Philippe Arlaud

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Philippe Arlaud, 2014.

Philippe Arlaud (born in Paris ) is a French director , set designer and lighting designer who works in opera , musicals and shows as well as in spoken theater .

education

Born in Paris to a school principal and a chemist, Arlaud grew up in Mulhouse and, according to his own account, was “a wild and undisciplined child.” From the sixth to the final year of school, he changed courses eleven times and attended seven different high schools. Arlaud first came to the theater via a medical degree, then studied direction , stage design and art history at the École Supérieure d'Art Dramatique at the Théâtre national de Strasbourg .

Lighting designer

From 1977 Arlaud worked as a lighting designer at the Théâtre national de Strasbourg , where he worked a. a. for the directors Antoine Vitez and Jean Marie Villégier . Arlaud was strongly influenced by the American Robert Wilson , with whom he had assisted. Wilson stands for a static stage direction, which is dominated by lighting moods in various shades and slow-motion movements of the protagonists.

play

Since 1982 Arlaud has directed and designed sets and lighting for his productions. As a theater director he has worked at the Comédie-Française , the Schauspielhaus Wien and the Schauspielhaus Hamburg , among others . A close collaboration arose from 1992 with Hans Gratzer , the artistic director of the Wiener Schauspielhaus. Arlaud moved to Vienna that same year, where he lived until 2005. With Gratzer he worked a. a. the monumental AIDS epic Angels in America (1995) and the Koltès -Stück Quai West (1996). Arlaud was awarded a Kainz medal for both productions .

Musical and show

In André Heller's show Yume - flight by dreams: a Japanese Kaleidoscope , which was shown in Japan and on a European tour in 1997, he arranged for the stage and light. He staged Leonard Bernstein's West Side Story - both times with Thomas Hengelbrock on the podium - in 2001 at the Vienna Volksoper and in 2002 in the Festspielhaus Baden-Baden . In September 2002 he took over for Rainhard Fendrich's musical Wake up ! , a humorous look at the show and pop industry, directed.

Opera

In 1995 Arlaud made his debut as an opera director at the Vienna Chamber Opera with Pergolesi's La serva padrona . At the same house he achieved a great personal success in 1996 with Britten's The Turn of the Screw , which opened his breakthrough as an opera director the following year. In 1996 - with Mozart's Zaide at the Bremen Music Festival - his long-term collaboration with the conductor Thomas Hengelbrock began . In 1997 Arlaud staged Mozart's Don Giovanni and Luciano Chailly's La Cantatrice chauve at the Opéra-Comique in Paris , Henze's Elegy for Young Lovers at the Darmstadt State Theater and finally created the sets for August Everding's production of Donizetti's Linda di Chamounix at the Vienna State Opera , a production that was shown at La Scala in Milan in the 1997/98 season .

Festival

In 1998 he designed direction, stage and lighting for Italo Montemezzi's L'amore dei tre re at the Bregenz Festival and for the world premiere of Georg Friedrich Haas' opera Nacht . In the same year he staged a successful woman without a shadow at the Deutsche Oper Berlin , his first collaboration with the conductor Christian Thielemann . Klaus Georg Koch praises in the Berliner Zeitung that Arlaud has "found a wonderful and significant technique to make the flowing, floating, magical of women visible without shadows , to interweave their peculiarities, motifs, moods and meanings" and draws the conclusion : "The main effect of the staging is to concentrate on small rooms and calm colors to direct as much attention as possible to the music, to its illuminating, darkening, narcotic, stimulating effect."

In addition to a Rusalka at the St. Gallen Theater (1998) and a La traviata at the Marinsky Theater in St. Petersburg (2000), Arlaud began long-term collaboration with the Opéra du Rhin in Strasbourg and the Festspielhaus Baden-Baden . He made his debut in Strasbourg with La Cenerentola , in Baden-Baden - with Hengelbrock at the podium - with Così fan tutte . For the Schwetzingen Festival and the Innsbruck Festival of Early Music , he staged the baroque opera La divisione del mondo by Giovanni Lenzei in 2000 .

Bayreuth

In 2000 Arlaud began to work on Richard Wagner's work. In Strasbourg, he staged Tristan und Isolde , and the Flying Dutchman , at the Bonn Opera to Lohengrin . In 2002 Tannhäuser followed at the Bayreuth Festival , conducted by Thielemann. The criticism was consistently cynical, Der Spiegel wrote of "harmless diagrams", the FAZ of a "beautiful sham pack [...] colorful, but unimaginative" and Die Welt criticized "The beautiful, colorful nothing at all". Pierre Boulez commented briefly: “You have the courage to be romantic.” And the Bayreuth audience was enthusiastic.

Arlaud remained the city of Bayreuth faithful and staged there - each with Nicolaus Richter on the podium - in 2006 the ring on one night (with eight singers and twelve musicians in Margrave Opera House ) and 2007 Prokofiev's Betrothal in a Monastery (at the Stadthalle Bayreuth). He also showed the short version of the ring in 2007 in the Festspielhaus St. Pölten . In 2013 he premiered Mnozil Brass ' Hojotoho , a work commissioned by the city ​​of Bayreuth for the Wagner anniversary year for seven brass players (in the Bayreuth Stadthalle and then in the Wiener Konzerthaus ).

Feldkirch Festival

From 2007 to 2012 Philippe Arlaud was the artistic director of the Feldkirch Festival , which he consistently programmed with music from the 20th and 21st centuries . He staged there a. a. partly bulky works by Kuusisto , Poulenc and Stravinsky , all received positively by the critics, partly also by the audience.

Far East

From 2010, Arlaud's focus shifted to Asian opera houses, this year he staged Strauss' Arabella and Giordanos Andrea Chénier at the NNT Tokyo . The latter production was also shown at the Teatro Liceu in Barcelona , with Pinchas Steinberg at the podium. In 2012 he took over a new production of Carmen by Georges Bizet at the Hong Kong Opera . In 2013 he designed the direction, stage and lighting of Wagner's Parsifal at the Seoul National Opera and Offenbach's Les Contes d'Hoffmann at the NNT Tokyo.

Important productions

Awards

Web links

Individual evidence

  1. ^ Klaus Georg Koch: View from the ivory tower , Berliner Zeitung, August 28, 1998
  2. ↑ Johannes Salzwedel: A Sinner on the Alm , Der Spiegel, July 29, 2002
  3. ↑ Christa Sigg: Beautiful sham: The new "Tannhauser" , Frankfurter Allgemeine Zeitung, July 26, 2002
  4. ↑ The beautiful, colorful nothing at all , Die Welt, July 27, 2002
  5. ↑ Gert-Dieter Meyer: For me, Schlingensief is the real Tannhauser , interview with Philippe Arlaud, July 28, 2007
  6. ↑ Fritz Jurmann: A slaughtered canary and a relationship that is not in keeping with one's class: The Feldkirch Festival lands a considerable success with the chamber opera "Fröken Julie" after Strindberg , Kulturzeitschrift, June 10, 2012
personal data
SURNAME Arlaud, Philippe
BRIEF DESCRIPTION French director, set designer and lighting designer
DATE OF BIRTH 20th century
PLACE OF BIRTH Paris