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MP3-1771700 From The House of The Dead-Bayerishce Staatsoper-May 26,2018

MP3-1771700 From The House of The Dead-Bayerishce Staatsoper-May 26,2018
Item# MP3-1771700

Product Description

Leos Janacek FROM THE HOUSE OF THE DEAD Bayerische Staatsoper, May 26, 2018

From the House of Dead Duration est. 1 hours 40 minutes

Cast Aleksandr Petrovic Gorjancikov: Peter Rose Aljeja, ein junger Tartar / a young Tartar: Evgeniya Sotnikova Luka (Filka Morozov, im Gefängnis unter dem Namen Luka Kuzmic): Ales Briscein Skuratov: Charles Workman Siskov: Bo Skovhus Großer Sträfling / Sträfling mit dem Adler / Big Prisoner: Manuel Günther Kleiner Sträfling / Verbitterter Sträfling / Small Prisoner: Tim Kuypers Platzkommandant / Prison Governor: Christian Rieger Der alte Sträfling / Old Prisoner: Ulrich Reß Cekunov: Johannes Kammler Betrunkener Sträfling / Drunken Prisoner: Galeano Salas Koch (Sträfling) / Cook (a prisoner): Boris Prygl Schmied (Sträfling) / Blacksmith (a prisoner): Alexander Milev Pope / Priest: Peter Lobert Dirne / A Prostitute: Niamh O’Sullivan Don Juan (Brahmane): Callum Thorpe Kedril / Schauspieler / Junger Sträfling / Actor (young prisoner): Matthew Grills Sapkin / Fröhlicher Sträfling / Happy Prisoner: Kevin Conners Cerevin / Stimme aus der kirgisischen Steppe / Voice of the kirghiz Steppe: Dean Power Wache / Guard: Long Long

Bayerisches Staatsorchester Chor der Bayerischen Staatsoper Conductor:Simone Young ========================================================= Production: Frank Castorf Sets: Aleksandar Denic Costumes: Adriana Braga Peretzki Lighting concept: Rainer Casper Video: Andreas Deinert, Jens Crull Dramaturgy: Miron Hakenbeck Choir: Soren Eckhoff ========================================================= Synopsis: From the House of the Dead“

First Act

A penal camp in Siberia. A day like every other. Two prisoners cross each other, exchange insults and throw punches. The news spreads quickly here; a nobleman will begin his sentence today. The incomer, Alexandr Petrovic Gorjancikov, feels the brutality of the camp commander upon his arrival. Upon replying to the provocation that he is no vagrant but a political prisoner, he is ordered to receive one hundred lashes. A conflict about an injured eagle that lives amongst the prisoner breaks out. Will it die in the camp, or will it recover and be able to fly again? Can an animal adapt to life in captivity like a human? This wild and unruly bird allows the inmates to dream of freedom, even if only for a moment. Then, they are forced back to work by the guards. The one named Skuratov, whom they all regard as a fool, sings and dances and speaks about his life in Moscow. Although his fragmented memories seem to make no sense, they do provide some light relief. Only the aggressive Luka is disgusted by Skuratov’s behaviour. Luka tells of how he once in a prison stood up to the arbitrariness of a major who regarded himself as omnipotent and how he stabbed him in the stomach with a knife. As Luka explains how the resulting punishment almost left him for dead, Gorjancikov is brought back from his lashing. --------------------------------------------- Second Act

A few months later. The prisoners are working outdoors. Gorjancikov befriends the young Tatar Aljeja and promises to teach him to read and write. The church bells ring in a holiday, allowing the inmates to leave their work and assemble for a feast. Skuratov tells of how love led him to the camp. As a simple soldier, he met a certain Lujza. She spoke often of marriage, but their liaisons soon came to an end. An older and richer relative wanted to take Lujza for his wife, and she did not want to refuse the opportunity of materialistic happiness. Skuratov tried in vain to forget his lover. Uninvited, he visited the bridal couple and shot Lujza’s groom in the head. After dinner, the prisoners stage some plays. Two comedy pieces full of erotic innuendos are performed: An opera about Kedril, Don Juan’s servant, who delivers various women to his master and serves him his food. When the devils take his master, Kedril is able to enjoy the women and the food for himself. Then follows the pantomime The Miller's Beautiful Wife, in which a woman receives numerous men at once and must hide them from her man as he unexpectedly returns home from work early. After the performances, Aljeja und Gorjancikov drink tea together. Unintentionally, their intimate get-together provokes the jealousy of some of the other prisoners who are looking for trouble. Indignantly they reproach them for seeming privileged. A particularly embittered prisoner attacks Gorjancikov and Aljeja, injuring Aljeja badly. ------------------------------------------------ Third Act

Night in the camp hospital. Aljeja is recovering from his injuries. Running a fever, he talks of the miracles of Jesus, which he was able to read about in the bible thanks to Gorjancikov’s teaching. Other inmates moan with pain. An old believer prays. Luka is seriously ill and close to death. Šapkin remembers the great pain that was inflicted upon him. After being arrested for burglary, a policeman almost ripped off his ear during questioning. Šiškov tells another how he has landed in prison. A certain Filka Morozov ruined his life. This Filka destroyed the reputation of a merchant’s daughter in his village, whereby he announced to everyone that he had slept with her on many occasions. Leaving the dishonoured Akulina with no hope of a marriage befitting her standing, she was beaten by her family and then married to the destitute Šiškov. On their wedding night, it transpired that she was indeed still a virgin. Šiškov wanted to avenge Akulina’s defamation by Filka but, upon reflection, how could he have noticed that the bride was a virgin when he was so drunk at the wedding? As Filka rejoined the army and bade Akulina farewell, Akulina could not hide her affection for him. Šiškov felt betrayed. The next day, he went into the woods with his wife and slit her throat. While Šiškov tells the story of Akulina’s brutal end, Luka dies. Šiškov recognises his rival Filka as the dead Luka. Without knowing it, they lived next to each other in the camp. He spits in the corpse’s face and the old believer blesses the deceased. The guard pulls him away. Gorjancikov is called to appeal. The prison governor begs Gorjancikov for forgiveness for the baseless beating on the day of his arrival, but hidden behind the apparently friendly words are new insults. The governor grudgingly notifies Gorjancikov that he has been pardoned and will be released. The chains are removed from the prisoner. He bids Aljeja farewell and steps out into his new life. The others inmates release the eagle. Will it fly? Aljeja stays back, alone. The guard forces the prisoners back to work, just like every other day.

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