Composer search

Search by surname

Detailed search

Repertoire search

Catalogue search

Enigmatic and Profound: Celebrated Premiere of Moritz Eggert’s “Bordellballade”

The world premiere of the “Bordellballade” by Moritz Eggert at the Music Theatre in the Brauhaus Dessau during the course of the 2010 Kurt Weill Festival on 4 March has met with great interest on the part of the press. The Rhein Zeitung wrote the following comments, among other things, in its issue on 10 March:

“(…) A madam and her girls named Rosl, Ferkel (piglet) and Zuckergoschl (sugar mouth): with these, the Austrian author Franzobel sketches a cast of characters as if from a Mutzenbacher erotic novel. And he sticks to constellations that we think we already know from the ‘Threepenny opera’ or ‘Mahoganny’ by Brecht/Weill. Composer Moritz Eggert has also found fertile ground here: many of the 21 songs of this ‘Brothel Ballade’ have been written as direct reflections of models such as the Mack the Knife song, the Ballade of Sexual Bondage – or – from a slightly later period – Hilde Knef’s ‘Für mich soll’s rote Rosen regnen’ (It Should Rain Red Roses for Me). The work as a whole is highly entertaining and brilliantly scored for a small ensemble; it is apparently a work dear to the composer’s heart. But this work – commissioned by the Dessau Kurt Weill Festival, the Koblenz Theatre and the Neuköllner Opera in Berlin - becomes really exciting when it moves away from this occupation with roots. Franzobel’s linguistic art then unleashes its bizarre power of fascination and Moritz Eggert gradually leaves the caressing dance harmony behind him, irritating the ear of the listener who has just been spoiled with such sweet sounds. Profoundly entertaining chanson gems continue to turn up.
“(…) The production does justice to the tactics of both music and text. Especially at the beginning, there are flirts with the foundations of the (Brechtian) epic theatre; then the characters swim themselves free from these – a successful balancing act between the model and one’s own interpretation. The musical realisation of the production is ultimately thrilling: what conductor Arno Waschk gets out of his nine musicians and the actors could (and should!) be immediately made available on CD.

“The vocal spectrum is excitingly wide. Adrian Becker performs the two-faced local Mafioso with the elegance of a musical; Kammersängerin Claudia Felke is perfectly cast as the Madam Rosl in the chanson numbers, and she immerses herself deeply in the tragicomedy of her character. Dorothee Lochner and Isabel Mascarenhas take the opportunity to step on the gas pedal as the whore duo vacillating between their urge for freedom and victims’ fate. Matthias Schaletzky travels the not-so-far distance from frustrated tiler to assistant torturer Bussibär (Kissy Bear) with gnarled determination. Finally, there Marcel Hoffmann as the vocally strong butcher Alfred, for whom Franzobel’s linguistic detours are as if tailor-made. A great ensemble achievement all round in a celebrated world premiere.” (Claus Ambrosius)

 

» Show all news