Members of the Basel Symphony Orchestra Orchesterschule Insel, Dorothee Mariani, rehearsal Inès and Yannick Köllner, Lasso Paola Preyer/Sophia Schwendimann, Scharada Maria Pujades Seguí, soprano Christina Campsall, mezzo-soprano Akinobu Ono, tenor Robert Koller, baritone Santiago Garzon-Arredondo, baritone Damiano Capelli, bass Jürgen Feigl, lighting and stage technology Wink Withold, stage design Tatyana Naidu, costumes Maria Riccarda Wesseling, direction Stefano Mariani, musical direction Detlev Glanert (*1960): Die drei Rätsel (2002/03) This concert is suitable for children and young people from the 3rd grade upwards. Primary school class. Registration (obligatory): 061 272 25 25 or [email protected]
Die drei Rätsel is not a children's work, but a real Glanert: dramaturgically cleverly alternating between breathless motoric and calm, brilliantly orchestrated, with a tendency towards the grotesque - and always well digestible... Compassionate theater in the good sense: A boy leaves the parental home to conquer a princess, who demands three unsolvable riddles from him and first unwillingly, then willingly lets himself be defeated... The end is revolution: the overcrowded world of adults collapses.... For the future of opera this premiere would be a nice model - with audience and actors of all ages. Johannes Killyen, Mitteldeutsche Zeitung, 14.10.2003 The basic material of The Three Riddles, also known as the story of Turandot, is one of the oldest European myths about the just beginning adolescence; this so extraordinarily epically portrayed transition from childhood to puberty appears here framed in the old fairy tale tradition and is supposed to unfold through the portrayal of the children - i.e. those whom it concerns! - it should unfold its own power and quality. Of course, the music had to be adapted to the technical demands of the children, but in no way had to reduce the theatrical and dramaturgical creative will; it had to become funny, sad, buffonesque and exciting in a musical language that is admittedly unfamiliar, but can be learned without coercion; from the autonomous to the applied piece of music, I have tried to present the wealth of opera possibilities, certainly also as an alternative to the zap aesthetics of television and games. Detlev Glanert
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