MEDIATHEK

Mashup mini-drama by Michael Langemann (Composer) and Janine Ortiz (Librettist) loosely based on Virginia Woolfs “Orlando”.

Orlando is a hybrid Roman á clef based on real events; Orlando a hybrid polymorphic work of musical theatre.
Earlier versions of the Orlando tale are based on the epics of Ariesto and Janine Oritz mixes the Virginia Woolf’s Orlando with this earlier source. In short scenes the life of the young nobleman Orlando (Mezzo soprano) is represented as he transitions across time and gender. We first see Orlando in the 16th century as a guest at the court of the elderly Queen Elizabeth (Tenor). We experience his transformation into a woman as well as Orlando’s experience in the world of the future. A world where gender differences do not result in the usual advantages and disadvantages associated with gender. However the elimination of gender differences also brings with it a disassociation from personality.
Just as Woolf’s novel is a literary and historical reflection of its own genre, so the operatic genre is ironic reflection of Opera plays an important role in this work. Orlando the time traveller becomes a metaphor for pushing boundaries. Ecstasy and furioso are declared to be aesthetic principles.

Michael Langemann seduces us by playing with artistic forms including popular music. The thousands of subtleties of harmony and instrumentalisation ultimately have but one purpose: To tell a gripping story which draws upon rich characterisations to stage a dazzling revue. Fast paced scene follows fast paced scene and in the middle of it all Orlando asks the orchestra: “Are you the truth?” Of course the trumpet then sounds, proclaiming: “Yes, I am!” (Aurelien Bello in the programme booklet for „Orlando“) Orlando by Michael Langemann and Janine Ortiz operates as musical theatre at its best , perhaps because its narrative is divided into seven scenes which, more or less, lean on Virginia Woolf and also because the music possesses a congenial brazenness in revue and as chamber opera as it delves into a great songwriting tradition. (WDR 3 Opernblog, 17. June 2013)