{"id":732,"date":"2017-09-20T10:05:07","date_gmt":"2017-09-20T08:05:07","guid":{"rendered":"https:\/\/www.neukoellneroper.de\/?post_type=play&#038;p=732"},"modified":"2021-10-29T10:44:15","modified_gmt":"2021-10-29T08:44:15","slug":"la-bettleropera","status":"publish","type":"play","link":"https:\/\/www.neukoellneroper.de\/en\/performance\/la-bettleropera\/","title":{"rendered":"La BETTLEROPERa"},"content":{"rendered":"<p><strong>A BigCityComic after John Gay\u2019s \u201cThe Beggar\u2019s Opera\u201d <\/strong><br \/>\n<strong>Music \/Lyrics: Moritz Eggert.<\/strong><br \/>\n<strong>By Balletto Civile (IT), the Neuk\u00f6llner Oper and Freiraum Syndikat<\/strong><br \/>\n<strong>World premiere October 19, 2017<\/strong><\/p>\n<p><span style=\"color: #ff6600;\">With English surtitles<\/span><\/p>\n<p>Signor Peachum has a problem (and it\u2019d be nice if it only were one). Not only do the organs of the state have a different concept of professional success, not only does his wife cultivate quite an intimate relationship with the staff; on top of all of it, his daughter Polly went crazy: she surreptitiously married MacHeath!<br \/>\nNothing against the honorable criminal, but would you really sell her only profitable capital (her innocence) below cost? Now MacHeath has problems as well, because Signor Peachum likes his son in law better dead than alive (on that note, where is this Famiglia from anyways: from Calabria? Palermo??). And finally there\u2019s prison ward Lockit and his daughter Lucy, and they have some unfinished business with MacHeath and the oh-so-proper Peachum family\u2026<\/p>\n<p>\u201cThe Beggar\u2019s Opera,\u201d meaning a opera told by a beggar, is the original format of alternative musical theater. With it, John Gay and Samuel Pepusch radically and ironically reflect upon the conventions of operatic structures of London\u2019s society around 1735 (and Brecht\/Weill turned it into a world success with the \u201cThreepenny Opera\u201d).<br \/>\nFor the Neuk\u00f6llner Oper\u2019s anniversary, we pay tribute to its earlier, successful production and retell this urban legend. Charged with the physical energy, joyous movements, and virtuosity of Balletto Civile, ten German and Italian performers will play, sing, and \u201cmove\u201d this tale upside down: love and betrayal, business and crime. La BETTLEROPERa is invited to the Kurt Weill Festival 2018 Dessau.<\/p>\n<p>Stage Direction\/Choreography: Michela Lucenti | Musical Direction: Lukas Dreyer | Dramaturgy: Bernhard Glocksin | Stage Design: Sabrina Rossetto | Costume Design: Rebekka Dornhege Reyes<br \/>\nFeaturing: Maurizio Camilli, Ambra Chiarello, Christopher \u00bbCrsto\u00ab Ciraulo, Sophia Euskirchen, Nicole Kehrberger, J\u00f6rn Linnenbr\u00f6ker, Michela Lucenti, Emanuela Serra, Demian Troiano, Emilio Vacca and Danilo Andres Sepulveda Cofre, Thora Hohberg, Christian Schaaf, Ini Dill, Rafeu Ahmed, Ada Sternberg and the Freiraum Syndikat.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Charged with the physical energy, joyous movements, and virtuosity of Balletto Civile, ten German and Italian performers will play, sing, and \u201cmove\u201d this tale upside down: love and betrayal, business and crime&#8230;World Premier 19.10. 2017 <\/p>\n","protected":false},"featured_media":748,"parent":0,"template":"","meta":{"_subtitle":"","_locale":"en_US","_original_post":"730","_performance_start":"2017-10-19T00:00:00","_performance_end":"2017-11-19T23:59:59","_performance_bilettix_event_id":"","_performance_sales_info":"","_performance_sold_out_info":"","_performance_premiereless":false,"_pinkie_id":0,"_cast":[],"footnotes":""},"event_type":[28],"event_format":[],"class_list":["post-732","play","type-play","status-publish","has-post-thumbnail","hentry","event_type-buehnenstueck","en-US"],"_links":{"self":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/play\/732","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/play"}],"about":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/types\/play"}],"version-history":[{"count":8,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/play\/732\/revisions"}],"predecessor-version":[{"id":2258,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/play\/732\/revisions\/2258"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media\/748"}],"wp:attachment":[{"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/media?parent=732"}],"wp:term":[{"taxonomy":"event_type","embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/event_type?post=732"},{"taxonomy":"event_format","embeddable":true,"href":"https:\/\/www.neukoellneroper.de\/wp-json\/wp\/v2\/event_format?post=732"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}