Tag Archives: Michael Boder

Complete Operastorming #1 Program is Out!

Operastorming #1 in Stockholm is now completely full! We look forward to seeing you all next week! Those of you who can’t be with us can follow everything via live stream here on our webpage.

 Here you have the program in various formats:

PDF: OPERASTORMING.Program

OPERASTORMING

 

OPERA ON!

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The Essence of a Living Art Form

Operasje Per Boye HansenPer Boye Hansen, artistic director of the Norwegian National Opera in Oslo, is a force to be reckoned with.  Not only  does he have great ambitions to consolidate the Norwegian Opera’s position as a bright star in the galaxy of world class opera, he is also giving Nordic opera a welcome vitamin boost by putting greater focus on new work. Starting with the 2014 premiere of a new opera based on the material of Ibsen’s Peer Gynt by Estonian composer Jüri Reinvere (who will also be with us at Operastorming #1) the Norwegian National Opera will present a new work every season. And to get the opera innovation juices flowing even further, he and Michael Boder (another Operastorming key contributor)  have a Nordic Biennale for new work in the pipeline.

When asked in an interview last year about the importance of new repertoire, this is one of the things he had to say: “It is indeed very important to develop new repertoire. This is the essence of a living art form”. At Operastorming #1 he will dig deeper into this notion and share his insights on an array of relevant topics, including the creative process and the frameworks needed to support it.

Opera on!

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Revolution in Music Through Theatre

boderIn a year 2000 interview with the Musikverein Monatszeitung, the conductor Michael Boder, a great champion of new music,  discusses the state of contemporary opera and voices concerns over the overemphasis on historical praxis and that too much obsessing with the past might divert attention from new developments.

When asked if this extreme interest in the old isn’t just a manifestation of the shortcomings of new music and the hermetic isolated position it has created for itself, Boder answers that one of the major problems, in his view, is that when the Viennese School (Wiener Schule) emerged, a gradual disconnection from the theatre took place. This was an actual problem because it was in fact “the theatre that had for hundreds of years served as the motor of many musical innovations”. Boder then prompts us to think about Gluck, Mozart and Wagner, and observe the continuous line that clearly points to the certain fact that “more than half of the true revolutions in music happened in the realm of the theatre”. Boder further points out that “the very moment when they disconnected from the theatre and withdrew themselves to small sophisticated circles, they also managed to alienate the audience to some degree. And to this day we struggle to overcome this problem”.

In the interview Boder further emphasizes the importance of new music theatre works (neuen Musiktheaterwerken) finding their way to the audience, the fact that “the big opera houses just don’t produce enough new stuff” and points out the simple statistic of repertoire development: “When 80, 90, years ago, ten premieres of new work came out in a year, one work remained (in the repertoire). But when you just produce one new work a year, it can easily happen that this one work does not survive (in the repertoire)”

For those of you who want to read this interesting interview here is the full version (in german).

We look forward to taking up these themes in a Nordic context with Michael Boder at Operastorming #1, and hear what he thinks about the developments that have taken place in the little over a decade that has passed since this interview.

Michael Boder is as of the season 2012/2013 the Principal Conductor and  Artistic advisor of the Royal Danish Theatre and Orchestra.

Michael Boders full biography at Intermusica.

(Fragments translated by A.Danielsen)

(Photo:  Intermusica/Alexander Vasiljev)

A.D.

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