s similarity to a woman he fell passionately in love with many years ago in Spain. Her only desire is to get her hands on an envelope containing a Greek document that must be among Ferdinand Prus’ papers and begs his son Janek to steal it. Prus returns and sends his son packing. He agrees to give E.M the envelope in return for a night of love.
Prus feels short changed. E.M. did not fulfil his erotic expectations at all. His son has committed suicide. He blames E.M. but she doesn’t seem to care. Men burst in. Dr. Kolenatý accuses E.M. of forgery. The signature on the document proving Albert Gregor’s rights gave her away. Many things bearing the initials E.M are found in her luggage. She tells them that her father was Dr Hieronymos Makropulos, who made an elixir for Rudolf II to extend his life. They tested it out on his daughter, Elina, who has lived for more than 300 years calling herself Ekaterina Myschkin, Ellian McGregor, Elsa Müller, Eugenia Montez and Emilia Marty. The effects are wearing off. She needs the formular so that she can extend her life again. She faints, then changes her mind and is ready to die. She offers the formula to the others. They all turn it down. E.M. is left, alone.
As usual the photos from the oper in the break, but it was not yet dark. There is the camp of the OCCUPY
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