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Reimann, A: L'Invisible

Rachel Harnisch (Ursula/Marie/Ygraine), Annika Schlicht (Marthe/Bellangère), Ronnita Miller (Handmaiden), Stephen Bronk (Grandfather/An old man/Aglovale), Thomas Blondelle (Uncle/Stranger), Tim Severloh, Matthew Shaw, Martin Wölfel (Drei Dienerinnen)

Das Orchester der Deutschen Oper Berlin,...

In the theatre, where these simple but potent stories would make a visual impact, the effect would surely be stronger than on a recording where the music alone creates atmosphere but is otherwise... — BBC Music Magazine, October 2018, 4 out of 5 stars More…

Release Date: 13th Jul 2018
Catalogue No: OC973
Label: Oehms
Length: 84 minutes

Presto Editor's Choice

July 2018

This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched.

Reimann, A: L'Invisible

Work length1:24:09

Album only

Matthew Shaw (countertenor), Martin Wölfel (countertenor), Rachel Harnisch (soprano), Tim Severloh (countertenor), Seth Carico (bass-baritone), Annika Schlicht (mezzo-soprano), Thomas Blondelle (tenor), Salvador Macedo (vocals), Stephen Bronk (bass-baritone), Ronnita Nicole Miller (mezzo-soprano)
Deutsche Oper Berlin
Donald Runnicles

I. L'intruse (Live)

Track length20:01

Album only

Interlude I (Live)

Track length3:18

$1.00

$1.30

$1.75

II. Intérieur (Live)

Track length19:10

$4.00

$5.15

$7.00

Interlude II (Live)

Track length3:38

$1.00

$1.30

$1.75

IIIa. La mort de Tintagiles, Act I (Live)

Track length13:12

$3.00

$3.85

$5.25

IIIb. La mort de Tintagiles, Act II (Live)

Track length6:09

$1.00

$1.30

$1.75

Interlude III (Live)

Track length2:00

$1.00

$1.30

$1.75

IIIc. La mort de Tintagiles, Act III (Live)

Track length5:33

$1.00

$1.30

$1.75

IIId. La mort de Tintagiles, Act IV (Live)

Track length5:39

$1.00

$1.30

$1.75

IIIe. La mort de Tintagiles, Act V (Live)

Track length5:29

$1.00

$1.30

$1.75

About
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About

For L’Invisible, like his other two most recent operas Bernarda Alba’s House and Medea, Aribert Reimann has turned to a text of world literature, adapting it himself as his own librettist. With it, he returns to his “home” opera house the Deutsche Oper Berlin. Four of his stage works were commissioned by that opera house and the world premiere of his new, ninth opera was also given there. It was staged by Vasily Barkhatov, one of the most interesting Russian directors of his generation, who made his debut at the opera house on Bismarckstraße after having worked at the Moscow Bolshoi Theatre and the Mariinski Theater in St. Petersburg. The premiere was conducted by the Principal Conductor himself, Donald Runnicles.

Artists

Das Orchester der Deutschen Oper Berlin, Donald Runnicles

Reviews

October 2018

In the theatre, where these simple but potent stories would make a visual impact, the effect would surely be stronger than on a recording where the music alone creates atmosphere but is otherwise thin. But the performances under Donald Runnicles carries conviction, with several of the singers taking multiple roles and registering expressively.

Awards Issue 2018

It would be unfair to say that our attention, even without visible drama, is not fully held…And, as before, Webern and Berg (and now, perhaps, Debussy in the third part here, ‘La mort de Tintagiles’) nourish Reimann’s melodies and harmonies. Especially noteworthy is his contrasting use of instrumental groupings…as in Lear, Reimann augments the drama by the pure sound and tessitura of his vocal writing, recalling his special gifts as a Lied accompanist.

June 2019

Making restraint into a compositional principle, Reimann has a remarkable ability to suggest more with less…Among the work’s most astonishing and satisfying features are the exquisitely anguished lyricism of its vocal lines…The singing is virtuosic, and the cast carry their multiple and changing roles with true conviction…a bracingly new, simply glorious operatic experience.

July 2018

The uncanny, crepuscular sound-world of this triptych of claustrophobic family dramas is unsettling but riveting, and put me in mind not only of Debussy’s Pélleas et Mélisande but also of George Benjamin’s Written On Skin. Fingers crossed for a UK performance, or failing that a DVD – but this music conjures atmosphere and drama aplenty in its own right.

Reimann, A: L'Invisible

2 CDs

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