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théâtre musical/muziektheater/musical theatre (Zürich) Schauspielhaus Zürich / Christoph Marthaler Die schöne Müllerin Franz Schubert Halles de Schaerbeek 6.7.8/05 > 20:00 +/- 2:00 Deutsch > Soustitres/Ondertiteling/Subtitles: Fr & Nl € 20 – 15 Rendez-vous avec les artistes après la représentation du 7/05. Ontmoeting met de artiesten na de voorstelling op 7/05. Meet the artists after the performance on 7/05 Coproduction avec/Coproductie met/Co-production with: Ruhrtriennale Mise en scène/Regie/Direction: Christoph Marthaler Avec/Met/With: Rosemary Hardy (soprano), Altea Garrido, Bettina Stucky/Corin Curschellas, Daniel Chait, Markus Hinterhäuser (piano & celesta), Christoph Homberger (tenor), Ueli Jäggi, Christoph Keller (piano), Stefan Kurt, Thomas Stache, Graham F. Valentine, Markus Wolff Scénographie & costumes/Scenografie & kostuums/Set Design & costumes: Anna Viebrock Musique/Muziek/Music: Rosemary Hardy, Markus Hinterhäuser, Christoph Homberger, Christoph Keller (Arrangements/Arrangementen/Arrangements), Christoph Marthaler Lumières/Licht/Lighting: Herbert Cybulska Dramaturgie/Dramaturgy: Stefanie Carp, Arved Schultze Assistant à la mise en scène/Regie-assistent/Assistant to the Director: Michel Schröder Assistant à la scénographie/Scenografie-assistent/Assistant Set Design: Duri Bischoff Assistant aux costumes/Kostuum-assistent/Assistant Costumes: Simone Strässle Régie général/Algemene technische leiding/General technical management: Irene Herbst Stagière à la mise en scène/Stagiaire regie/Trainee direction: Anna-Sophie Mahler Directeur technique/Technisch directeur/Technical Director: David Leuthold Assistant/Assistent/Assistant: Erwin Imwinkelried Responsable atelier/Verantwoordelijke atelier/Responsible workshop: Dirk Wauschkuhn Montage technique/Technische opbouw/Technical Construction: Martin Caflisch Directeur technique/Technisch directeur/Technical Director: Angelo Rosenfelder Installation technique/Technische voorzieningen/Technical Installation: Florin Dora Responsable lumières/Verantwoordelijke licht/Responsible light: Herbert Cybulska Lumières/Licht/Lighting: Ursula Degen, Sascha Haenschke Responsable son/Verantwoordelijke klank/Responsible sound: Markus Keller Son/Klank/Sound: Jörg Albertin, Kaspar Hugentobler Responsable maquillage/Verantwoordelijke make-up/Responsible make-up: Erich Müller Maquillage/Make-up: Judith Janser-Ruckstuhl, Erich Müller Chef couturier coupes féminines/Hoofd atelier damessnit/ Responsible studio female cut: Iris Caspar Stoytschev Chef couturier coupes masculines/Hoofd atelier herensnit/ Responsible studio male cut: Anita Lang Habilleuse/Kleedster/Dresser: Beatrice Kürsteiner Garderobe/Wardrobe: Amelia Bissig, Isabelle Hofer, Maia Honegger Responsable accessoires/Verantwoordelijke rekwisieten/Responsible props: René Kümpel Accessoires/Rekwisieten/Props: Seraina Heinz, Nicole Tillein Responsable atelier de peinture/Verantwoordelijke schildersatelier/ Responsible painter’s studio: Thomas Unseld Menuiserie/Schrijnwerkerij/Carpentry: Daniel Härri Responsable travail du fer/Verantwoordelijke smeedwerk/ Responsible ironwork: Guido Brunner Chef d’atelier de décoration murale/Hoofd atelier muurdecoraties/ Responsible studio wall decorations: Roland Oberholzer Production/Productie/Production: Schauspielhaus Zürich, Ruhrtriennale Remerciements à/Met dank aan/Special thanks to : Régie Mobile - La Mission Locale Etterbeekoise pour l’Emploi et la Formation Présentation/Presentatie/Presentation: Halles de Schaerbeek, KunstenFESTIVALdesArts Avec le soutien de/Met de steun van/Supported by: Pro Helvetia 6
