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18 Dec
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Wednesday, July 18, 2012 at 7.30 p.m
Solaris
Bregenz Festival
Austria
http://www.bregenzerfestspiele.com
Tickets: 40-95 EURO
Responsibility, guilt, memory
What would it be like if some unimaginable force were able to give material form to all our repressed emotions and thoughts? To resurrect, from our memories, people who once were close to us – as beings that confront us with our past and yet remain permanently out of reach and beyond our comprehension? What would happen to us as a result? That is exactly what Solaris is about, the famous novel by Polish science fiction author Stanis³aw Lem published in 1961, and which the German composer Detlev Glanert has now turned into an opera.
Solaris is the story of the psychologist Kelvin, who is dispatched to a space station which is orbiting the distant planet Solaris and on which strange things have been happening. Arriving on board, Kelvin is straight away warned about weird apparitions of the kind that relentlessly plague the crew members. None of the crew seem able to rid themselves of the "guests". It isn't long before Kelvin's personal phantasm appears in the form of his former wife, Harey, who killed herself at the age of nineteen, and who now starts revisiting him.
It is the planet's gigantic ocean which makes all these strange beings materialise, projecting the crew members' feelings of guilt into their lives once again, with persistence and indifference. Haunted by guilty memories, the rational scientist Kelvin is increasingly beset by irrational thoughts and feelings. In the end he is the one most deeply affected by the nightly visitations of beings which the plant bodies forth from the crew members' own memories.
Further performances
22 July - 11.00 a.m.
25 July - 7.30 p.m.
Introductory talk in the Festspielhaus will be start one hour before performance
Detlev Glanert : Solaris
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5
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Sunday, August 5, 2012 at 8.30 pm
Salzburg contemporary 4
Salzburger Festspiele
various, Salzburg, Austria
Austria
ttel.: +43-662-8045-500
http://www.salzburgfestival.at/
info@salzburgfestival.at
Heinz Holliger, Conductor
Felix Renggli, Flute
Latvian Radio Choir
Kaspars Putnins, Chorus Master
Ensemble Contrechamps
Holliger’s works are shot through with such ghost-like webs of reference, which contain his life’s experiences, dreams, but also music he has conducted and performed. That is why as an interpreter, he loves those composers who write porous music, music that remains fragile and fleeting. The two composers whose works are performed atSalzburg contemporary next to Holliger fit this description: the Pole Witold Lutos³awski and the German Bernd Alois Zimmermann. They suffered under fascism and communism, and only escaped death narrowly during their youth. They wrote music that questioned itself, confessed its own insecurity, but also bore the inscription of rebellion, even crying out at times. The most extreme work is presumably Zimmermann’s Die Soldaten, and it is a significant event that one of the most important operas since Mozart will now finally be produced in Salzburg.
Die Soldaten contains the full breadth of musical history, from the Middle Ages until today, from the most complex art music to folk music and jazz, a polyphonic web of references, stories, dreams and catastrophes, fed by a life experience that, in Zimmermann’s case, became so unbearable that he committed suicide. What is still relatively contained within the workings of the opera in Die Soldatenfinally breaks out openly in the Ekklesiastische Aktion: the tension of his times, the armament race, the bankrupting of all values, and Zimmermann’s own hopelessness are combined into one monumental gesture of desperation.
Alongside these works, Holliger’s Scardanelli-Zyklus seems like an ecclesiastical exercise. In 1806, Hölderlin, 36 years old at the time, sought refuge in the Tower in Tübingen, where he was to live for 37 years as a so-called madman, a recluse from the world, and only wrote occasionally in exchange for pipe tobacco, poems that are bright and cheerful and betray nothing of his former pains. He often signed them “Scardanelli”. Heinz Holliger was 36 when he began to study these late Hölderlin poems in 1975, and over the course of 15 years, he turned them into an ever-growing Scardanelli Cycle. This Scardanelli Cycle is another web into which Hölderlin’s life, his work, the flute music he played are woven.
Heinz Holliger’s second commission from the Salzburg Festival is a work for the winds and brass of the Vienna Philharmonic. During a serious illness, as he experienced breathlessness and a shortness of air – especially frightening to an oboist – Holliger conceived this music. We will hear sounds that might revive the Bunsen burner dream of Heinz Holliger’s boyhood.
Heinz Holliger : Scardanelli-Zyklus for solo flute, small orchestra, tape and mixed choir
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