STORY/CONCEPT:
The opera ”Engel der Gefangenen”
(”The Prisoners' Angel”) takes place at the end of World War II,
and tells the story of German interpretor and nurse Hiltgunt
Zassenhaus through the gruelling personal experiences that ultimately
lead her to decide to risk her life helping the prisoners she is
supposed to be monitoring for the Gestapo. Among the prisoners is the
Danish priest Tage Severinsen, imprisoned and sentenced to death for
his role in helping the Danish resistance.
Juxtaposed against Hiltgunt and Tage's
encounter, is the meeting between Tage's wife Karen Severinsen, and
the high commander of the German forces in Denmark during the war,
Dr. Werner Best, in which Karen attempts to convince Best to overturn
the death sentences on Tage and several other members of his
resistance group.
CHARACTERS:
The four main characters are:
- Hiltgunt Zassenhaus – Mezzo
- Tage Severinsen – Baritone
- Karen Severinsen - Soprano
- Werner Best – Bass
In addition, there are a couple of
small parts:
- Mrs. Levy – Soprano
- Mr. Levy – Bass
- A visiting priest – Tenor
Extras:
- A few male extras, acting both as members of the Gestapo and as prison guards.
- Three children, aged 8 - 14
!A very specific dramaturgical
framework is imagined, wherein the three young children act out
several key moments in the story, as well as add relevant, factual
information concealed within their playful interaction. The children
also appear in the first and last scenes, and as an important
thematical element in the pivotal scene between Karen Severinsen and
Werner Best.
PROCESS:
The story is completed in a 'treatment'
form; i.e. an expanded synopsis. The libretto for several scenes
are near completion, and the basic musical material of themes and
motives are also quite far. Two scenes are completed, have been
staged and showcased, and a video presentation will be
available.
The intention is for all elements of
the opera to be completed in time for the 70th anniversary of the
liberation of Denmark (May 5th 2015).
INSTRUMENTATION/DURATION
The exact length of the piece is still
unknown, but the current overall framework suggests an effective
playing time of 80-90 minutes. Final scoring is limited only by
production budget, but there are certain characteristic elements that
must be retained, including a detuned piano, a sampled track and a
large percussion setup.
