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Feb. 2nd, 2006 12:25 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
larifugaЗавтра такой тяжелый день. Даже думать об этом не хочется, чтобы настроение не портить. Подумаю лучше о чем нибудь хорошем.
Сегодня узнала, что "Элизабет" оказывается поставили в городском театре Турку. Это же замечательная новость! Спектакль будет идти аж до конца 2006 года, стоимость билетов 35 евро. Задействованы финские исполнители. Не до конца уверена полностью его перевели на финский или нет, но как только выясню, сразу сообщу.
Синопсис мюзикла на английском
http://www.turku.fi/Public/default.aspx?contentid=13566
Статьи о финской постановке также на английском, немного позднее обещаю перевод, сейчас у меня самой нет времени даже просто с ними ознакомиться.
11.11.2005
Helsingin Sanomat 25.9.2005
Good show and Death dance
The story of Elisabeth, the last Empress of Austria could easily be
made into an opera, so why a musical? Musical has many benefits over
the heavy art form that is opera. Musical has given the opportunity to
make Elisabeth into a modern, fast beat piece of theatre that uses
lavishly different forms of stage practice. A musical can, better than
opera, prove that Elisabeth was, like the libretist Michael Kunze said
? a modern woman?, ages ahead of her time ? even though she was tied to
her own era.
When Thérèse Karlsson as Elisabeth sings in the Turku City Theatres
strong performance her declaration of independence ?I belong to me?,
Elisabeth ? Sisi in Austria ? becomes a modern woman who wants to take
control of her own life.
Sylvester Levays music grows into a death dance, that combines intense
feeling, the fast rhythm of pop rock, cabaret-like chanting and
classical music. When you combine all these with the banal aspects of
popular music, you have the ingredients of apocalypse and decadence
well in place.
Great emotions burst into flames in Elisabeth?s tune, into which
burning sorrow the emperor Franz Joseph at times joins. This simple
melody that moves in sequences works surprisingly well. When you?ve
heard the melody enough times you start to recognise the feeling of
self deception and the lie of living in its emotional outpour. It is
essential for the success of director Katariina Lahtis performance that
the leading couple look their parts ? and can sing.
Thérèse Karlsson and Tomi Metsäketo are up to the challenge as singers
and they make a very presentable imperial couple. If they had little
more experience as actors, they could bring more human touch and
vulnerability into their characters. As a whole the Turku performance
gets remarkably close to the glorious glow and passion of the Theater
an der Wiens production. What is lacking is the ceremonial glamour of
the imperial court and the parody of it. The other aspects of Kupfers
glorious and colourful apocalyptic vision are there: the cabaresque
foolery and clownery, the vivid horror visions, the ugly and grotesque
sides of life, class distinctions, the rise of antisemitism and
natzism.
It is important that Elisabeth in Turku is a good show and a
spectacle, catching entertainment in the middle of all the gloomy
destruction. The good show is made by most of all its two demons, Mika
Kujala?s Death and Ilkka Hämäläinen?s anarchits-murderer Luigi Lucheni.
Kujala?s Death is the strongest character of the performance, a vain
and seductive heavy-rocker, who sings brilliantly and high. Hämäläinen?
s murderer is a laughing fanatic, whose tenor voice rings with hysteric
homicidal lust and pleasure. It is a brilliant idea of the libretist to
make Elisabeht?s murderer the gloating narrator of the story. Franz
Josef?s mother, Archduchess Sophie, is played by Kirsi Tarvainen, whose
whole being and impressive altto voice symbolise the proud power of the
court tradition, the unemotional cruelty and hollow discipline.
The wide, parodistically dressed and directed ensemble represents
widely the inhabitants of the 19th century Vienna, from hookers to
aristocrats. The dead rise from their graves to dance the death dance.
The conductor Henrik Wikström held the singers and the orchestra for
the most part of the premiere in motion and in shape.
---------------------------------------------------
successful investment by the Turku City Theatre
Elisabeth is a quality musical
There are high expectations for Elisabeth. It?s supposed to turn the
falling spectator rates into a raising streak and to improve the
theatres economy. The Turku audiences have been expecting for a long
time to see spectacular musical theatre. After the premiere on Friday
it is safe to say that all expectations are filled.
