• Fabrice Bollon
  • The Folly (2021)
    (Oper in 5 Akten )

  • Henry Litolff’s Verlag GmbH & Co. KG (World)
  • S,Mz,A,Ct,2T,2Bar,2B + solovoiceschildrchmixedch; 3.1(ca).3(III:bcl).1+cbn/4.3.3.1/perc.drums.vib(mba)/kbd.hp/str
  • solovoiceschildrchmixedch
  • Soprano, Mezzo-soprano, Alto, Countertenor, Tenor, Tenor, Baritone, Baritone, Bass, Bass
  • 1 hr 40 min

Programme Note

For 14 years, Fabrice Bollon shaped the musical programme of the Freiburg Theatre and the artistic work of the Freiburg Philharmonic Orchestra. With the world premiere of his own work, Fabrice Bollon bids farewell as GMD to the Freiburg Theatre, the Philharmonic Orchestra and the audience. The Folly is a musical commitment to the humanistic European idea.

Only those who do stupid things move the world forward. Even 500 years ago, folly reigned supreme and was reflected no differently than today in contemporary discourse, in politics and above all in the church. As early as around 1500, the still topical question of what happens when the centre of a society begins to divide. Back then, it was Catholic monks who raised their voices against their own church when one pope after another lived and ruled like a secular emperor, sold indulgences and practised nepotism and waged wars of conquest. Two men denounced these abuses with particular publicity: Erasmus of Rotterdam and Martin Luther.

With a light touch and original texts from letters, pamphlets and folios, The Folly tells the story of the primordial conflict of how far one can simultaneously observe and help shape at the same time. How does the venerable, thoughtful man position himself, Erasmus, so often admonishing peace, positions himself in the conflict between the church and the younger and Luther, who did not shy away from drastic measures? Erasmus refuses to take a clear statement. Luther's opponents and supporters unsuccessfully tried to get the most respected humanist in Europe on their side. Erasmus wants to remain an observer in this drama and fears what will happen shortly afterwards. The tensions fuelled bloody violence.

After Oskar and the Lady in Rosa, the second music theatre production by Fabrice Bollon and Clemens Bechtel revolves around the question: when does impartiality lose its justification? How high is the price? The work under the direction of the composer combines choral chants with rhetorical exchange of blows, supernatural spheres with dusty writing room air. Musically popular forms such as the madrigal through to elements of jazz are absorbed and moulded into their own musical form. 

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