Baritone Robin Adams makes house debut at Staatsoper Stuttgart

Robin Adams (Image from Staatsoper Stuttgart)

Baritone Robin Adams made his debut yesterday at the Staatsoper Stuttgart in the title role of Henze’s opera Der Prinz von Homburg.

The initial impetus for Henze’s Der Prinz von Homburg came from Italian director, Luchino Visconti, with whom the composer had worked with on the ballet Maratona di Danza in 1957. Henze asked Ingeborg Bachmann to adapt the libretto from Heinrich von Kleist’s play, Prinz Friedrich von Homburg oder die Schlacht bei Fehrbellin and the opera was premiered on May 22, 1960 in Hamburg. The text shows Henze's strong personal dislike of German militarism.

The opera begins with the eponymous Prince of Homburg who, having been distracted by a daydream before a major battle, misses the field marshal’s briefing and risks the army’s victory when he leads his troops into the fight. The battle is won nonetheless, but the prince is sentenced to death for disregarding orders. Der Prinz von Homburg explores the prince’s struggle with guilt and reconciliation, as well as the justice or injustice of his sentence.

Performance will run until May 4th and tickets and cast information is available online.

Henzes's operas can be seen at three other houses this year. Beginning in May with Der junge Lord at the Staatstheater am Gärtnerplatz in Munich and his final opera Phaedra at the Royal Opera House in London featuring the Jette Parker Young Artists. In July, a new production of the Elegy for Young Lovers will open at Theater Aachen.

Roman Trekel to perform controversial Henze oratorio

Roman Trekel

The world of opera has seen its fair share of controversies, including the political censorship of Verdi operas, outrage over the sexual nature of Richard Strauss' Salome and the recent protests over John Adams' The Death of Klinghoffer at the Metropolitan Opera.

Much of this pales to the reaction that greeted Hans Werner Henze's oratorio Das Floß der Medusa (The Raft of the Medusa) in Hamburg, Germany in 1968. The piece, which was written as a requiem for Che Guevera, had advertisements torn down, protests, chanting and the chorus actually walkng off the stage chanting that they wouldn't sing under the "red flag," a reference to the communist flag that had been hoisted by students. Scuffles ensued in the audience, the police had to be called and the performance was cancelled.

The piece has subsequently had a few performances without incident and is scheduled for two performances beginning tonight with baritone Roman Terkel and the Concertgebouw Orchestra in Amsterdam. 

The Raft of the Medusa by Théodore Géricault

Das Floß der Medusa tells the story of the French frigate Meduse, which ran aground off the west coast of Africa in 1816. It marks an ignominious episode in French political and maritime history, and was later immortalized in the painting of the same name by Théodore Géricault. 

The piece is written for soprano, baritone, speaker, choir, children’s choir and orchestra. The choir, as a collective mass, plays an important role and expresses its visions of death in floating, nearly impossible sounds. At the apotheosis, which features the Vietnam war, Henze based his rhythmic patterns on the chants in honor of Ho Chi Minh. As Henze's oratorio builds to its climax, the "dead" move from the choir of the living to that of the dead, which is full of both adults and children, creating an imbalance on the stage.

Tickets and additional information are available online. 

2015 Barihunk Calendar

Mildly less controversial is our 2015 Barihunks Charity Calendar, which is available by clicking on the LULU button below.