{"id":4939,"date":"2022-08-08T14:37:45","date_gmt":"2022-08-08T14:37:45","guid":{"rendered":"https:\/\/mttw.at\/?page_id=4939"},"modified":"2024-02-12T16:00:20","modified_gmt":"2024-02-12T15:00:20","slug":"operan-mttw-2016","status":"publish","type":"page","link":"https:\/\/mttw.at\/en\/archiv\/operan-mttw-2016\/","title":{"rendered":"OPERAN! | MTTW 2016"},"content":{"rendered":"
\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Operan! | MTTW 2016<\/p>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tInstagram<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tFacebook-f<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\n\t\t\t\t\t\n\t\t\t\t\t\tYoutube<\/span>\n\t\t\t\t\t\t<\/i>\t\t\t\t\t<\/a>\n\t\t\t\t<\/span>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t
\n\t\t\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

Bertl Mothers<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

OPERAN! About escape<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t

A seven-scene music laboratory from the School of Amazement<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Premiere<\/p>

A production of the MUSIKTHEATERTAGE WIEN<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t\t\t

Not all escapes are the same. One can escape happily once again by the skin of one's teeth, or it can be held against one as an aesthetic offence of escapism.
I deal with this tension by establishing experimental set-ups that, from quite banal starting points that grow into the monstrous, pose questions about escaping reality and pleasure-seeking, but which at the same time have an inherent point at which things can no longer go on (like this), so that you have to make sure you get away.<\/p>

It is said that art should reflect current social conditions and phenomena as quickly and precisely as possible. However, kitsch about the current refugee drama is not my thing.
But still: it's all in there. Incidentally, I like the fact that eskapieren derives from a vulgar Latin verb meaning \"to make off\", eig. \"to throw away one's religious cap\".<\/p>

Bertl M\u00fctter,<\/strong>\u00a0born in Steyr in 1965, acts mostly as a trombone individualist. His music, slow food for the ears, refers to familiar and more distant traditions. But he also likes to play with others, if listening to each other is guaranteed. Important names and places are not mentioned, such things are distracting: M\u00fctter prefers to manipulate his audience by making artistic processes directly tangible.
The Doctor artium (with a licence to speak) invites you to his school of wonder, musical-rhetorical associations to everything.
For his hand-picked Orchestra of the Radical Middle (ORM), he invents curios musical laboratory situations as primus inter pares. OPERAN! is his logical next step in the direction of music drama.<\/p>

Or, in summary: \"Unlike most artistic personalities worldwide, Bertl M\u00fctter and his music fit into one pigeonhole.\"<\/p>

www.muetter.at<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t\t\t
\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t<\/i><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tCredits<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

Soprano:\u00a0<\/b><\/span>Ursula Langmayr\u00a0<\/span>Baritone:\u00a0<\/b>Matthias Helm\u00a0<\/span>Co-direction: <\/span>Marlene Traun\u00a0<\/span>Dr M\u00fctter's Orchestra of the Radical Centre (ORM):\u00a0<\/b>Bertl Mothers<\/span>\u00a0(<\/span>Courage and wonder horn, player coach ),\u00a0<\/span>Dimitrios Polisoidis (<\/span>Viola),\u00a0<\/span>Paul Schuberth (<\/span>Accordion)<\/span><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

\n\t\t\t\t
\n\t\t\t\t\t\t\t
\n\t\t\t