| Composer | Morton Subotnick | |
| text | Morton Subotnick inspired by Phaedrus by Plato, Eleni by Nicholas Gage, The Little School: Tales of Disappearance and Survival by Alicia Partnoy and The Holocaust Kingdom: A Memoir by Alexander Donat and Jacob’s Room by Virginia Woolf |
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| music director |
Ari Benjamin Meyers |
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Direction, Stage Design |
Mirella Weingarten | |
| Live Video | Lillevan | |
| Sound Design | Torsten Ottersberg | |
| Light Design | Jean-Mario Bessière | |
| Production | soniq performing arts | |
| Cast | The Guide (Sopran) Mother (Mezzo Sopran) Grandfather (Bassbariton) Jacob (Hoher Bariton) |
Ruth Rosenfeld Katharina von Buelow Tom Sol Florian Just |
| Instrumentation | ||
| Keyboard/musical assistent | SooJin Anjou | |
| Violoncello | Eva Freitag | |
| Andreas Voss | ||
| Augustin Maurs | ||
| Marika Gejrot | ||
Composer: Morton Subotnick
The American composer Morton Subotnick (*14.4.1933, USA) is one of the most important pioneers of the electronic music and precursor of multimedia arts. In the end of the 1960s, he was the first composer commissioned by a label (None-such Records) for an electronic composition. This piece, Silverapples of the Moon, as well as The Wild Bull, Touch and Sidewinder were number-one-hits in the charts these days. Dance companies produced choreographies to many of his works and others were used in videos. In the 1990s, the composer has been re-discovered by the electronica-scene and is now enjoying a growing popularity.
www.mortonsubotnick.com
Stage direction and design: Mirella Weingarten
After completing her studies in dramatic arts in London, Mirella Weingarten studied fine arts in Hamburg and Edinburgh; her teachers included Marina Abramovic. In 1998 she received a masters degree in stage and costume design from the Slade School of Art in London. Since 1996 she has worked as a professional theatre designer and director as well as choreographer. In 1999 she founded her own dance theatre company “tanztheater mirella weingarten”. After realising productions in the UK she returned to Germany. Then began a continuous extensive collaboration with the Berlin Contemporary Opera, designing many of their productions. Within the last years her work as a director and designer has been seen throughout Europe, including the Lucerne Opera in Switzerland, the Expo Zaragoza in Spain, the Komische Oper Berlin, the Salzburg Festival in Austria as well as the Venice Biennale in Italy. Her choreographic works were presented at the Art Festival Weimar, KKL Lucerne, Zurich, the Leipzig Opera House, the Davos Festival and other Festivals. Mirella Weingarten lives in Berlin.
www.mirellaweingarten.com
music director: Ari Benjamin Meyers
is known for the amazingly wide spectrum of his musical activities – he has conducted opera and world premieres, has played in various rock bands, has composed operas as well as music for theater, film, and dance, and started Club Redux, a series of club events featuring Redux Orchestra, bringing modern music into the Berlin club scene and beyond. Born 1972 in New York, his musical training in piano, composing, and conducting includes studies at The Juilliard School, a B.A. (cum laude) from Yale University, and a M.M. from Peabody Conservatory. He came to Berlin in 1996 on a Fulbright Scholarship. Recently he was the conductor of the Maxim Gorki Theater’s production of Brecht/Weill’s Die Dreigroschenoper, which had a run of 108 sold out shows. His most recent opera, NICO. Sphinx aus Eis (libretto: Werner Fritsch) was commissioned by the Semper Opera Dresden and given its premiere there in June of 2005 with the composer conducting. For the production Il Tempo del Postino as part of the inaugural 2007 Manchester International Festival he worked closely with a number of leading visual artists including Matthew Barney, Dominique Gonzales-Foerster, and Anri Sala.
www.aribenjaminmeyers.com
Video Design: Lillevan
Lillevan is a well known Berlin based videoartist, who co-founded the visual audio group Rechenzentrum (1997–2008). Rechenzentrum’s performances and DVD releases, as well as Lillevan’s collaborations and solo works have been acclaimed by critics and audiences alike, taking visual music, animation, bricolage and film manipulation to new levels. Lillevan has been involved in film, animation and music since early childhood, and has been performing and releasing work for over 15 years, his work is often described as an exploration of the history of cinema, searching for new relationships between viewer and screen, between reality and the projected image. Recent work explores the relationships between the history of light, evolution of the eye and cinematic development, and questions the archeology of media, studies of perception, and history of technical visualization. He has performed and lectured all over the world, at festivals and events in Europe, Asia, North & South America, at Ars Electronica, Transmediale, Mutek, Dis-Patch etc.
www.lillevan.com