Messiah at Theater an der Wien

Along with his co-authors sought Claus Guth in the Handel year 2009 for its staged implementation of the
Messiah to situations in which the subject of the oratorio in other ways is experience as a
Performance in the concert hall. A group of people is through painful experiences with the great questions of the
Being human face: what is to blame? What does love mean? What is death? What comes next? How should
to deal with the loss of a loved one? What is salvation?

Handel's Messiah, premiered in 1742 in Dublin, is based on Bible, compiled by Charles Jennens. The libretto is abstract; Unlike Bach's passions or the Christmas Oratorio, it tells no story. The Messiah does not occur. Statements of the prophets in the Old Testament are Christological interpreted and referred to Jesus as the New Testament describes him. He is represented as the awaited Savior. The basic gesture of the texts is the struggle for the faith. Handel's music makes a great painting of the 'condition humaine"and finds overwhelming expression of human fears and hopes, feelings of guilt, contrition and cheering certainty of salvation.

A funeral, a baptism, a love story, a suicide, accusations and self-reproach - from the realistic scenes composed pieces way biographies, the is as a kind of family history
read. A second layer is produced by the choir, which occurs through its formalized gesture in an exciting relationship with the game of the protagonists. A sign-language soloist and dancer unlock additional levels of expression. The theological vantage point of the Messiah, the Christian message, binds back to existential experiences, out of which the work begins to speak. Returns after four years of successful performance in partially new lineup under the direction of Christophe Rousset in the theatre
at the Vienna back.