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Enharmonic Changes

A Liederabend by Tora Augestad, Duri Bischoff, Bendix Dethleffsen, Michael von der Heide, Christoph Marthaler, Sarah Schittek, Malte Ubenauf & Nikola Weisse

with Tora Augestad, Bendix Dethleffsen, Michael von der Heide, Nikola Weisse
director Christoph Marthaler
music Bendix Dethleffsen
stage design Duri Bischoff
costume design Sarah Schittek
light design HeidVoegelinLights
dramaturg Malte Ubenauf

a production of Theater Basel, Switzerland

Marthaler at his best: set in a hotel room where a couple is trying to sleep, only to find that their dreams and their bed are both too big, King Size uses music from Schumann and Dowland, Wagner and Berg to The Kinks and the Jackson Five.

In composition, Enharmonic means a special way of redefining a tone as another; it’s an unique technique, very popular with composers of the last two centuries.
Not without reason could there be any idea of change which is closer to life than this one? Isn’t every human relationship an enharmonic relationship of sorts? Every marriage, every secret love, every kiss?
And since this fact is as obvious as it is unexplored, Christoph Marthaler and his ensemble perform keyhole surgery on the brain while it’s in the middle of enharmonic decisions: in its very sleep.
Our place of nightly rest is in perfect order, beautifully designed in softest colours and at its centre the object of desire: the king-size bed! Here, where supreme intimacy (in loving union) is conjoined with total absence (while sleeping), we can witness moments of human transformations in their most intense and most cruel forms.
And since it always takes three to follow the enharmonic changes of faith, devotion, bliss and happiness, singers/performers Tora Augestad and Michael von der Heide are accompanied by mysterious Mr. Dethleffsen in the truest sense of the word. But who is the other person in the room, this elderly lady? Is she spying on them? Her true identity remains a secret

Born in Erlenbach near Zuerich. In the 70ies and 80ies he worked as musician at different renowned theatres in Switzerland, Germany and Austria. From 1988 to 1993 he worked continuously for Theater Basel; here he started working as a director and developped his specific Marthaler style, a completely new genre of music theatre. He directed among others: Ankunft Badischer Bahnhof (1988), Stgli uf, Stgli ab, juhee! (1990), Prohelvetia (1993). With his production Murx den Europer! Murx ihn! Murx ihn! Murx ihn! Murx ihn ab! the new theatre form and language he has created became famous in the whole german language theatre world and then all over Europe. Murx was followed by further productions at the Volksbuehne Berlin and at the Schauspielhaus Hamburg, eg Goethes Faust Wurzel 1+2. For Marthaler’s new interpretation of La Vie parisienne, which meanwhile has become legendary, Sylvain Cambreling developped a new orchestration with the Klangforum Wien. Marthaler and Cambreling have collaborated a lot since.
20002004, Christoph Marthaler was Artistic Director of Zuerich Schauspielhaus; in this period, the Schauspielhaus has been twice elected Theater des Jahres (Theatre of the year, the most renowned title in the german speaking theatre world). Marthaler worked for the Zuercher Festspiele (world premiere of invocation an opera with texts by Marguerite Duras and music by Beat Furrer), he collaborated with Meg Stuart and Stefan Pucher (Das goldene Zeitalter), directed continuously for Volksbuehne Berlin, Wiener Festwochen, Opéra Nationale de Paris and Opéra Bastille, Salzburger Festspiele, Theater Basel, Oper Zuerich, Teatro Real Madrid and many others. His projects Das Theater mit dem Waldhaus and Riesenbutzbach. Eine Dauerkolonie have been invited to renowned Berliner Theatertreffen. In 2010, Marthaler was artiste associé at Festival D’Avignon and directed Papperlapapp. His productions have been invited to festivals all over the world.

Born in Bergen in 1979, the singer/actress Tora Augestad studied classical music as well as jazz singing in Oslo and Stockholm, devoting herself principally to repertoire of the 20th and 21st centuries. While studying in Berlin and Munich she intensified her involvement with German music, before then graduating in cabaret singing at the Norwegian Academy of Music in Oslo.
In the meantime, Tora Augestad has become a regular guest in the opera houses, concert halls, and theaters of her native Norway and in the rest of Europe, sharing the podium with musical partners such as the Bergen Philharmonic Orchestra, Ensemble Modern, the Oslo Sinfonietta (, Ensemble Contrechamps and the Klangforum Wien.
Collaboration with the Swiss director Christoph Marthaler, which began in 2010 with the premiere of Beat Furrer’s music theatre work Wstenbuch (Klangforum Wien) has since then become a constant in Tora Augestad’s artistic life.
Tora Augestad’s versatility inspires composers, theatre directors, and conductors. Through commissioning new works and through the collaboration with her various ensembles she continuously seeks new challenges and the exchange of artistic ideas.

