Flammen
composer: Erwin Schulhoff
editor: Andreas Krause
librettist: Karel Josef Beneš
German edition: Max Brod
Eine musikalische Tragikomödie in zwei Aufzügen von Karel Josef Beneš
Deutsche Übersetzung von Max Brod
Herausgegeben von Andreas Krause
Premiere: April 16, 1994 Berlin, Großer Sendesaal des SFB (D) · Jane Eaglen, Sopran; Gabriele Schreckenbach, Mezzosopran; Kurt Westi, Tenor; Johann Werner Prein, Bariton; Kelly Anderson, Bass · Conductor: John Mauceri · Deutsches Symphonie-Orchester Berlin · Organizer: SFB in Zusammenarbeit mit RIAS Berlin und DECCA (world première as concert of the complete version)
March 17, 1995 Leipzig, Oper (D) · Conductor: Jörg Krüger · Staging: Uwe Wand · Costumes: Johannes Conen · Stage design: Johannes Conen · Organizer: Oper Leipzig (scenic world première)
Orchestra instrumentation: Picc. · 1 · 1 · Engl. Hr. · 1 (auch Es-Klar.) · Bassklar. · 1 · Kfg. - 4 · 1 · 0 · 0 - P. S. (Klaviaturglsp. · Xyl. · Vibr. · Trgl. · Gl. · Schellen · Beckenpaar · Tamt. · Schellentr. · Tomt. · Mil. Tr. · kl. Tr. · gr. Tr. m. Beck. · Kast. · Ratsche · Guiro · Sir. [Torpedo]) (5 Spieler) - Hfe. · Cel. · Org. (hinter der Szene) - Str. (12 · 10 · 8 · 6 · 6) -
Bühnenmusik: 3 Trp. - Jazzband I (Sopransax. · Tenorsax - Korn. - S. [Beck. · 2 Holztr. · 2 Tomt. · Mil. Tr. · gr. Tr.] - Tenorbanjo · Klav.) od. Jazzband II (Altsax. · Tenorsax. - Traps - Tenorbanjo · Klav. - Vl. [obligat])
Cast of characters: Don Juan · Heldentenor - eine Frau / eine Nonne · Mezzosopran - Margarethe · Sopran - La Morte · Mezzosopran - 6 Frauenschatten · 3 Soprane, 3 Alti - Frauenchor hinter der Szene
Publisher: Schott Music
Duration: 140' 0''
Year of composition: 1923/1929, rev. 1932
Language: German - Czech
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Description
Homage to Mozart of a special kind: in his approach to the Don Juan myth, Schulhoff does not portray the libertine as a sexual predator, but as a figure eternally driven by desire. In contrast to Mozart’s Don Giovanni, the hero is not sent to hell but, like Wagner’s Flying Dutchman, is condemned to an eternal search for love and redemption. Two archaic principles, the "flames" of life (symbolised by the male figure of Don Juan) and the "flames" of death (represented by the female figure La Morte), yearn to be unified, but mutually repel each other. Man and woman, life and death, yearning and fulfilment and hope and resignation are set in Schulhoff’s only work for the stage as bold dualisms in a fascinating interplay.
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