Johannes Kreidler Composer

Mein Staat als Freund und Geliebte(My state als friend and beloved) (2017/18)

Opera for Choir, Pianist-Performer, Tenor, Dancers, Video and Orchestra

Duration: 95'

Premiere: 27.4.2018 Oper Halle

Pianist-Performer stefanpaul
Tenor Christian Voigt
Choir and Extra choir of Opera Halle
Dancers of Ballett Rossa
Staatskapelle Halle

Composition, Concept and Director Johannes Kreidler
Conductor Christopher Sprenger
Stage and Outfits Christoph Ernst
Dramaturgy Michael von zur Mühlen
Rehearsals Choir Rustam Samedov
Video Coordination Iwo Kurze, Kai Hengst
Sound Heiko Westphal, Jonathan Wolgast
Light Victor Schenke
Inspizienz Berd Bunk
Soufflage Anke Hoheisel
Assistant Lisett Ansorge
Ausstattungsassistenz Ayfer Ezgi Karatas
Stage master Christian Kusch
Video documentary: Matthias Rieger

Commission of Oper Halle, supported by Ernst von Siemens Musikstiftung

Excerpts (15 Minutea)


Trailer 1


Trailer 2


[Pressetext] [Essay] [Radiogespräch auf Radio Corax] [Interview auf Transit] [Vorbericht von Anna Schürmer in der Neuen Zeitschrift für Musik] [Besprechung von Tobias Schick in den MusikTexten] [Besprechung in der Leipziger Volksstimme] [Besprechung auf]

[Review of the piece by Max Erwin in Tempo 72 (in english)]

"I love you, state.
I love you too, Frank "
- kissing each other

In his new music theater work, Johannes Kreidler brings a reflection on community, mass movements, theories of the state and protest in a stage form in the face of growing global nationalism. He puts his finger in the wound of a desire for cohesion, belonging and social purpose.

The protagonist of this work is an equally fundamental and neglected character for the opera: the chorus. Traditionally, in the opera he stands for communalism and for experiencing a sound shared by different singers' bodies full of power, intensity and potential for overwhelming oneself. The choir tells and flanks the plot of an opera story, it is the point of reference and comments on the dramatic events. In this he is a key figure to understand the interpenetration of philosophical, social and real historical discourses with the aesthetics of opera history. Kreidler's work takes up this choral function and traces its development from the ancient mass of the people to the present representation of an organized state apparatus. The work makes current communal concepts from patriotism to the bourgeois nuclear family tangible as political instruments of particular interests in which libidinal attachments are exploited and orchestrated: fraternity, love for the nation, sacrifice for the community. The dynamics of mass and individuality, revolt and integration are dissected, aestheticized and thus made perceptible so that they can be experienced in their present potential for violence.

The composer and action artist Johannes Kreidler is one of the most discussed and polarizing figures of New Music. But music alone does not exist for him. Music has to do with technology and the politics of technology, consumer behavior and the cultural and economic value of art. Politics and everyday life can not be excluded for him when he composes. The hardships in which one finds oneself must be brought into the work of art and that which otherwise happens subcutaneously, must stand out clearly. The material for Kreidler is the world that surrounds us, the Internet, our over-economized and technological world. He feeds falling stock market curves into a compositional computer for children, and the most elated and naive melody comes out of the crisis. He does not deal with globalized exploitation through illustration, but rather with the mechanisms: In the commissioned composition of Fremdarbeit he acted as a composer entrepreneur and handed the commission on to Chinese and Indian living and significantly cheaper composers: what is accepted every day wins provocative readability.


Photos: Falk Wenzel












Related works:
"Mein Staat als Freund und Geliebte" is Kreidler's third big music theater work after Feeds. Hören TV und Audioguide.
At Oper Halle he also staged two years before the scenic essay Industrialisierung der Romantik.

Also a bigger work for choir is Lippenstift.

See also: Lecture Vom erweiterten Musikbegriff zur Medienkunst.