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A marathon performance will be staged of a large portion of the LICHT cycle, composed by Karlheinz Stockhausen. Featuring selected highlights from the seven operas – one for each day of the week – it will offer a spectacular overview of Stockhausen's masterpiece. The three parts of aus LICHT can also be visited seperately.
The second part of aus LICHT starts with the appropriate bom - bast and grandeur. Lucifer appears on stage, accompanied by fanfare, ringing of bells, fairy tale percussion and an eightymen orchestra. In three compositions from SAMSTAG aus LICHT (SAMSTAGS-GRUSS, KATHINKAs GESANG als LUZIFERs REQUIEM and LUZIFERs TANZ) Lucifer takes form and is challenged by Michael. The atmosphere changes completely after this mythical battle, with Eve as the central figure in four compositions from MONTAG aus LICHT. Three children’s choirs emphasise her role as the creator of life. It ends with the scenes DER KINDERFÄNGER and ENTFÜHRUNG, Stockhausen’s version of The Pied Piper of Hamelin.
Programme part 2*
FREITAGS-GRUSS ** (from FREITAG)
electronic composition (1.15 - 2.25 pm)
interval (2.25 - 3.00 pm)
SAMSTAGS-GRUSS (from SAMSTAG)
KATHINKAs GESANG (from SAMSTAG)
interval (3.50 - 4.50 pm)
LUZIFERS TANZ (from SAMSTAG)
dinner break (5.45 - 6.50 pm)
MONTAGS-GRUSS ** (from MONTAG)
electronic composition (6.50 - 7.20 pm)
MÄDCHENPROZESSION (from MONTAG)
EVAs LIED (from MONTAG)
DER KINDERFÄNGER und ENTFÜHRUNG (from MONTAG)
FREITAGS-ABSCHIED (from FREITAG)
electronic composition** (9.35-10.55 pm)
* times with reservation
**electronic compositions for dedicated listeners in particular
Elucidation part 2
Expressed in an eleven-tone formula, Lucifer’s musical DNA is marked by deficiency. This drives him to seek completion by battling Michael or merging with Eve, whose twelve-tone formula
embodies the ideal human gene.
A fanfare is followed by a bizarre ritual in KATHINKAs GESANG, where a flautist costumed as a cat plays a requiem for Lucifer, consisting of several exercises that will liberate his spirit from its bodily husk. She is accompanied by the tolling of bells and ‘magical’ percussion. Yet Lucifer is not dead yet, reappearing as an eighty-part orchestra that forms a monstrous grimacing face. Challenged by star trumpeter Michael, the first confrontation takes place. Subsequently the mood changes as Eve takes the stage with three scenes from MONTAG. Surrounded by maidens and children, she is shown as the creator of life, demonstrating her allure in a tripartite manifestation of femininity. Then the Pied Piper arrives and abducts all the children that Eve has borne.
Background information aus LICHT
In 2019 a marathon performance will be staged of a large portion of the LICHT cycle, composed by Karlheinz Stockhausen. Featuring selected highlights from the seven operas – one for each day of
the week – it will offer a spectacular overview of Stockhausen's masterpiece.
aus LICHT is a selection of key sections of Karlheinz Stockhausen's LICHT cycle. From the whole work's 29 hours of music, the production will comprise 15 hours performed over three days, capturing the whole tonal universe of the original cycle.
The three concerts, which together last more than 15 hours, can be viewed individually, but to experience the work in its full and unparalleled brilliance we recommend attending all three.
As the first-ever staging of such a large part of the LICHT cycle (over half of the full opera cycle), the unique nature and scale of this project make it a truly world-class operatic and musical theatre production.
Karlheinz Stockhausen (1928-2007) was a German composer. He is considered to be one of the most influential composers of the second half of the 20th century.
Stockhausen (1928-2007) studied piano, musicology, philosophy and German linguistics. In the late 1940s he harboured ambitions to become a writer, even receiving letters of encouragement from Hermann Hesse. It was not until 1950 that he began taking lessons in composition with the Swiss composer Frank Martin, and subsequently a summer course in new music at Darmstadt in 1951, where he became fascinated with serialism. The following year he studied under Messiaen in Paris and composed several groundbreaking works that catapulted him to the forefront of new music.
From the mid-1950s onwards, Stockhausen achieved major artistic successes with his freer interpretation of serialist principles. He experimented with electronic music at the WDR studio in Cologne (of which he was director in the 1960s), and elsewhere with the position of the orchestra and audience, with extreme tempos and with music from all over the world. In 1964 an ensemble was formed to focus solely on the performance of his works, and in 1970 he established his own publishing company.
During the 1970s Stockhausen’s music took on a cosmic dimension, expressing his sense of kinship with the cosmos, nature and fellow man. His Licht (1977-2003) is a cycle of seven monumental operas spanning the seven days of the week and intended to encapsulate the whole of life. From 2003 until his death, Stockhausen subsequently worked on Klang, a comparable cycle on the hours of the day.
- musical direction
- Kathinka Pasveer
- stage director
- Pierre Audi
- sets and light
- Urs Schönebaum
- Wojciech Dziedzic
- Chris Kondek
- Renee Jonker
- Klaus Bertisch
- musical and dramaturgical consultant
- Suzanne Stephens-Janning
- educational advisor
- Cristiano Melli
- Adrian Heger
Wilma ten Wolde
- artistic producer / coordinator
- Sigi Giesler
- soloists, instrumental soloists, dancers, students from the MA aus LICHT, students Royal Conservatoire The Hague, students Royal Northern College of Music (Manchester) and Codarts (Rotterdam)
Nationaal Vrouwen Jeugdkoor
Nationaal Gemengd Jeugdkoor
- remaining credits part 2