Prince Regent Theatre 15 July 2023 - Premiere Semele | GoComGo.com

Premiere
Semele

Prince Regent Theatre, Munich, Germany
All photos (4)
Saturday 15 July 2023
6 PM

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Important Info
Type: Opera
City: Munich, Germany
Starts at: 18:00

E-tickets: Print at home or at the box office of the event if so specified. You will find more information in your booking confirmation email.

You can only select the category, and not the exact seats.
If you order 2 or 3 tickets: your seats will be next to each other.
If you order 4 or more tickets: your seats will be next to each other, or, if this is not possible, we will provide a combination of groups of seats (at least in pairs, for example 2+2 or 2+3).

Festival

Munich Opera Festival 2023

The Munich Opera Festival is an internationally renowned institution. During the summer months, the programme condenses an immense density of opera repertoire, crème de la crème casts, several premieres and an audience travelling from all over the world, united in a unique programme and ambiance. Musical theatre with its finger on the pulse of the times is here to experience in all its facets.

Overview

She is an extra in her own life. Her life’s reality is alien to her. Semele’s father urges her to marry Athamas, and she suddenly finds herself in her own wedding ceremony, hyped up by the marriage industry into a pompous Hollywood scene. By beginning to observe herself from the outside, she creates a parallel reality as an apparent way out, which she superimposes on her life, where all her longings are satisfied – an understanding father, a loving husband, self-determination, in short: fulfilment.

However, temporary and above all, not real. In the end she would have to return to her real life, where she was quickly replaced as a wife by her sister Ino, because she could not fulfil the role assigned to her here. Semele, physically present, will psychologically not find the way back to reality. Her mind will glow through. She’s moved too far from normality. The rigid expectations of her as an individual coincided too little with her own will. This basic conflict of Semele was embedded by William Congreve and George Frideric Handel from Ovid's Metamorphoses into the narrative structures common to baroque opera. Today it might also be a perspective on the constricting power of the bourgeois corset.

Semele is director Claus Guth's third production at the Bayerische Staatsoper. In 2007 he staged Giuseppe Verdi's Luisa Miller, and in 2022 Bluthaus by Georg Friedrich Haas. Guth lives in Munich, where he studied philosophy, German philology and theatre at LMU Munich, as well as theatre and opera direction at the Hochschule für Musik in Munich. Yvonne Gebauer (dramaturgy) and Guth have worked together for many years, as has Gesine Völlm (costumes). The first collaboration between Guth and set designer Michael Levine, Jenůfa by Leoš Janáček, premiered at the Royal Opera House London in 2021. Michael Bauer (lighting) and Guth have known each other since their work experience at the Bayerische Staatsoper during their student days. Guth's staging of the baroque opera Dido and Aeneas, his thesis, premiered at Munich's Reithalle in 1991. Handel and Guth have been a tradition ever since: Radamisto, Opernhaus Zürich 2004; Rinaldo, Opernhaus Zürich 2008; Messiah, Theater an der Wien 2009; Jephta, De Nationale Opera Amsterdam 2016; Rodelinda, Teatro Real Madrid 2017; Saul, Theater an der Wien 2018; and Orlando, Theater an der Wien 2019.

A co-production with the Metropolitan Opera, New York

 

 

History
Premiere of this production: 10 February 1744, Covent Garden Theatre, London

Semele is a 'musical drama', originally presented "after the manner of an oratorio", in three parts by George Frideric Handel. Based on a pre-existent opera libretto by William Congreve, the work is an opera in all but name but was first presented in concert form at Covent Garden theatre on 10 February 1744. The story comes from Ovid's Metamorphoses and concerns Semele, mother of Bacchus. Handel also referred to the work as 'The Story of Semele'.

Synopsis

Jupiter, King of the gods, takes the mortal Princess Semele to a secret hiding place on a mountain to be his mistress. When Jupiter's wife, Juno, hears of her husband's adultery she is enraged, and plots to ensure Semele's downfall. In disguise, Juno appeals to the girl's vanity and persuades her to insist on seeing her lover in his divine form. Jupiter reluctantly agrees but his thunderbolts burn and consume Semele. From her ashes, though, arise her unborn child by Jupiter—Bacchus, god of wine and ecstasy.

