The Distant Sound

The title has a history. In 1912 in Frankfurt am Main, Franz Schreker’s opera Der ferne Klang (“The Distant Sound”) had its world premiere. Along with other works, it paradigmatically represents the dawning of modern music theatre. The title refers to the yearning of the artist and to the artist’s unknown goal, which the artist is nevertheless magnetically drawn to. At the same time the opera itself describes the story of a loss – in the end the opera’s protagonist cannot win back the love he deserted.
In the operas by Sarah Nemtsov, Eunyoung Kim, and Arnulf Herrmann, the story of a loss and the desire to overcome this loss resonates. The plot, representing reality in opera, does not succeed in its attempt to transgress. In the music, however, processes of searching and transforming nourish the vision of a reversal of failure. As long as they continue, the loss is not sealed. All three composers emphasize how important it was to them during the creative process to find the specific sound for their music theatre work and its scenes. They developed this specific sound from the fundamental forces of the contents, and not from superficial associative elements.

Once again we were able this year to supplement the world premieres with a multifaceted accompanying program. Among the traditions of the Biennale are the concerts by the Münchner Philharmoniker, the Münchener Kammerorchester, and the musica viva, as well as a mutual music theater project, which this year was developed at the Berlin University of the Arts. In the series Biennale Special, Munich artists and groups of artists will present concepts and new music theatre productions. Educational projects allow schools to participate in developing new works, and the Biennale workshop at the Munich School of Adult Education provides insights into how an opera is created. The Nucleus series presents conceptual nuclei of music theatre, individually and as a mutual project. A symposium and a panel discussion also add to the copious experiences and reflections on contemporary music theatre.
We would like to express our gratitude in particular to the City of Munich, and to all of the cooperation partners and supporters of the Biennale, for making this bountiful program possible.

Peter Ruzicka

---