Und über den Wolken und Sternen, da rieselte munter der Bach (Trans.: And over the clouds and stars ran merrily the brook ) by Markus Hinterhäuser The danger of natural phenomena to which people are exposed, as well as their power of attraction, are amazingly frequent themes in Schubert’s lieder. The King of the Elves, one of Schubert’s first lieder, presents a child pushed towards death by a frightening natural phenomenon. The allegory in it linking nature, Eros and death is more dramatic here that in any other similar work. The sweet, captivating calls of the linden tree in Winterreise, as well as the impulse towards death they conceal, could guide the interpretation of several lieder in Die Schöne Müllerin. The supposed simplicity of these lieder evokes a dangerous and enigmatic world. It is the brook that is the key element of the lieder here, expressing the stages of seduction, passion and death, and a direct metaphor for decomposition, sexuality and excess. Right from the second lied Wohin? (Whither?), the apprentice miller is troubled by this stream (Du hast mit deinem Rauschen mir ganz berauscht den Sinn)(With your rippling you have quite bewildered my senses.) He feels intuitively that he is being drawn towards an unknown land, he senses that he will give himself up to this seduction, that he will succumb to it. I know not what overcame me, nor who gave such advice, I too, had to follow with my staff… (Hinunter / Down). This ‘obligation to descend’ already reveals a sense of downfall, the backdrop against which the story of Die Schöne Müllerin takes place. If the tempo of the first lieder still gives the impression of progress of some kind, the sixth Lied Der Neugierige (The Inquisitive One) on the other hand marks a stop, a decisive interruption. The apprentice miller asks the brook, O, brook of my love, say, brook, does she love me? From that moment on, this happily flowing, peaceful brook freezes, remaining calm and smooth for the first time. The young man asks again, Brook of my love, does she love me? In contrast to the text by Müller from on this work is based, Schubert asks this question twice. How strangely you are behaving, silent brook… tell me… This sweet entreaty in B major – very close to a choral – remains without answer. The brook does not answer the young man’s question, however decisive. It is only in the penultimate lied Der Müller und der Bach (The Miller and the Brook) that a conversation tentatively begins, but it is already too late, everything is already coming to a close. The brook cannot console the young man, it can only welcome him and shelter him in ‘its crystal chamber’, because death has fixed its hour. In the last lied Des Baches Wiegenlied (The Brook’s Lullaby), the brook has seized hold of the apprentice miller, holding him anxiously away from all life and earthly troubles. When a hunting horn sounds from the green forest, then it will murmur and make everything around him tremble and the young man will no longer be able to see the slightest little blue flower. Even the young girl’s shadow will no longer be able to touch his eyes. The tension expressed by the lullaby is created by coupling together the young man’s suicide and his total confidence in nature, this sure and discreet maternal bosom. In Tränenregen (Shower of Tears), the tenth Lied in the middle of the cycle, the young man sings an eloquent phrase about his perception of the world: And over the clouds and stars ran merrily the brook. All laws of space and gravity seem to have disappeared, reality seems to be pure illusion, an illusion as immense as Die Schöne Müllerin. One even wonders whether this young girl, the fair maid of the mill, really does exist in flesh and blood, or whether she is society’s reflection of a desire for a boy’s love for a girl. In this lied, the young man’s tears swell the brook. The world and coveted love can no longer be seen except in the reflection of his tears, tears running in the brook far above the universe. Throughout the story, the feeling of ‘being a stranger to the world’ is taken to a paroxysm of obsession, to a point where anything virile and masterful, symbolised by the green of the forest, is unbearable for the young man. He has only one desire: to defoliate all the trees and cry on the grass to make it deathly pale. 7
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