Kurt Atterberg: Aladin
Selcuk Hakan Turasoglu, Yuedong Guan, Franz Reichetseder, Michael Ha, Oleksandr Pushniak, Justin Moore, Patrick Ruyters, Solen Mainguené, Frank Blees, Staatsorchester Braunschweig, Chor des Staatstheaters Braunschweig, Jonas Alber
Aladin is ultimately an opera of and for its time, but this does not make its belated revival other than welcome. Try the engaging Overture or culminating episodes of the second and third acts;...
Kurt Atterberg: Aladin
Selcuk Hakan Turasoglu, Yuedong Guan, Franz Reichetseder, Michael Ha, Oleksandr Pushniak, Justin Moore, Patrick Ruyters, Solen Mainguené, Frank Blees, Staatsorchester Braunschweig, Chor des Staatstheaters Braunschweig, Jonas Alber
Purchase product
Aladin is ultimately an opera of and for its time, but this does not make its belated revival other than welcome. Try the engaging Overture or culminating episodes of the second and third acts;...
About
A fairy-tale opera for adults - unfortunately hardly performed today - was composed by Kurt Atterberg with his opera Aladin. on which he worked from 1936-41. The composer does not only lose himself in the exotic, no, his late romantic sound language moves the well-known fairy tale from the collection 1001 Nights almost into our time, however somewhat varied. In Atterberg's and the librettist Bruno Hardt-Warden's work, love is at the beginning, and only then does the magic lamp that fulfills all wishes come into play Aladdin is captivated by the beauty and splendor of the princess Laila, with whom he falls in love. The Staatstheater Braunschweig under the direction of Jonas Alber dared a revival: the opera is worth it. "Veilously beautiful!" (Deutschlandfunk Kultur 3/2017)
Contents and tracklist
- Selcuk Hakan Turasoglu, Yuedong Guan, Franz Reichetseder, Michael Ha, Oleksandr Pushniak, Justin Moore, Patrick Ruyters, Solen Mainguené, Frank Blees
- Staatsorchester Braunschweig, Chor des Staatstheaters Braunschweig
- Jonas Alber
Awards and reviews
October 2023
Aladin is ultimately an opera of and for its time, but this does not make its belated revival other than welcome. Try the engaging Overture or culminating episodes of the second and third acts; if they appeal, two hours of entertaining and pleasurable listening is guaranteed.