Rarely have I been so unconditionally thrown into the spell of a
musical like I did with Michael Kunzes and Sylvester Levays Elisabeth.
The story of the Austrian empress Elisabeth (1837-1898) is portrayed
from an interesting point of view, the music is dramatic and colourful,
the performers are top form and the ingenuity of the scenic solutions
makes one chuckle with delight. The whole seems so perfect that one is
forced to ask the question, can this all be the invention of the City
Theatre? The answer is in the programme leaflet (which is good work,
too): direction and set designs are based on the designs of the
original Vienna production. The musical was first staged in 1992.
Whatever the case, director Katariina Lahti and set designer Kati
Lukka have transformed everything with style to Turku. The scene is
made perfect by the beautiful lightning by Jukka Kyllönen, the lavish
dresses by Tarja Simonen and by the ingenious and fresh choreography by
Outi Martikainen.
I belong to me
The story of Elisabeth, ?Sissi?, is well known from the movies
starring Romy Schneider. I remember from the movies the cream puff
romance. Kunze?s libretto is also romantic, but the tone is dark. In
the heart of the musical is the thought of Sissi?s death wish and Death
falling in love with Sissi. The narrator of the story is Luigi Lucheni,
who murdered Elisabeth in Geneve 10.9.1898.
The play gives not only a point of view into Sissi?s life, but also a
view of the time, the turn of the 19th century meant an end to an era:
the nobility was being replaced by the bourgeoisie, the working class
was born and monarchies turned into national states. Elisabeth?s murder
and death symbolised the decadence of the old and the beginning of a
new era.
It is possible to see parallels between the past and the present. Once
again there are movements, assassinations ? or terrorism ? change is in
the air. Sissi?s story portrays modern day especially through the main
characters central characteristics ? her emphasised will of self
governing. ?I belong to me? she sings over and over again. The will to
be herself turns easily into over individualism and narcissism that
shuts everything out. The outcome isn?t the longed freedom, and the
results can be hideous, is the message of this play.
Visually impressive
Elisabeth gives the audience an energetically told tale, that is an
entertaining and theatrical piece of dramatic art. There is an accurate
amount of the kitsch surrounding Sissi in the mix, and the performance
isn?t too serious about historical accuracy. Therefore for example the
atmosphere of the Viennese café can be portrayed by carnival cars.
Impressive scenic images are being made with different levels,
backcloths and a few enormous symbols: the Austrian double eagle looms
over Elisabeth and Franz Josef: The horse-drawn carriage of Death is
half sunk into the ground. Franz Josef is trapped inside his enormous
decaying crown, some of the crowns ornamental beads have already
fallen. The costumes of the people of the court are brilliantly
accurate, in other characters Tarja Simonen has let her imagination
loose. The heavy-rock-gothic dresses of Death and his adjutants are
especially good. All in all you get an impression of a fairytale for
young people and for adults that works on its own, the audience doesn?t
even need to know anything about Sissi, or be interested in her.
Mika Kujala in the part of his life
Even if there are imported elements in Elisabeth, the performers are
domestic and it?s their skills that make or break the outcome.
Elisabeth is fully composed, there are only a few spoken lines. The
variety of music goes from classical through Kurt Weill?influence to
disco and rock. Under Henrik Wikströms leadership the orchestra handles
the scale immaculately and the audience doesn?t have to worry over the
performers. The level of professionalism is high in singing, dancing
and acting, right to the last person in the ensemble.
For the parts of Elisabeth and Franz Josef have been chosen Thérèse
Karlsson and Tomi Metsäketo. Karlsson?s soprano has enough tone and
volume and she can portray Sissi?s feelings through her singing
perfectly. Tomi Metsäketo?s clear tenor and clean image fit well with
the emperor who?s under his mothers thumb.
