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Adam’s Passion is the moving first collaboration between two “masters of slow motion who harmonize perfectly with each other” (Frankfurter Allgemeine Zeitung). In the spectacular setting of a former submarine factory, American director and universal artist Robert Wilson creates a poetic visual world in which the mystical musical language of the Estonian composer Arvo Pärt can cast its meditative spell. Three of Pärt’s major works – Adam’s Lament, Tabula rasa, and Miserere, as well as Sequentia, a new work composed especially for this production – are brought together here using light, space, and movement to create a tightly-woven Gesamtkunstwerk in which the artistic visions of these two great artists mirror each other.
"This is a family tragedy, and in many ways, it is a very contemporary story." This is how Robert Wilson described Il trovatore, or Le Trouvère in its French version, commissioned from Verdi after the incredible success of the premiere of his Italian version in 1853. With a few changes and alterations to the original music, this version was first performed in 1857 at the Paris Opera. A light show unique to the stage director unfolds in the cold architecture, creating the perfect framing for Verdi’s music, dramatic and dark in this timeless opera.
A Winter Fable is a story told by the triptych of video portraits of a wolf, a fox, and a lamb with a score that is composed of music by Coco Rosie, and readings of the original fable by Italo Calvino’s daughter Giovanna Calvino and her friend Isabella Rossellini. The portraits form a triptych that are linked to each other and synced to the score. To help maintain the autonomy of each portrait and yet create an intimate grouping, Robert Wilson and architect Filippo Moretti designed a room with angled walls, built within one of the stables of Villa Panza.
Iconic artist and theater director Robert Wilson has created a series of video portraits of celebrities, ordinary people and animals called "VOOM Portraits." Known for his glacier-paced theatrical productions with Tom Waits and Lou Reed, Wilson's now bringing his aesthetic to a video format. The recent developments in HD technology have allowed Wilson to create something like a precise hybrid of still photography and motion pictures. Actors such as Brad Pitt (as a crazy person on the streets in the rain), Isabelle Huppert (as Greta Garbo), Steve Buscemi (as a mad butcher chewing gum on a variety show), Robert Downey Jr. (as a dreaming corpse in a Rembrandt painting), and Winona Ryder (as Winnie, the main female character in Samuel Beckett’s Happy Days, buried up to her neck in sand) were asked to “think of nothing" and move slowly and steadily to collaborate in Wilson's vision of who they might be.
Inspired by the German folktale, Wilhelm, a file clerk, falls in love with a huntsman's daughter. In order to marry, Wilhelm must prove his worth as a hunter and gain her father's approval. Naive and desperate, he makes a deal with a devil named Pegleg.
US stage director Robert Wilson has teamed up with pop star Rufus Wainwright to bring Shakespeare’s sonnets to the stage in Berlin. Debuting on Easter Sunday, this highly stylized cross-dressing version of the archetypal love poems went down a storm with the audience.
John Eliot Gardiner conducts Gluck’s 1776 French version of “Alceste” at the Théâtre du Châtelet in Paris. Soprano Anne Sofie von Otter takes the title role of Alceste, Queen of Thessaly, who offers to die at the hands of the gods in place of her husband, Admète (Paul Groves), so that the people will not lose their king. Alceste is then saved from the underworld by Hercule (Dietrich Henschel).
A collaboration in which Robert Wilson and Heiner Müller let Molière die, imagine his death in tableaux with text passages recited by Müller himself. "Cinema watches Death at work." Wilson's actors watch Molière die: their vigil is hard work. Müller's comment: "The poem watches a dying man at work, his name is Molière. The poem is not a film. The film watches an actor playing a dying man called Molière."
A somber, menacing woman washes white dishes and a gleaming carving knife, pours milk into a glass, and then slowly attacks first one young boy and then another. Not a word of dialogue is uttered.