Four pocket operas, a dazzling musical round dance about the subversive power of love, which undermines all the rules and conventions of society.
The starting point of the four new music theatre works for the 9th Salzburg Pocket Opera Festival is the Undine myth, as Friedrich de la Motte Fouqué transfers it in his romantic novella “Undine” and Ingeborg Bachmann in her prose “Undine geht” in form, language and with logical consistency to the reality of the 20th century.
In Fouqué’s story, Undine becomes the victim of her love for a man, whom she thereby also makes a victim. This male perspective is turned upside down in Ingeborg Bachmann’s story. Her protagonist is no longer a passive water creature, but an autonomous figure who questions the female role imposed on her. The man, with all his cultural-historical characteristics, is not a victim but the object of both her accusation and her identification and individualisation.
If Fouqué in his fairy tale creates the limbo between a tragically highly complicated reality and a transcendent unreality, everything thus remains in the non-committal sentimental of an ingenious parable, the suada of Bachmann’s Undine is a reckoning with the world-determining achievements of man and a beacon of a claim to the woman’s right to exist and act.