In place of the late Tamara Lund as Archduchess Sophie Kirsi Tarvainen?
s dramatic use of her voice leaves no doubts about who?s in charge in
the castle. Ilkka Hämäläinen is expressive as the cunning Lucheni. The
most impressive of all the performers this time is Mika Kujala, the
long time actor of the Turku City Theatre. As Death in love he is in
the form of his life. Kujala?s vocal capacity and physical talent come
to their full right in Elisabeth and the outcome is grand to see
Сегодня узнала, что "Элизабет" оказывается поставили в городском театре Турку. Это же замечательная новость! Спектакль будет идти аж до конца 2006 года, стоимость билетов 35 евро. Задействованы финские исполнители. Не до конца уверена полностью его перевели на финский или нет, но как только выясню, сразу сообщу.
Синопсис мюзикла на английском
http://www.turku.fi/Public/default.aspx?contentid=13566
Статьи о финской постановке также на английском, немного позднее обещаю перевод, сейчас у меня самой нет времени даже просто с ними ознакомиться.
11.11.2005
Helsingin Sanomat 25.9.2005
Good show and Death dance
The story of Elisabeth, the last Empress of Austria could easily be
made into an opera, so why a musical? Musical has many benefits over
the heavy art form that is opera. Musical has given the opportunity to
make Elisabeth into a modern, fast beat piece of theatre that uses
lavishly different forms of stage practice. A musical can, better than
opera, prove that Elisabeth was, like the libretist Michael Kunze said
? a modern woman?, ages ahead of her time ? even though she was tied to
her own era.
When Thérèse Karlsson as Elisabeth sings in the Turku City Theatres
strong performance her declaration of independence ?I belong to me?,
Elisabeth ? Sisi in Austria ? becomes a modern woman who wants to take
control of her own life.
Sylvester Levays music grows into a death dance, that combines intense
feeling, the fast rhythm of pop rock, cabaret-like chanting and
classical music. When you combine all these with the banal aspects of
popular music, you have the ingredients of apocalypse and decadence
well in place.
Great emotions burst into flames in Elisabeth?s tune, into which
burning sorrow the emperor Franz Joseph at times joins. This simple
melody that moves in sequences works surprisingly well. When you?ve
heard the melody enough times you start to recognise the feeling of
self deception and the lie of living in its emotional outpour. It is
essential for the success of director Katariina Lahtis performance that
the leading couple look their parts ? and can sing.
Thérèse Karlsson and Tomi Metsäketo are up to the challenge as singers
and they make a very presentable imperial couple. If they had little
more experience as actors, they could bring more human touch and
vulnerability into their characters. As a whole the Turku performance
gets remarkably close to the glorious glow and passion of the Theater
an der Wiens production. What is lacking is the ceremonial glamour of
the imperial court and the parody of it. The other aspects of Kupfers
glorious and colourful apocalyptic vision are there: the cabaresque
foolery and clownery, the vivid horror visions, the ugly and grotesque
sides of life, class distinctions, the rise of antisemitism and
natzism.
It is important that Elisabeth in Turku is a good show and a
spectacle, catching entertainment in the middle of all the gloomy
destruction. The good show is made by most of all its two demons, Mika
Kujala?s Death and Ilkka Hämäläinen?s anarchits-murderer Luigi Lucheni.
Kujala?s Death is the strongest character of the performance, a vain
and seductive heavy-rocker, who sings brilliantly and high. Hämäläinen?
s murderer is a laughing fanatic, whose tenor voice rings with hysteric
homicidal lust and pleasure. It is a brilliant idea of the libretist to
make Elisabeht?s murderer the gloating narrator of the story. Franz
Josef?s mother, Archduchess Sophie, is played by Kirsi Tarvainen, whose
whole being and impressive altto voice symbolise the proud power of the
court tradition, the unemotional cruelty and hollow discipline.
The wide, parodistically dressed and directed ensemble represents
widely the inhabitants of the 19th century Vienna, from hookers to
aristocrats. The dead rise from their graves to dance the death dance.
The conductor Henrik Wikström held the singers and the orchestra for
the most part of the premiere in motion and in shape.
---------------------------------------------------
successful investment by the Turku City Theatre
Elisabeth is a quality musical
There are high expectations for Elisabeth. It?s supposed to turn the
falling spectator rates into a raising streak and to improve the
theatres economy. The Turku audiences have been expecting for a long
time to see spectacular musical theatre. After the premiere on Friday
it is safe to say that all expectations are filled.
