Marlene Monteiro Freitas Arnold Schönberg Ingo Metzmacher Klangforum Wien
Pierrot lunaire
© Pierrot lunaire, Marlene Monteiro Freitas, Arnold Schönberg et l'Ensemble Klangforum © Nurith Wagner-Strauss ©
© Pierrot lunaire, Marlene Monteiro Freitas, Arnold Schönberg et l'Ensemble Klangforum © Nurith Wagner-Strauss ©
© Pierrot lunaire, Marlene Monteiro Freitas, Arnold Schönberg et l'Ensemble Klangforum © Nurith Wagner-Strauss ©
Design, direction, Marlene Monteiro Freitas
Assistant, Cláudio da Silva
Featuring Sofia Jernberg, Pierrot lunaire
Ensemble Klangforum Wien
Featuring Vera Fischer (flute, piccolo), Bernhard Zachhuber (clarinet, bass clarinet), Gunde Jäch-Micko (violin, viola), Andreas Lindenbaum (cello), Florian Müller (piano)
Musical director, Ingo Metzmacher
Musical assistant, Michael Zlabinger
Light and stage design, Yannick Fouassier
Stage work, Martín Valdés-Stauber
Costumes, Marisa Ribeiro
Props, Marlene Monteiro Freitas, Cláudio da Silva
Commissioned and produced by Wiener Festwochen (Vienna)
Co-produced by Holland Festival (Amsterdam), in collaboration with P.OR.K (Soraia Gonçalves, Joana Costa Santos - Lisbonne)
Distributed by Wiener Festwochen; Key Performance
Co-directed by La Villette (Paris); Festival d’Automne à Paris
With support from the Austrian Cultural Forum
This event is part of the 2022 France-Portugal Season
With support of LVMH, member of the Sponsors Committee of the 2022 France-Portugal Season
A musical and literary piece, Arnold Schönberg’s Pierrot lunaire is a prolific musical playground for Marlene Monteiro Freitas. Accompanied by musical director Ingo Metzmacher and singer Sofia Jernberg, the director and choreographer shines a new light on Pierrot.
This is the second time Marlene Monteiro Freitas ventures into Arnold Schönberg’s universe, with Pierrot lunaire, commissioned by Wiener Festwochen, bringing new challenges and opportunities. Though to him, music and sound are shapeless “masses” which can be handled lightly of violently as one creates a piece, Pierrot lunaire imposes specific guidance on each creator, relating to ambiguities, pauses, ways of playing or acting. This also applies to the stage work, derived from Albert Giraud’s cycle of poems. Schönberg’s “melodramatic” masterpiece—his words—is comprised of twenty-one songs and twenty-one pieces. Over a century after its inception, it collides with Monteiro Freitas’s constantly inventive universe. Musical director Ingo Metzmacher and experimental singer Sofia Jernberg embark on this ever-changing journey with her, in an artistic companionship that brings out Schönberg’s modernity.
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