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Strauss Camp (9-12 Years)
Strauss-Camp 2012Foto oben: Felipe CanalesFoto unten: Terry Linke
In the "Bürger als Edelmann (The Bourgeois Nobleman)", originally a comedy by Molière, the wealthy, but rather simple and pretentious businessman Jourdain, wants to assimilate himself into the Parisian nobility. In order to appear in a better light, he hires various coaches: a music teacher, a dancing master, and a philosopher. Under their tutelage he intends to quickly familiarize himself with the practices of this elevated society.
The concept we used in our Strauss-camp selected this aspect of the comedy and demonstrated that striving for desirable social position was not merely characteristic of earlier times, but is pertinent today as well. Jourdain - the participants of the opera camps gave him the first name of Peter - is, in the student's version, a gardener in the employ of the wealthy businessman, Baron Rosenzweig. Peter also becomes a wealthy man upon winning the lottery, and likewise wishes to become a respected member of the upper crust, like Mr. von Rosenzweig. For him, having money is not enough, he also wishes to learn how to handle himself in these circles. He asks the Baron if he would help him and receives lessons in the customary manners and behaviour of high society.
All of the children have experienced this at home and continue to experience such situations whether in learning table manners, how one behaves when greeting people, or choosing the appropriate clothing for various occasions. In the camp, we took everyday occurrences and developed them into short scenes and picture sequences for paper theater. These were combined with excerpts from the music of Richard Strauss, which were performed by the children with members of the Vienna Philharmonic. The childrens' own songs addressed social rituals of everyday life.
Our performance was also divided into two parts. As in the "Bürger als Edelmann", the behaviour of Peter Jourdain was first schematized. Once he had command of the proper behaviour and had comprehended the dress code, he was ready for a visit to the opera. Peter Jourdain and Baron Rosenzweig assumed their seats in the audience. In the second part, a short version of "Ariadne auf Naxos" was performed. Nearly all of the characters in the opera - Ariadne, the three Nymphs, a harlequin and Bacchus - made their appearances. Even the chorus conductor, as well as the arranger simplified the arias, choruses and instrumental numbers of the opera in such a way that the children could perform them, but still being able to recognize the original composer.
The experience with Ariadne was proven successful when, during the television broadcast of thes opera, the nine-year-old Magdalena remarked to the amazement of her grandfather: "I know this!" and then proceeded to sing the melody along with its text. She had sung in the chorus, played in the instrumental ensemble and was familiar with the characters. In this way she had internalized and retained the music.
Puccini Camp (13-15 Years)
Puccini-Camp 2012Fotos: Terry Linke
The preferences and abilities of the children were varied and it is exactly with this in mind that we formulated our concept. We chose not to limit ourselves to solo roles, but rather pursued the development of scenes and the creation of assignments, to captivate and challenge the imaginations of the children and young people. Our team consisted of specialists from the orchestra, the chorus and set designers. Every youngster worked in at least two areas which they were allowed to choose, and all of them sang in the ensemble chorus The instrumental ensembles coached by members of the Vienna Philharmonic, who also greatly assisted us at the concluding performance.
Bizet Camp (16-18 Years)
Bizet-Camp 2012Fotos: Eva Laimighofer
In our "Carmen", the focus was not on the title role, but rather on Don José. Six short films, which the young people filmed and cut themselves, portrayed how a man's life broke asunder due to his uncontrolled passion - "The Deconstruction of D.J". The music, on the other hand, moved in the opposite direction, beginning with Carmen's death and ending with the prelude. With dance numbers and choreographed chorus scenes, the youth were able to captivate their audience.
Professor Helmut Zehetner, who worked intensively with the young people, made the following summary: "For the performances it is most important that the children leave with the impression that they have performed music with professionals, and that is meaningful. In music, a great deal of energy is unleashed. This is conveyed from the participating orchestra members to the children in the program, and that creates inspiration."