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Carl Orff, De Temporum Fine Comoedia, Currentzis

Carl Orff (1895 - 1982) - De temporum fine comoedia The Play of the End of Times — Vigilia (Final version 1981) Libretto by Carl Orff using passages from the Sibylline Oracles and the Orphic Hymns In Ancient Greek, Latin and German Salzbourg, Grosses Festspielhaus — 26th July 2022 Creative Team Teodor Currentzis Conductor Romeo Castellucci Director, Sets, Costumes and Lighting Cindy Van Acker Choreography Piersandra Di Matteo Dramaturgy Theresa Wilson Associate Costume Designer Maxi Menja Lehmann Assistant Director Alessio Valmori Assistant Set Designer Marco Giusti Associate Lighting Designer Nadezhda Pavlova Soprano Taxiarchoula Kanati, Frances Pappas, Irini Tsirakidis Mezzosoprano Helena Rasker Contralto Gero Nievelstein, Christian Reiner Speakers Soloists of the musicAeterna Choir Gustav Mahler Jugendorchester musicAeterna Choir Vitaly Polonsky Chorus Master Salzburg Bach Choir Benjamin Hartmann Chorus Master Salzburger Festspiele und Theater Kinderchor Wolfgang Götz Chorus Master The subject of De temporum fine comoedia is the Last Judgement, in a reinterpretation rooted in Carl Orff’s personal religious beliefs. The writing of the text in Ancient Greek, Latin and German took the composer a whole decade, from 1960 to 1970, with the essence of the work being increasingly determined by the apocalyptic vision of the Alexandrian theologian Origen, in which at the end of time even demons will be granted forgiveness and salvation. In the first part of the Comoedia nine Sibyls announce the imminent end of the world and the eternal damnation of the godless. In the second part these prophecies are countered by an emphatic ‘No’ from nine Anchorites: the learned hermits have come to understand that the final day will dawn not as the triumph of a punitive God but as the absorption of evil into the divine. The redemption of all wrongs and the return of all beings to God reaches its climax in the third part in the retransformation of Lucifer into the ‘bringer of light’ that he once was. The fallen angel couches his plea for forgiveness in words from the parable of the prodigal son: ‘Pater peccavi.’ Brought to the Festival stage by Romeo Castellucci and Teodor Currentzis for the first time since its premiere in Salzburg in 1973, Orff’s opera-oratorio overwhelms the listener with its primeval energy. The latter results not least from persistently iterated rhythmic patterns that involve a host of figures animated by a mechanical principle of motion that will be translated into bodily movement scores by the choreographer Cindy Van Acker. DISCLAIMER: I do not own any of this footage nor do I own the audio. This is for entertainment purposes only and I do not make any profit from this video. All credits go to the respective owners.