Act 1
Scene: Greece, in legendary antiquity

The scene is the temple of Juno. Near the altar is a golden image of the goddess

In the temple of Juno, Cadmus, King of Thebes, is preparing for the marriage of his daughter Semele to Athamas, Prince of Boeotia. Signs from the goddess indicate she approves of the match (Accompanied recitative: Behold! Auspicious flashes rise and chorus: Lucky omens bless our rites.) However, the bride has been inventing one excuse after the other to put off the wedding and her father and would-be bridegroom urge her to hesitate no longer (Duet: Daughter, hear! Hear and obey!) To herself, Semele reflects on her dilemma—she does not wish to marry Prince Athamas as she is in love with Jove himself and calls on him to assist her (Accompanied recitative: Ah me!What refuge now is left me?, arioso: O Jove! In pity teach me which to choose and aria: The morning lark). Athamas, observing her, takes her physical signs of emotional upheaval as evidence she is in love with him (Aria: Hymen, haste, thy torch prepare). Ino, Semele's sister, now appears, also in a state of distress as she is in love with Athamas (Quartet: Why dost thou thus untimely grieve?) Jupiter has heard Semele's prayer and his thunderbolts interrupt the proceedings and alarm the observers (Chorus: Avert these omens, all ye pow'rs). The priests of Juno order the wedding abandoned and everyone to leave the temple (Chorus: Cease, cease your vows), which all do except for Athamas, in despair at his wedding being cancelled, and Ino, hopelessly in love with him (Aria: Turn, hopeless lover). Athamas can see she is upset, without guessing why, and he can feel for her in her distress because he is upset too (Aria: Your tuneful voice my tale would tell). Athamas is astonished when she tells him bluntly that she loves him (Duet: You've undone me). Cadmus interrupts their confusion and describes the extraordinary event he has just witnessed: as they fled the temple Semele was suddenly carried off by an eagle (Accompanied recitative: Wing'd with our fears). The priests and augurs identify this eagle as Jupiter himself (Chorus: Hail Cadmus, hail!). As the act ends, Semele is seen enjoying her role as the god's new mistress (Aria: Endless pleasure, endless love).

Act 2
Scene One

A pleasant country, the prospect terminated by a beautiful mountain adorn'd with woods and waterfalls. Juno and Iris descend in different machines. Juno in a chariot drawn by peacocks; Iris on a rainbow; they alight and meet.

Juno, suspicious of her husband's conduct, has sent her helper Iris to find out what she can. Iris reports that Jove has installed Semele as his mistress in a palace atop a mountain (Aria: There, from mortal cares retiring). The outraged Juno swears to have revenge (Accompanied recitative: Awake, Saturnia, from thy lethargy!). Iris warns her it will not be an easy task—the palace is guarded by dragons that never sleep (Accompanied recitative: With adamant the gates are barr'd). Juno decides that she and Iris will pay a visit to the god of sleep in his cave, in order to get magical assistance to put the dragons to sleep (Aria:Hence, Iris, hence away).

Scene Two

An apartment in the palace of Semele. She is sleeping, Loves and Zephyrs waiting.

Semele awakes and regrets that the dream she was having of being with her lover has ended (Aria: O sleep, why dost thou leave me?). When Jupiter enters, in the form of a young man, she tells him how difficult it is for her when he is absent. He explains that she is a mortal, unlike him, and needs to rest from their love-making from time to time. He attempts to assure her of his fidelity (Aria: Lay your doubts and fears aside). Semele sings of her passionate love for him (Aria: With fond desiring). The chorus of Loves and Zephyrs sing of lovers' joys (Chorus: How engaging, how endearing). Semele, however, is beginning to be unhappy that her lover is a god and she a mere mortal. This sign of an ambition to immortality from Semele worries Jupiter who decides he must distract her from such thoughts (Aria: I must with speed amuse her). The Loves and Zephyrs advise Semele to put aside worries and enjoy the delights of love while she can (Chorus: Now Love that everlasting boy invites). Jupiter has arranged for Semele's sister Ino to be magically transported to the palace, to keep her company, and promises that the gardens and environs will be paradise (Aria: Where'er you walk). He leaves, and Ino appears, describing the wondrous experience of being flown there by winged zephyrs (Aria: But hark, the heav'nly sphere turns round). The sisters sing of the joy they are experiencing, hearing the music of the spheres (Duet: Prepare then, ye immortal choir) and nymphs and swains declare that this part of the earth has become a heaven (Chorus: Bless the glad earth).

Act 3
Scene One

The Cave of Sleep. The God of Sleep lying on his bed.

Juno and Iris arrive and wake Somnus (Accompanied recitative:Somnus, awake), to his displeasure (Aria: Leave me, loathsome light). He only gets out of bed when he hears Juno mention the beautiful nymph Pasithea (Aria: More sweet is that name). Juno promises he will have the nymph if he will lend her magical aid to put the dragons that guard the palace where Semele is ensconced as her husband's mistress to sleep and transform her into the likeness of Semele's sister Ino. Somnus agrees (Duet: Obey my will).

