Name: Die Vögel
Start: 2023-02-22T00:00:00.000Z
End: 2023-02-28T00:00:00.000Z
Location: Royal Theatre

Organization

Pacific Opera Victoria

Conductor

Timothy Vernon

Stage director

Glynis Leyshon

Set designer

Pam Johnson

Costume designer

Nancy Bryant

Lighting designer

Eric Champoux

Choreographer

Jacques Lemay

Associate Conductor | Chorus Master

Giuseppe Pietraroia

Singer

Soprano

Claire de Sévigné

Nachtigall

Tenor

Adrian Kramer

Hoffegut

Baritone

Peter Barrett

Ratefreund

Justin Welsh

Wiedhopf

Kyle Albertson

Prometheus

Jacqueline Woodley

Zaunschlüpfer

Rebecca Cuddy

1. Drossel

Bass

Nathan Keoughan

Adler

Rabe

Others

Pacific Opera Chorus

Orchestra

Victoria Symphony

nemščina

Die Vögel -  (The Birds)

Victoria

Canada

Royal Theatre

The Birds' Opera Lūsēns

Public

The Birds

angleščina

Approved

Die Vögel

Step back in time with Robert Holliston and Timothy Vernon as they guide you through the creation and the storyline of an #opera nearly lost by history, Walter Braunfels’ The Birds.

With Braunfels’ dreamy melodies, the opera shot to acclaim in 1920, being performed over 50 times in Munich alone over the next two years, only to be suppressed by the Nazi regime. Not rediscovered until 1971, The Birds is an opera worth seeing, listening to, and learning about.

Inside Opera | The Birds

When two disillusioned humans journey into the realm of Thrushes, Wrens, and Ravens, their ill-advised counsel leads to a thunderous reckoning with the gods.

Good Hope and Loyal Friend don’t set out to destroy the utopian world of the birds – they simply want to rule it. In this tale of suspicion and persuasion, danger and desire, when warnings of wise Eagles and fearsome titans are ignored, the wrath of Zeus himself rains down on the Citadel of the birds.

With sumptuous melodies that dance through the air evoking the scent of flowers, and radiant arias fitting a Nightingale, this lavish comedic opera begs you to ask yourself – you what do you long for?

"Almost one hundred years old, Braunfels' operatic masterpiece has begun to come into its own only in the past two or three decades. Aristophanes was his inspiration; Braunfels departs from the Attic master in the second half of the piece; rather than a driving plot. Braunfels writes a continuous flow of irresistible melodic and sonic beauty. No denying the huge shadows of Wagner and Strauss, but it has its own personal idiom -  the vocal writing is grateful in the best way, and the orchestra delivers a web of gorgeous, evocative themes and harmonies that transport us into this magical phantasmagoria.”

English

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