Bendix Dethleffsen, born 1978 in Flensburg, studied conducting at Musikhochschule Cologne. He worked as an assistant to Ingo Metzmacher at Hamburgische Staatsoper and conducted there himself several productions of the Junges Forum Musiktheater. 2001-2006, Bendix Dethleffsen worked as Kapellmeister (bandmaster) at Aalto Opera in Essen, 2007-2009 at Staatstheater Kassel, where he conducted many operas and dance productions. For RuhrTriennale 2006 he was musical director of Rubens (Esterhazy/Goebel/Stlzl, Musica Antiqua). Since 2006, he works as musical director, piano player and performer with Christoph Marthaler in productions like Maeterlinck (NT Gent), Wozzeck (Opéra National de Paris), Riesenbutzbach - Eine Dauerkolonie (Vienna Festival), Papperlapapp (Festival d’Avignon) und +-0 (Katuaq Nuuk/Vienna Festival/Volksbuehne Berlin).
Additionally, Bendix works regularly with musicians like Christoph Homberger, Jan Czajkowski, with directors such as Christiane Pohle and others.

Singer Michael von der Heide, born 1971 in swiss mountain village Amden, seduces audience and critics with his musical versatility, with his charme and humour. Michael von der Heide’s voice seems to have endless possibilities, he changes effortlessly within seconds, lets visual elements and memories come to life in the listener’s mind.
Meanwhile he has published with LIDO his CD number nine, gave hundreds of concerts in Europe and Canada, sang in numerous TV-shows and is one of Christoph Marthhaler’s regulars. In his productions he was to be seen on stage in Zuerich, Avignon, Paris, Vienna, Berlin, Moscow and in many other places.
Mittlerweile hat von der Heide mit LIDO seine neunte CD auf den Markt gebracht, gab Hunderte Volksbhne.
Von der Heides musical variety is what makes him so special and helped him to a lot of renowned awards, like the Silberner Hase for the swiss popsong of the year, the Prix Walo", the german chanson price and several golden records. He worked among others - withAnnette Humpe, 2raumwohnung, ich & ich , Ute Lemper and Nina Hagen.

Born in Belgard in Pomerania, today part of Poland, Nikola Weisse was trained as an actress at the Westfaelische Schauspielschule in Bochum. She has appeared at Staatstheater Hannover, Theater am Neumarkt, Theater Bremen, the Schaubuehne Berlin, Theater Basel and the Schauspielhaus Zurich. Her film credits include Thomas Koerfer’s Der Gehuelfe (The Helper) and Klaus Kinski’s Jack the Ripper. She also works as a director, e.g. Bambule at Theater Bremen. Her production of Patrick Barlow’s Der Messias (The Messiah), which premiered in the Komdie at Theater Basel in 1988, returned to Basel more than 20 years later in December 2009. As an actress, she has worked with a wide range of renowned directors, including Frank Patrick Steckel, Jrgen Gosch, Herbert Wernicke, Christoph Marthaler, Stefan Pucher, Falk Richter, Elias Perrig and Werner Dueggelin. In season 2006-2007, Nikola Weisse rejoined after some years of working independently the ensemble of Theater Basel; since 2012, she’s working freelance again.

Sarah Schittek was born in Hanover and lives in Zurich. After studying costume design and art history in Hanover and Berlin, she started working as an assistant to Anna Viebrock at Schauspielhaus Zurich in 2003. There she designed the costumes for O.T. Eine Ersatzpassion (O.T. An Ersatz Passion) in 2004, a production directed by Christoph Marthaler which was invited to Berliner Theatertreffen 2004. Since this time she has regularly worked as an independent costume designer with Christoph Marthaler. Sarah also works with directors like Schorsch Kamerun, Christiane Pohle and Clemens Sienknecht at the Volksbuehne Berlin, at Theater Basel, Kammerspiele Munich and Schauspielhaus Zurich.
San Nicolò Teatro
12 LUGLIO 18:00
13 LUGLIO 17:30
one seat € 35,00

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