Marianne Glittenberg

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Marianne Glittenberg is a German costume designer who mostly works with the set designer Rolf Glittenberg , her husband.

life and work

Glittenberg first studied German and musicology . When she met her future husband, who was studying set and costume design at the time, she helped him with drawings for costumes. The director Wilfried Minks recognized her talent and persuaded her to design the costumes for his production of Genet's The Balcony at the Schauspielhaus Bochum . Marianne Glittenberg quickly established herself as a leading representative of her subject, was invited to the Schauspielhaus Cologne , the Deutsche Schauspielhaus Hamburg and the Thalia Theater Hamburg , the Schauspielhaus Zurich and the Théâtre Vidy-Lausanne , as well as the Wiener Festwochen . At first she worked mainly with the directors Luc Bondy , Jürgen Flimm and Klaus Michael Grüber , but also with George Tabori and Hans Neuenfels , and in the opera with Götz Friedrich .

Salzburg Festival

The Glittenbergs have a particularly close relationship with Austria and Zurich . They made their debut at the Salzburg Festival in 1987 and 1989 in two Jürgen Flimm productions of Viennese folk comedies : Ferdinand Raimund's Der Bauer als Millionär and Johann Nestroy's Das Mädl aus der Vorstadt . It followed - each as a duo - in 1991 Die Zauberflöte , staged by Johannes Schaaf , and in 1992 Die Frau ohne Schatten , staged by Götz Friedrich . Both productions were conducted by Sir Georg Solti . In 1993, the Glittenbergs - with Jürgen Flimm as director and Nikolaus Harnoncourt as conductor - brought Monteverdi's L'incoronazione di Poppea to the stage of the Great Festival Hall , a Salzburg Festival premiere. In 1999 Marianne Glittenberg returned to Salzburg - for a new production of Don Giovanni in the Großer Festspielhaus with the conductor Lorin Maazel , the director Luca Ronconi and the set designer Margherita Palli .

In 2012, Alexander Pereira took over the management of the Salzburg Festival . Sven-Eric Bechtolf was appointed drama director, but was only supposed to stage operas there. Together with Rolf and Marianne Glittenberg, he worked on the original version of Hofmannsthal / Strauss' Ariadne auf Naxos in 2012 , with Daniel Harding on the podium, and the three of them began a new da Ponte cycle in 2013 with Così fan tutte , this time with Christoph Eschenbach as conductor . Don Giovanni followed in 2014 .

Vienna State Opera

In April 1991 - in the last season of artistic director Claus Helmut Drese - the Glittenbergs made their debut with Schreker's Der ferne Klang at the Vienna State Opera , directed by Jürgen Flimm and conducted by Gerd Albrecht . An intensive collaboration between the Bechtolf-Glittenberg-Glittenberg trio and the State Opera under the direction of Ioan Holender resulted : an exemplary 2006 Arabella by Hugo von Hofmannsthal and Richard Strauss was followed in 2007 by the entire Ring des Nibelungen by Richard Wagner . The conductor was - for both Arabella and the Ring - Franz Welser-Möst, who was hired as General Music Director of the State Opera from 2010 . Its first premiere was for Hindemith's Cardillac , it was again staged by Bechtolf in the Glittenbergs' outfit.

The stage design and costumes for Ariadne in Salzburg were taken over by the Vienna State Opera in November 2012, but not for the premiere, but for the fully composed version (without Molières Der Bürger als Edelmann ). Bechtolf staged it and Welser-Möst conducted it. At Haus am Ring, Bechtolf and the Glittenbergs also created a lively Cenerentola in January 2013 . In June 2014 Marianne Glittenberg designed the costumes for Otto Schenk's Rusalka production. All of the productions mentioned are still in the repertoire of the Vienna State Opera. In 2015 the Glittenbergs were responsible for a new production of Elektra by Hugo von Hofmannsthal and Richard Strauss together with the director Uwe-Eric Laufenberg .

Zurich Opera House

As regular guests of the Zurich Opera House while the Austrian Alexander Pereira was in charge, Glittenbergs designed sets and costumes for the following Zurich productions: Lulu (2000), Otello (2001), Die tote Stadt (2003), Fidelio , Der Rosenkavalier and Pelléas et Mélisande (all 2004), between 2006 and 2009 for Mozart's three Da Ponte operas , conducted by Franz Welser-Möst , and finally Salome (2010). With the exception of Fidelio (a Jürgen Flimm production), Sven-Eric Bechtolf directed all of the Zurich productions ; Lulu was his first opera production.

The Glittenbergs' collaboration with Sven-Eric Bechtolf also extended to the Thalia Theater in Hamburg and the Burgtheater in Vienna , where the three of them were responsible for several theater productions, and to the Deutsche Oper Berlin , where they released Les Contes d'Hoffmann in 2002 .

Working examples

style

Marianne Glittenberg reports on her work in the Neue Zürcher Zeitung : “In drama there are pieces that are set in such an everyday environment that a skirt or a cheap cardigan is the right thing. But as far as myself and my work are concerned, I don't want to see the same people on stage as on the street, a certain exaggeration belongs to the theater for me. I don't primarily want to dress people, but rather create a costume design like a stage design that contributes as a whole to the interpretation of the play. "

proof

  1. ↑ Marianne Zegler-Vogt: How sounding rooms are created , workshop discussion with the outfitters Rolf and Marianne Glittenberg, NZZ , November 8, 2004

Web links

personal data
SURNAME Glittenberg, Marianne
BRIEF DESCRIPTION German costume designer
DATE OF BIRTH 20th century