MONEY / THE LADY OF THE CAMELIA DIRECTED by DANIEL JOSEFSOHN



The Lady of the Camellias after Alexandre Dumas with music from Giuseppe Verdi’s “La Traviata”, piece version Clemens Schönborn With: Hendrik Arnst, Jean Chaize, Zazie de Paris, Sophie Rois, Kai-Ingo Rudolph and Hans Schenker Director: Clemens Schönborn Costumes: Nina Kroschinske Musical director : Michael Wilhelmi Licht: Torsten König Dramaturgy: Ralf Fiedler Choir: Frank Backmeister, Frank Bauszus, Lothar Butszies, Bertold Kogut, Maxime Martinot, Manfred Meier, Reinhard Schmidt, Bernhard Schumann, Helge Witt 1st violin: Kirsten Harms 2nd violin: Emmanuelle Bernard viola: Chang-Yun Yoo cello: Augustin Maurs flute, clarinet: Tilmann Dehnhard clarinet: Freyja Gunnlaugsdóttir You’d rather give someone your whole heart than all your money. How come You give your heart and still have it, but the money is gone. In Germany love must not cost anything, its purity would be sullied by money. Or as one puts it in a mixture of sentimentality and bureaucracy: It is an affair of the heart. In the world of the courtesan Marguerite Gautier, known as the Lady of the Camellias, there is no such thing as cheap love, it is always expensive and ruinous. The mere intention to sell does not guarantee commercial success. It takes something that defies calculation. You could call it “happiness in love”. Marguerite – played by Sophie Rois – is blessed with it. The origin of their greed for money is not avarice or business acumen, but cultic extravagance. Uninhibitedly, she ruins her admirers. He who loves has to pay. Even if Marguerite loves Gautier herself, she acts according to this law. That is what makes their love so different and so valuable. When she says, “I love you,” her proof is not feelings, but cash. In the memoirs of famous Parisian courtesans, love is celebrated as a luxurious and voluptuous act of exchange. Today we make a strict distinction between pure, real and purchasable love. But isn’t love a precious commodity and therefore has a high price?

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