Andrea Lorenzo Scartazzini
Der Sandmann - Oper in 10 Szenen
1. Szene (Beginn); 1. Szene: Nathanael: "Er war wieder da ..."; 2. Szene (Beginn); 2. Szene: Vater: "Schlaf, mein Kind ..."; 3. Szene; 4. Szene; 5. Szene (Beginn); 5. Szene: Vater: "Der Sandmann ..."; 6. Szene; 7. Szene (Beginn); 7. Szene: Nathanael: "In Gedanken ..."; 8. Szene (Beginn); 8. Szene: Clara: "Er ist verrückt"; 9. Szene (Beginn); 9. Szene: Chor der Claras: "Bitte nehmen Sie mich ..."; 10. Szene/Epilog.
Andrea Lorenzo Scartazzini’s music traces human feelings highly precisely. It is full of emotion, strength, vibrancy and clarity. This is truly a music for the theatre! But in his case, as with many others, this phenomenon is not confined to the genre of opera . Yet in opera, not least in a narrative opera such as Der Sandmann (“The Sandmann”), we are dealing in particular with the “psychology of the characters, their feelings, thoughts and actions. Like a medical probe in the human body, the music should penetrate the action, register its workings like a seismograph, and make its inner signals and emotional upheavals and eruptions audible. The music should follow the flow of the narrative and at the same time form tributaries – accumulating, turning into a maelstrom and thereby constituting an independent level of its own. In order for this to be experienced in an enthralling manner, it seems to me important to have a dramaturgy oriented to the action, plus complex characters such as the Sandmann offers. Its conflict, as it intensifies, demands a dramatic, focused, self-contained musical idiom. This main strand burrows its way musically from the beginning through to the end; it is in the shape of a spiral, analogue to the nightmarish, repetitive loops in the sequence of scenes. Alongside this, however, a multitude of further accentuations opens up. Besides Nathanael’s flaring, impetuous nature we have Clara’s (resigned) sobriety and the cold, casual nature of the old men; and Clarissa, the artificial male fantasy, is given a very special tone of her own. The two choral scenes ultimately shift the action even more into the surreal. This illustrates how the cohesion of the musical texture is repeatedly prised open in a multifaceted fashion”. As the composer’s highly vivid description intimates, Scartazzini writes a direct, appealing music, which in moments of corresponding intensity could even be described as overwhelming. He has the phenomenal sense of timing that is so essential for the stage.
Andrea Lorenzo Scartazzini (*1971)
Ryan McKinny (Bariton); Agneta Eichenholz (Sopran); Marko Spehar (Bass); Thomas Piffka (Tenor); Hans Schöpflin (Tenor); Chor des Theater Basel; Sinfonierorchester Basel; Tomás Hanus, Leitung.
CD order number
MGB CD 6288