Education

Children’s Opera half scenic – Knight Parceval

Henrik Albrecht’s children’s opera Ritter Parceval deals with the fascinating question of how a little boy becomes a knight. Especially when no-one believes he has what it takes to be a hero. Not his own overprotective mother Herzeloyde, the evil magician Klingsor or the virtuous Gurnemanz. In an end result that is moving, fascinating and daring, Albrecht sets the development of the young Parceval to music based on motifs from Richard Wagner.

Vocal Soloists from Baden-Württemberg’s Academies of Music

Members of the Berliner Philharmoniker

Scholars of the Karajan Academy

Stanley Dodds direction

Alina Wunderlin soprano

Flurina Stucki soprano

Elisabeth Birgmeier soprano

Marcel Brunner bass baritone

Johannes Mooser baritone

Kirsten Uttendorf stage direction

Nora Lau Kostüme

Henrik Albrecht

Children’s Opera Ritter Parceval − Music by Henrik Albrecht after Motifs of Richard Wagner Half Scenic Performance

Recommended for ages 6 and above.

A co-operation of the Berliner Philharmoniker Foundation, the Festspielhaus Baden-Baden Berliner Philharmoniker, des Festspielhauses Baden-Baden and the Theater Baden-Baden

Dates and Tickets

Sat, 17 Feb 2018, 15:00

Philharmonie

Sun, 18 Feb 2018, 11:00

Philharmonie

Live in the Digital Concert Hall go to broadcast

Promoter/Booking

Stiftung Berliner Philharmoniker

Herbert-von-Karajan-Straße 1

Phone: +49 (30) 25488 - 0

Fax: +49 (30) 25488

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Programme

If you think the medieval, mystical Parceval myth that inspired Richard Wagner’s last opera is not for children, you couldn’t be more mistaken! Even Parceval was once a small boy who grew up in the care of his mother and whose desire to become a knight was initially met with massive resistance. “The idea of exploring the childhood of a hero appealed to me. How does a figure like Parceval become the Red Knight?” says composer Henrik Albrecht, who composed the children’s opera Ritter Parceval based on the musical motifs of Richard Wagner.

He was particularly interested in those situations that are only narrated or reported in Wagner’s opera: as a result, we encounter his helicopter mother Herzeloyde who is overprotective of her son and would like to hide forever in the deep forest. We experience how Klingsor steals the spear from Amfortas and tries to tempt Parceval to evil. Finally, we witness how the impetuous child matures into a responsible adult.

A story of human development that is as relevant today as it was hundreds of years ago. Hendrik Albrecht creates his own musical world using Wagnerian leitmotifs: “I use blocks that Wagner created. And he put together a really fantastic set of building blocks! But what I then build with the material from this set is completely in my hands, so that the result is ultimately mine.”

(photo: Berliner Philharmoniker)