Scene Two

An Apartment. Semele alone

Semele is still feeling rather unhappy about the discrepancy between herself and her lover (Aria: My racking thoughts). Juno, in the form of Semele's sister Ino, enters and feigns astonishment at Semele's increased beauty. She exclaims that Semele must have become a goddess herself and gives her a mirror (Behold in this mirror). Semele is enraptured by her own beauty (Aria: Myself I shall adore). "Ino" advises Semele to insist that Jupiter appear to her in his real, godlike form, and that will make her immortal herself (Accompanied recitative: Conjure him by his oath). Semele is very grateful for this advice (Aria: Thus let my thanks be paid). "Ino" leaves and Jupiter enters, eager to enjoy Semele (Aria: Come to my arms, my lovely fair) but she puts him off (Aria: I ever am granting). He swears to give her whatever she desires (Accompanied recitative: By that tremendous flood, I swear) and she makes him promise to appear to her in his godlike form (Accompanied recitative: Then cast off this human shape). He is alarmed and says that would harm her (Aria: Ah, take heed what you press), but she insists he keep his oath (Aria: No, no, I'll take no less) and leaves. Jupiter knows this will mean her destruction and mourns her impending doom (Accompanied recitative: Ah, whither is she gone). Juno triumphs in the success of her scheme (Aria: Above measure is the pleasure).

Scene Three

The scene discovers Semele under a canopy, leaning pensively, while a mournful symphony is playing. She looks up and sees Jupiter descending in a cloud; flashes of lightning issue from either side, and thunder is heard grumbling in the air.

Semele, granted her wish to see Jupiter in his true godlike form, is consumed by his thunderbolts, and as she dies she regrets her own foolishness and ambition (Accompanied recitative: Ah me! Too late I now repent). Watching this, the priests of Juno express their amazement (Chorus: Oh, terror and astonishment!). Athamas is now glad to accept Ino as his bride (Aria: Despair no more shall wound me). The god Apollo descends on a cloud and announces that the unborn child of Semele and Jupiter will arise from her ashes (Accompanied recitative: Apollo comes, to relieve your care). The child will be Bacchus, god of wine and ecstasy, a god "more mighty than love". All celebrate the fortunate outcome (Chorus: Happy, happy shall we be).

Venue Info

Prince Regent Theatre - Munich
Location   Prinzregentenpl. 12

The main building of the Prinzregententheater is an impressive combination of Art Nouveau and Classical architectural elements: eyes and ears are pampered, decoration and function merge into a sensual unity. From all seats in the magnificent auditorium there is an ideal view of the proscenium and the stage. The acoustics of the Prince Regent Theater are highly praised and come into their own at concerts. The amphitheatrical auditorium has 1029 seats in the stalls and six boxes, each with nine seats. The height-adjustable orchestra pit offers space for up to 95 musicians.

From 1900 to 1901, the Prince Regent Theater was built by Max Littmann based on the Bayreuth Richard Wagner Festival Hall and opened on August 21, 1901 with "Die Meistersinger von Nürnberg" by Richard Wagner. Over time, the stage was used in a variety of ways, in the summer months for the Richard Wagner Festival, from 1919 to 1944 also by the Bavarian State Theater as spoken theater. 

A great era of the house began after the Second World War, when it housed the Bavarian State Opera from 1944 to 1963. Unforgettable names such as Hans Knappertsbusch and Sir Georg Solti, Astrid Varnay, Erika Köth and Hans Hotter are inextricably linked with the Prinzregententheater. The Munich people's love of their "democratic" opera also stems from this period, as there is excellent visibility and acoustics from all seats. In 1963 the house was closed due to dilapidation. 

With the help of many private donations and above all thanks to the initiative of August Everding, it was able to be reopened in January 1988 with a partial repair designed as a "small solution" - a playing area in front of the iron curtain - and the restoration of all areas accessible to spectators. However, the stage consisted only of a makeshift small playing platform. In 1996 the stage area was renovated and a retractable orchestra pit was added. Finally, on November 10, 1996, there was a ceremonial reopening with "Tristan und Isolde".

Since 1993, the Prinzregententheater has been home to the Bavarian Theater Academy August Everding with courses in acting, musicals, opera, direction, dramaturgy, theater, film and television criticism, stage design and costumes and make-up. In addition to the Big House, the Academy's up to 50 productions per year are shown in the Academy Theater, which can accommodate a maximum of 300 visitors, and in the Academy Studio, which can accommodate a maximum of 100 visitors.

Important Info
Type: Opera
City: Munich, Germany
Starts at: 18:00
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