- Inszenierung – Christoph Marthaler
- Chor des Theater Basel
- Sinfonieorchester Basel
- World premiere
- Approx. 2 hours without a break
- Interesting for people aged 14+
- In German language, with English surtitles
Ludwig van Beethoven constantly changed residences
In his adopted home of Vienna alone, he had more than thirty addresses. One of these addresses: Tiefer Graben 8. The composer's notorious homelessness as a conditio humana of modern man is the starting point for this music theater. Together with set designer Anna Viebrock and conductor Sylvain Cambreling, director Christoph Marthaler creates a (thoroughly melancholy) psychogram of a group of residents. Stories unfold about questions of living, loving and believing, accompanied by Beethoven's music, which «aimed at humanity like no other» (Jan Assmann). The chamber music, orchestral and choral compositions as well as newly arranged sketches tell of doubt, anger and hope in times of transition. Translated with DeepL.com (free version)
The production quotes from stories, notes and diaries by Heimito von Doderer (1896-1966) (apart from texts he wrote himself). Published by C.H.Beck
Beethoven worked and understood himself in a European context, his turn towards the great and vast was aimed at humanity. His music is written for humanity and draws its pathos of greatness from this.
Mediathek
Everything is delicate, fine, and as is often the case with Marthaler, there is a consolation. Here it consists of the (allegedly) last 13 bars that Beethoven composed before his death. A song, a canon: «We all err. Only everyone errs differently.» Time may move on, but this realization remains. And it creates a wonderful freedom, not only of thought - but also of action.
‹Tiefer Graben 8› is a bizarre panopticon of absurdities, held together by the music.If you like Marthaler, if you get involved, you can enjoy an extremely original evening that is well worth seeing.
(...) the Basel Symphony Orchestra, under the direction of Sylvain Cambreling, plays in an extraordinarily colorful and snappy manner, especially the «Victory Symphony» from the incidental music to Goethe's ‹Egmont›.
Marthaler once again offers a theater that, in its own way, brings something to life and makes it resonate that you can't quite put your finger on. The poetic magic of theater?
With Marthaler, we like to wander along poetically, wittily and musically.And the fact that this remains far above or below any sense doesn't bother us for a minute.
As always, the sublime marries the extravagant in this score for voices and orchestra devised by the Swiss director, who happily amalgamates a composite cast of faithful performers (...) all magnificently serving Marthalerian's lucid eccentricities as well as the docile Theater Basel Chorus well on stage.
Marthaler's ‹Tiefer Graben 8› is a melancholy, in parts deadly sad, sometimes comical play. It shows people who are entangled in questions of living, loving and believing, who try to face up to the possibilities and impossibilities of urban life.
- Musikalische Leitung –
Johannes Harneit
- Inszenierung –
- Bühne und Kostüme –
- Regiemitarbeit –
- Bühnenbildmitarbeit –
Anna Brotankova
- Kostümmitarbeit –
Lasha Iashvili
- Musikalische Einrichtung –
Johannes Harneit
- Lichtdesign –
- Chorleitung –
- Dramaturgie –
- Rufina Seifert –
- Rambausek –
- Adrian –
- Polt (Ein Pianist) –
- Julius Zihal –
- Adam –
- Snobby –
- Döblinger –
- Frau Ida –
- Chor des Theater Basel
- Sinfonieorchester Basel
