Orleanskaja Deva

Orleanskaja Deva — Theater an der Wien

The people are full of fear and beg God to come to their aid because England is visiting war upon France. It is for this reason that the farmer Thibaut wishes to marry off his daughter Joan as quickly as possible so that she has a protector. But when news arrives that the English are coming ever closer, Joan feels inspired by the Virgin Mary and foretells that an armed virgin will save France.
Joan says farewell to her village and sets off, convinced that it is she who will be the armed virgin. There is, however, one condition that she must abide by to receive God’s aid: she must renounce all earthly pleasures. When she leads her troops into battle against the English she wins victory after victory and the people celebrate her. But suddenly she falls in love with an enemy soldier, Lionel. She lets him live, thereby breaking her vow. She feels she has now made herself guilty before God and suffers an emotional breakdown.

On the day of her triumph, her father suddenly reappears. He believes that a woman who presumes to wage war must be possessed by the devil, and publicly accuses her of this. Joan offers no defense; she believes she is guilty. The people’s goodwill immediately turns to hostility towards the alleged witch. Lionel tries to shield her and is killed. Joan then allows herself to be taken prisoner. While she is being burned at the stake, the people rejoice at the death of the witch and praise God. Angelic voices announce Joan’s ascent into heaven.

music
Tchaikovsky

conductor
Oksana Lyniv

director
Lotte de Beer

scenography | costume design
Clement & Sanôu

light design
Alessandro Carletti 

dramaturgy
Peter te Nuyl

choreography
Ran Arthur Braun

premiere
16th march 2019
Theater an der Wien

photography
Werner Kmetitsch

“The elaborate and attractive stage design, melds elements of modern living with fantastic, sometimes nightmarish landscapes filled with larger-than-life dresser drawers and atmospherically lit trees with leaves of changing colours.”

— BACHTRACK.COM 

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“Für diesen Geniestreich haben ihr die Ausstatter Clement&Sanou ein flexibles Bühnenbild geschaffen, dessen Wände sich hochziehen, wegschieben und drehen lassen - je nachdem in welcher der Welten man sich befindet. Die historischen Kostüme könnten einem Jan-van-Eyck-Gemälde entsammen und entführen in die (Gedanken-) Welt Johannas, in die Zeit des Hundertjährigen Krieges.”

— SALZBURGER NACHRICHTEN

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“...gestaltet in den malerischen, ästhetisch perfekten, phantasievollen Bühnenbildern von Clement & Sanôu großes Operntheater, das Tschaikowskys Vorstellungen von dieser Historienoper rund um den Hundertjährigen Krieg um 1430 sehr nahekommt.”

— KRONEN ZEITUNG

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“Dafür wechselt sie geschickt die Zeitebenen zwischen Heute und Mittelalter, lässt sich vom Ausstatter-Duo Clement & Sanôu ein raffiniertes Bühnenbild bauen, das flugs aus dem Mädchenzimmer auf einen mittelalterlichen Marktplatz wechselt, wo man in ein gotisches Tafelbild geraten zu sein scheint.”

— TILOLER TAGESZEITUNG

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“Aber Lotte de Beer und ihr Ausstatterduo Clement & Sanôu wissen wirklich Rat - gerade weil sie die Protagonistin als ein junges Mädchen in Pubertätsnöten zwischen Heute und Historie hin und her driften lassen.”

— DIE PRESSE

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