Music Festival Week: Hannelore Hoeger tells about forbidden love

Bad Berleburg.
Bad Berleburg’s music festival week begins with a full house. Exceptional pianist Sebastian Knauer accompanies the reading in front of the Royal Patron.

They Intertwine: The Life Stories of the Singer and Composer. Other colors mix in this network: from other musicians, performers, writers. Thus a picture appears, almost a painting, romantic in the best sense of the word, a portrait of two clan spirits against the background of cultural events flourishing in Central Europe. The story is told by Felix Mendelssohn Bartholdi, born in Hamburg in 1809, and soprano Jenny Lind in Stockholm, eleven years younger than the maestro and completely addicted to him after the first encounter. The relationship between singer-composer/leader/pianist/organist is one that it should not be, because Mendelssohn is married with multiple fathers, and he is always on the edge of his power. Will he return her love? Can. In any case, Mendelssohn admired Lind, the “Swedish Nightingale”, which he celebrated in Berlin, Leipzig, Vienna, London and Aachen.

Intense concert atmosphere

The story of Felix and Jenny was told on Monday evening at the opening week of the 49th International Music Festival at Berleburg Castle. The dense, atmospheric concept combines the original sounds of soprano and contemporaries with the composer’s piano works. Actress Hannelore Hoeger (including “Bella Block”) gave the voice to singer Jenny Lind. On the grand piano, pianist Sebastian Knauer emphasized what was said (and what was not said!) with music. Mendelssohn’s “Songs Without Words” continually featured throughout the program, commenting and/or responding to Lind’s sometimes factual descriptions, sometimes her infatuation with girls, her happiness and sadness, her feelings, her longing, and her anxiety. Sometimes the music took the thread of what was being said very directly, as in the name itself “On Wings of Song”. Later it will again be a poem by Heinrich Heine that wonderfully describes this state of distant proximity: “Quietly, beautiful tears pass through my soul; ringing, a little spring song, ringing away … ”The song of Lore-Ley can also be heard, in connection with the song of the gondola The wonderful swaying in A major.

The audience in the castle (finally again!) follows the performance with interest, very moving, sometimes a little amusing, because the sometimes laconic tone of the narrator’s ego, despite all the tragedy, sometimes contains something joyful. With a light hand, but with tremendous depth, the lyric poet Wolfgang Knauer connects the focused internal and external events of the mid-19th century with what also happened: the visit of the very young Mendelssohn to Johann Wolfgang von Goethe, and the rediscovery of Johann. Sebastian Bach, the fight for his own opera, the creation of the oratory “Elias”, the storm of enthusiasm in the musical capitals of the time – and the dedication of the Danish composer Hans Christian Andersen, who longed for Jenny Lind, in vain.




Greetings to the host


Hannelore Hoger began her recitation with his fairy tale “The Emperor’s Nightingale” and with it a very delicate piece of literary art: “Suddenly the most beautiful singing sounded out the window….” Honoring the Danish Royal Family and patron of the week of the music festival, IKH Princess Benedikte. Even if there was no singing that evening in Bad Berleburg, it still seemed as if the actress reading in the well-upholstered chair at the small table was this diva whose fairy tale never ends with a happy ending. When “He” Felix fell victim to multiple strokes in Leipzig on November 4, 1847, the “scientist died” for Jenny Lind. “Song Without Words” is heard again, followed by Mendelssohn’s piano piece in G Minor, like the credit ending to which Sebastian Knauer brings the audience back into the here and now with great mastery.

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After the audience’s long-standing applause for the attractive text-text duet with Hannelore Hoger, it is important for the pianist to identify a very personal turning point: through two works by Johann Sebastian Bach – Srabandi and Wohl mir, dass I have Jesus” – think of his companion Johannes Rolle, who He died suddenly in April. He was pleased to meet “A Röhl” when he took up his position as artistic director of the music festival week at Berleburg Castle. After all, his father, Wolfgang Knauer, and father of the forest director, Uwe Röhl, were in close contact Through their joint work with NDR. Sebastian Knauer says the fact that he is the last of this quartet still surviving makes him sad. He dedicated his thanks to Warda and his music to the former president of Wittgenstein-Berleburg’sche Rentkammer. Precious moments!


More articles from this category can be found here: Wittgenstein


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