{"id":12,"date":"2020-03-05T11:35:36","date_gmt":"2020-03-05T11:35:36","guid":{"rendered":"http:\/\/marlis-petersen.local\/?page_id=12"},"modified":"2020-10-14T00:13:28","modified_gmt":"2020-10-13T22:13:28","slug":"opera","status":"publish","type":"page","link":"https:\/\/marlis-petersen.de\/en\/repertoire\/opera\/","title":{"rendered":"Opera"},"content":{"rendered":"<p>My first encounter was at the age of fifteen when the opera ensemble of Pforzheim came to our little town to perform Rigoletto.<br \/>\nHowever this experience didn\u2019t awaken my interest for the genre, presumably due to the fact that our family didn\u2019t listen to classical music and therefore I couldn\u2019t find a point of reference.<br \/>\nIt still makes me laugh that even during the years of study I only listened to five live performances.<br \/>\nIn this sense I am a true late bloomer with opera. Not until I joined the Nuremberg opera did I realise the expressiveness and communicative power of this kind of music.<\/p>\n<p>This first engagement in Nuremberg had an incredible intensity and imprinting effect on me as a young singer. Looking back I would say that these years laid the foundation of my whole professional being thanks to the artistic director Eberhard Kloke. Eventhough his personality was despised by most of the orchestras and audiences due to his rebellious charisma (you could find &#8220;Kloke &#8211; no thank you!&#8221; -stickers at every second traffic light), he invented the most exciting programs and brought concepts to life a theater person can only dream of.<\/p>\n<p>Stagings, sets and installations reached a new level, a level of revolt,\u00a0 innovation and confrontation, heavy to bear for a Franconian audience.What wild times for a young singer getting to know operas like Prokofiev\u00b4s \u201cFiery angel\u201d, Schoenberg\u00b4s \u201cMoses and Aaron\u201d, Wolfgang Rihm`s \u201cConquest of Mexico\u201d or Alban Berg\u00b4s \u201cLulu\u201d in the first years of a career.<br \/>\nThe opportunity to embody music and text, to bring notes, movements, spoken word and emotions on a stage is something really wonderful.It gives me the possibility to understand myself as a complete human being, even more, to discover inside me parts that I don\u00b4t know at all.Where do I find in me the ability to kill somebody, to retreat to a convent, to be a prostitute, a bird or a fox, to die&#8230;..and here starts the fusion of my own potential together with the idea of the director. Ideally all my experience, thoughts and feelings mingle into the conceptional framework of the director and create what later appears on stage. This can be uplifting and revealing to such an extent that it radiates straight into the audience and reaches directly their hearts. If this happens I am a happy human being!<\/p>\n<h4 style=\"text-align: center;\">Current Opera Repertoire<\/h4>\n<p style=\"text-align: center;\">(original language)<\/p>\n<ul>\n<li><strong>Georg Friedrich H\u00e4ndel<br \/>\n<\/strong>Alcina (Alcina)<\/li>\n<li><strong>Wolfgang Amadeus Mozart<\/strong><br \/>\nLe Nozze die Figaro (Contessa) <em>in preparation<\/em><br \/>\nDon Giovanni (Donna Anna)<br \/>\nDie Zauberfl\u00f6te (Pamina)<br \/>\nIdomeneo (Elettra)<\/li>\n<li><strong>Ludwig van Beethoven<br \/>\n<\/strong>Leonore 1805 (Leonore)<br \/>\nFidelio (Leonore)<\/li>\n<li><strong>Carl Maria von Weber<br \/>\n<\/strong>Der Freisch\u00fctz (Agathe) <em>in preparation<\/em><\/li>\n<li><strong>Vincenzo Bellini<br \/>\n<\/strong>La Straniera (Adelaide)<br \/>\nNorma (Norma) <em>in preparation<\/em><\/li>\n<li><strong>Gaetano Donizetti<\/strong><br \/>\nMaria Stuarda (Maria Stuarda)<\/li>\n<li><strong>Ambroise Thomas<br \/>\n<\/strong>Hamlet (Oph\u00e9lie)<\/li>\n<li><strong>Jacques Offenbach<br \/>\n<\/strong>Les Contes Hoffmann (Antonia, Giulietta)<\/li>\n<li><strong>Leo\u0161 Jan\u00e1\u010dek<br \/>\n<\/strong>V\u00eac Makropoulos (Emilia Marty) <em>in preparation<\/em><\/li>\n<li><strong>Johann Strau\u00df<br \/>\n<\/strong>Die Fledermaus (Rosalinde)<\/li>\n<li><strong>Franz Lehar<br \/>\n<\/strong>Lustige Witwe (Hanna Glawary)<\/li>\n<li><strong>Richard Strauss<br \/>\n<\/strong>Der Rosenkavalier (Marschallin) <em>in preparation<\/em><br \/>\nSalome (Salome)<br \/>\nAriadne (Ariadne) <em>in preparation<\/em><\/li>\n<li><strong>Alexander von Zemlinsky<br \/>\n<\/strong>Der Zwerg (Donna Clara)<\/li>\n<li><strong>Erich Wolfgang Korngold<br \/>\n<\/strong>Die Tote Stadt (Marietta \/ Marie)<\/li>\n<li><strong>Hans Werner Henze<br \/>\n<\/strong>Phaedra (Aphrodite)<\/li>\n<li><strong>Manfred Trojahn<\/strong><br \/>\nLa Grande Magia (Marta di Spelta)<\/li>\n<li><strong>Anno Schreier<br \/>\n<\/strong>Hamlet (Gertrud)<\/li>\n<\/ul>\n<p><strong>\u00a0<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>My first encounter was at the age of fifteen when the opera ensemble of Pforzheim came to our little town to perform Rigoletto. However this experience didn\u2019t awaken my interest for the genre, presumably due to the fact that our family didn\u2019t listen to classical music and therefore I couldn\u2019t find a point of reference. [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":10,"menu_order":25,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-12","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/pages\/12","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/comments?post=12"}],"version-history":[{"count":3,"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/pages\/12\/revisions"}],"predecessor-version":[{"id":1599,"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/pages\/12\/revisions\/1599"}],"up":[{"embeddable":true,"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/pages\/10"}],"wp:attachment":[{"href":"https:\/\/marlis-petersen.de\/en\/wp-json\/wp\/v2\/media?parent=12"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}