Our privacy policy was last updated on Friday 25 May 2018View it hereDismiss
Bachtrack logo

Rise and Fall of the City of Mahagonny (Aufstieg und Fall der Stadt Mahagonny)New Production

This listing is in the past
OpernhausFalkenstrasse 1, Zürich, 8008, Switzerland
2017 November 05 19:00, November 09 19:00, November 12 14:00, November 17 19:00, November 19 19:00, November 22 19:00, November 24 20:00
Zurich Opera
Fabio LuisiConductor
Sebastian BaumgartenDirector
Barbara EhnesSet Designer
Joki TewesCostume Designer
Karita MattilaSopranoLeokadia Begbick
Annette DaschSopranoJenny Smith
Christopher PurvesBaritoneTrinity Moses
Michael LaurenzTenorFatty
Iain MilneTenorJacky O'Brien
Christopher VentrisTenorJimmy Mahoney
Jonathan AbernethyTenorTobby Higgins
Cheyne DavidsonBaritoneBilly
Ruben DroleBaritoneJoe
Philharmonia Zürich
Zurich Opera Chorus

Anyone who does not enjoy himself in Mahagonny has only himself to blame. For in the paradise city constructed in the opera by Bertolt Brecht and Kurt Weill, everything is permitted. Boundless pleasures, intoxication to excess. Gorging, boxing, boozing, love-making – anything goes. Only one thing is strictly forbidden: being unable to pay at the end. This is the experience of the pleasure seeker Paul Ackermann, who ends up on the electric chair. Brecht/Weill’s Mahagonny opera is a series of large-scale images from the workshops of epic musical theatre: anarchical protest and caustic social criticism. Kurt Weill’s apparently simple but always ambiguous music gains a zany momentum as it dances above the abyss, ranging from the tone of high opera to adaptations of shimmy and foxtrot rhythms to choral pastiche. Brecht wrote that the opera was culinary, but that it also put the culinary up for debate. It attacks a society that needs such operas. It is both an opera and an anti-opera, and ends with the demise of the “you can” paradise: it chokes on itself. Mahagonny has lost none of its topicality since its 1930 première, which was one of the biggest scandals in operatic history. Today, the laws of human happiness that Paul Ackermann discovers at a moment of great crisis can be read as a paean to 21st-century turbo-capitalism: “Take the money – you can!”

Our new production will be staged by the experienced Brecht director Sebastian Baumgarten, who achieved great artistic success at Zurich Opera House two years ago with Wolfgang Rihm’s Hamletmaschine. Could the flamboyant character part of Widow Begbick be more attractively cast as the star soprano Karita Mattila? The Finnish grande dame will be singing for the first time in an opera production at Zurich Opera House, débuting in the role of the determined founder of the city and bawd. The wonderful German soprano Annette Dasch will be giving her role début as the whore Jenny. Fabio Luisi will conduct this work, which he specifically requested.

Annette Dasch (Jenny Hill) © Tanja Dorendorf
Read our review
Mobile version