“The music of “fremd körper” is mostly based on a sonic transcription of the libretto, which was recited and recorded by a female narrator. The prose text by Sophie Reyer on which the libretto is based is the result of her critical examination of the concept of the “child murderess”.
The “child murderess” is split into several voices: Society, pain and the religiously connoted superego speak out of her “soul topography”. The aspect of the litany-like, uninterruptedly broken speaking of the voices, which is immanent in the text, is consciously worked out without any dramatisation. A transcription process transfers the spectral and rhythmic components into musical notation in order to gain a musical structure that has an inherent coherence to the text material. (Reinhold Schinwald)
The “child murderess” is split into several voices: Society, pain and the religiously connoted superego speak out of her “soul topography”. The aspect of the litany-like, uninterruptedly broken speaking of the voices, which is immanent in the text, is consciously worked out without any dramatisation. A transcription process transfers the spectral and rhythmic components into musical notation in order to gain a musical structure that has an inherent coherence to the text material. (Reinhold Schinwald)
foreign body
Music theatre for ensemble, two actresses, four solo singers and interlude
Text by Sophie Reyer “Kindsmörderinnen”
Commissioned work for the 2011 Pocket Opera Festival Salzburg
Music Reinhold Schinwald
Direction Ernst M. Binder
Young Woman Gina Matiello
Old Woman Cordula Schurich
Child
Soprano 1 Sarah-LuiseTraubel
Soprano 2 Mayumi Sawada
Soprano 3 Irina Marinas
Alto Anette Schönmüller
