Tosca

Mentoring: Sandra Umathum, Boyan Manchev, Florian Feigl

In the second act of the opera Tosca, Tosca tries to intervene with the police chief Scarpia for the release of her friend Cavaradossi. While Scarpia is bribable, he demands not money but her body in return. When Tosca realizes that there is little time left to save Cavaradossi, she laments her fate in an aria: "I lived for art, I lived for love, and I did no harm to any living being." In this performance, the first 9 bars of the aria Vissi d'arte are isolated. This musical motif is looped, and I sing along to a recording of Maria Callas. The result is a 45-minute emotional choreography duet with two speakers, reflecting the life for art and love. I lend my voice and body to an existential and ontological engagement that Tosca is not allowed within the narrative structure of the opera.

Tosca

Mentoring: Sandra Umathum, Boyan Manchev, Florian Feigl

In the second act of the opera Tosca, Tosca tries to intervene with the police chief Scarpia for the release of her friend Cavaradossi. While Scarpia is bribable, he demands not money but her body in return. When Tosca realizes that there is little time left to save Cavaradossi, she laments her fate in an aria: "I lived for art, I lived for love, and I did no harm to any living being." In this performance, the first 9 bars of the aria Vissi d'arte are isolated. This musical motif is looped, and I sing along to a recording of Maria Callas. The result is a 45-minute emotional choreography duet with two speakers, reflecting the life for art and love. I lend my voice and body to an existential and ontological engagement that Tosca is not allowed within the narrative structure of the opera.

Concept and Performance: Lulu Obermayer
Dramaturgical Advice: Aline Benecke
performed at Uferstudios, Berlin
Batard Festival, Beurschouwburg
Trente Trente, Bordeaux