Rarely have I been so unconditionally thrown into the spell of a
musical like I did with Michael Kunzes and Sylvester Levays Elisabeth.
The story of the Austrian empress Elisabeth (1837-1898) is portrayed
from an interesting point of view, the music is dramatic and colourful,
the performers are top form and the ingenuity of the scenic solutions
makes one chuckle with delight. The whole seems so perfect that one is
forced to ask the question, can this all be the invention of the City
Theatre? The answer is in the programme leaflet (which is good work,
too): direction and set designs are based on the designs of the
original Vienna production. The musical was first staged in 1992.
Whatever the case, director Katariina Lahti and set designer Kati
Lukka have transformed everything with style to Turku. The scene is
made perfect by the beautiful lightning by Jukka Kyllönen, the lavish
dresses by Tarja Simonen and by the ingenious and fresh choreography by
Outi Martikainen.
I belong to me
The story of Elisabeth, ?Sissi?, is well known from the movies
starring Romy Schneider. I remember from the movies the cream puff
romance. Kunze?s libretto is also romantic, but the tone is dark. In
the heart of the musical is the thought of Sissi?s death wish and Death
falling in love with Sissi. The narrator of the story is Luigi Lucheni,
who murdered Elisabeth in Geneve 10.9.1898.
The play gives not only a point of view into Sissi?s life, but also a
view of the time, the turn of the 19th century meant an end to an era:
the nobility was being replaced by the bourgeoisie, the working class
was born and monarchies turned into national states. Elisabeth?s murder
and death symbolised the decadence of the old and the beginning of a
new era.
It is possible to see parallels between the past and the present. Once
again there are movements, assassinations ? or terrorism ? change is in
the air. Sissi?s story portrays modern day especially through the main
characters central characteristics ? her emphasised will of self
governing. ?I belong to me? she sings over and over again. The will to
be herself turns easily into over individualism and narcissism that
shuts everything out. The outcome isn?t the longed freedom, and the
results can be hideous, is the message of this play.
Visually impressive
Elisabeth gives the audience an energetically told tale, that is an
entertaining and theatrical piece of dramatic art. There is an accurate
amount of the kitsch surrounding Sissi in the mix, and the performance
isn?t too serious about historical accuracy. Therefore for example the
atmosphere of the Viennese café can be portrayed by carnival cars.
Impressive scenic images are being made with different levels,
backcloths and a few enormous symbols: the Austrian double eagle looms
over Elisabeth and Franz Josef: The horse-drawn carriage of Death is
half sunk into the ground. Franz Josef is trapped inside his enormous
decaying crown, some of the crowns ornamental beads have already
fallen. The costumes of the people of the court are brilliantly
accurate, in other characters Tarja Simonen has let her imagination
loose. The heavy-rock-gothic dresses of Death and his adjutants are
especially good. All in all you get an impression of a fairytale for
young people and for adults that works on its own, the audience doesn?t
even need to know anything about Sissi, or be interested in her.
Mika Kujala in the part of his life
Even if there are imported elements in Elisabeth, the performers are
domestic and it?s their skills that make or break the outcome.
Elisabeth is fully composed, there are only a few spoken lines. The
variety of music goes from classical through Kurt Weill?influence to
disco and rock. Under Henrik Wikströms leadership the orchestra handles
the scale immaculately and the audience doesn?t have to worry over the
performers. The level of professionalism is high in singing, dancing
and acting, right to the last person in the ensemble.
For the parts of Elisabeth and Franz Josef have been chosen Thérèse
Karlsson and Tomi Metsäketo. Karlsson?s soprano has enough tone and
volume and she can portray Sissi?s feelings through her singing
perfectly. Tomi Metsäketo?s clear tenor and clean image fit well with
the emperor who?s under his mothers thumb.
In place of the late Tamara Lund as Archduchess Sophie Kirsi Tarvainen?
s dramatic use of her voice leaves no doubts about who?s in charge in
the castle. Ilkka Hämäläinen is expressive as the cunning Lucheni. The
most impressive of all the performers this time is Mika Kujala, the
long time actor of the Turku City Theatre. As Death in love he is in
the form of his life. Kujala?s vocal capacity and physical talent come
to their full right in Elisabeth and the outcome is grand to see