Opera

The Turn of the Screw

Nothing seemed more natural than for these things to be exactly what they were not.

Benjamin Britten (1913–1976)
Opera in one prologue and two acts
Libretto by Myfanwy Piper
Based on the novella of the same title by Henry James (1898)

Revival

10. February 2023

Opernhaus


In English with German surtitles

2 hours 10 minutes, one intermission

For adults and young people from age 14

Dates and tickets

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Musikalische Leitung Maxim Böckelmann
Inszenierung Immo Karaman
Bühne Thilo Ullrich
Kostüme, Bewegungscoach Fabian Posca
Licht Susanne Reinhardt
Dramaturgie Regine Palmai


The Prologue Marco Lee / Peter O'Reilly
The Governess Sarah Brady
Mrs. Grose Monika Walerowicz
Miss Jessel Barno Ismatullaeva


Statisterie der Staatsoper Hannover,

Description

A young governess takes charge of two orphaned children who live in an English country manor. But the idyllic setting turns into a confusing world of horror. Two ghosts, deceased servants, seem to want to take possession of the two children in her care. But are they really there? In whose world do they exist? The story leaves not only the protagonist in doubt, it keeps its unresolved secrets beyond the end of the opera. The governess’ struggle to save the children becomes a journey into the subconscious, a psycho-thriller that continues in the minds of the audience.

The Turn of the Screw is one of the most impressive operas of the latter half of the 20th century. The music alternates between light and shadow, reality and hallucination, the world of humans and the world of spirits. The motif of the screw twists itself ever deeper into the score, increasing the feeling of suspense. In terms of space, the staging of the episodes draws ever closer in claustrophobic constraint, with a musical counterpart of an equally expressive and minimalist orchestration. On the other hand, all characters are drifting apart to keep the largest possible emotional distance. An opera between seeming and being, between keeping distance and longing for intimacy, obviously tailor-made for the times we live in.

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