Vienna, Vienna, Austria
Julie Weideli is a Swiss and French Stage Designer based in Berlin, Germany. She obtained her Diploma in Interior Architecture and Scenography at the University of Applied Sciences and Arts Northwestern Switzerland Basel. In Berlin she has been working as a project-architect for exhibition projects for Gerhards & Glücker and as a project-assistant for various art projects in public space for RaumlaborBerlin. As a long standing artistic contributor to the stage and costume designer Christof Hetzer, she has been working among others for „Il Turco in Italia“ at the Het Muziektheater Amsterdam, „Das Mädchen mit den Schwefelhölzer“ at the Deutschen Oper Berlin, „Die Zauberflöte“ at the Vlaamse Opera Antwerpen and „Pique Dame“ at the Theater Basel. Her artistic work comprises among others the scenography for “Die Geschichte vom Soldaten” with Tamara Heimbrock and for “Frank V” with Clara Pons, also the installation “Low Density” elaborated by Julie Weideli and Bernd Purkrabek. In 2015 she designed the set for the successfull productions of "Caligula" at Theater Regensburg and "Der Boxer" at Schlosstheater Celle. Don't miss Julie's upcoming installation "Vermissen" at berlin weekly in February/March 2016!
La Traviata is an opera in three acts by Giuseppe Verdi set to an Italian libretto by Francesco Maria Piave. It is based on La Dame aux camélias (1852), a play adapted from the 1848 novel by Alexandre Dumas fils. Nederlandse Reisopera Opening on the 5th of November 2021, Odeon Theatre Zwolle Musical Direction: Alistair Digges Staging: Dorike van Genderen Stage & Costume Design: Julie Weideli Light Design: Tim Van’t Hof
Wenn am Ende der Ouvertüre lautstark ein Schuss ertönt, ist dies der Beginn eines Verwechslungs- und Verkleidungsreigens, wie er turbulenter kaum sein könnte: Abgegeben hat diesen Schuss Dorfschulmeister Baculus, der anlässlich seiner Verlobung mit dem süßen Gretchen in den Wäldern des Grafen Eberbach einen vermeintlichen Rehbock erlegt hat. Nun droht ihm diese illegale Wilderei zum Verhängnis zu werden. Denn sollte er seine Stellung verlieren, wäre es Essig mit der Hochzeit. Da kommt das in der Komödie gern bemühte »Incognito« zu Hilfe: Eine Baronin erscheint als angebliches Gretchen beim Grafen, um diesen zu besänftigen, ein Baron gibt sich als Stallbursche aus und wirbt um jenes »falsche« Gretchen, und der liebeshungrige Graf macht sich gleich an beide Gretchen heran. Eine feurige Liebeserklärung jagt die nächste, bis die Masken schließlich fallen, Baculus seine Braut für 5000 Taler verscherbelt und sich der Rehbock als Esel entpuppt. Lortzings Musik zum Wildschütz – uraufgeführt 1842 in Leipzig – strahlt in jeder Phrase Brillanz und überschäumende Leichtigkeit aus. Dabei versäumt es der Komponist keinesfalls, der Kotzebue’schen Komödienvorlage in Sachen »Gesellschaftskritik« gerecht zu werden: Die Epoche des Biedermeier wird tüchtig aufs Korn genommen und der herrschende Adel muss so manchen Seitenhieb verknusen.
Opera by Leoš Janáček How human do animals feel, how much animal is in humans? Those questions inevitably arise with Janáčeks opera "Das schlaue Füchslein", which is only superficially a fairy tale. Much more it is about the grasping nature parable of the circle of living and dying. At the centre of the story stands a vixen, captured by the forester to be tamed. The eyes of the vixen remind him of his lover Terynka. however the vixen manages to flee and finds love in liberty. Years later she encounters a human again: the drifter Haraschta, who shoots her.
Operetta by Paul Abraham Libretto by Emmerich Földes, Alfred Grünwald, Fritz Löhner-Beda The Hawaiian Princess Laya, the since childhood promised to her Prince Tilo-Taro, the beautiful Islander Raka, the American Admiral Stone and his secretary John Buffy, the cheeky Bessy Worthington, the two Jazz singers Jim Boy and Suzanne Provence - those are just the most important actors in a turbulent and fast pacing game of finding true love, the future of Hawaii and the joys of mundane life in Honolulu and Monte Carlo, to which end a whopping four happy couples form. At the beginning of the 1920s a new art of music making made its way across the ocean to Europe: Jazz. Its energic drive within a few years tumbled the public music life and the entertainment business up side down. The undisputed king of this last, wild Operetta time in Berlin - founding an abrupt end with the national socialism - was the Hungarian expatriate Paul Abraham. His sweeping music is actually reemerging to a deserved renaissance and at TfN will be the first theatre to perform a reconstruction of the original Abrahamian improvisatory performing music style. Full of raging lust of living, crazily funny and - if necessary - hearteningly lyrical, Paul Abrahams most successful piece will leave no (Operetta-)wish open.