When thinking of Mozart, the notion of early rock-star may not come to mind. A child prodigy, yes. A whiz on the ivories, no doubt. But emo-rock sex symbol? The creative team behind Mozart l’Opera Rock certainly thought so; they re-envisioned his life for the stage and took France by storm.
The musical, a mashup of new pop-rock and traditional Mozart compositions, premiered in late 2009. Though not as critically well-received as some other tuners out of France in the recent years(including Notre Dame de Paris, Le Petit Prince, and Le Roi Soleil) the show’s glittering reimagining of the 18th century composer’s life devloped a large fan following and went on to tour through Europe and the rest of France.
Take a glance at this cheeky single that became one of the show’s most popular anthems. The song follows Wolfgang as he attempts to distribute his music and find a job in Paris. The lyrics dabble with sexual wordplay (somewhat evident, though undoubtedly less subtle, in the English subtitles available on this version). Enjoy this stroll down anachronism lane with Mr. Mozart himself.
You’ve never seen Shakespeare like this my friends. The Berliner Ensemble is reknowned for their aggressive and direct method of performing. Screaming at the audience? Yup. Mashing food into their face as they perform? Happens all the time. Breaking down that 4th wall? Each and every chance they get.
That’s why in 2009, when the group tackled Shakespeare’s 400 year old sonnets, the result was anything but traditional. This incredibly distinctive production from director Bob Wilson with music by Rufus Wainwright featured gender reversal, shadowplay, unforgettable makeup, and of course nods to Brecht and Weill (of Threepenny Opera fame).
Take a look at how the Berliner Ensemble tackles the world of Shakespeare and instantly invites you to join them on their hallucinatory ride. Something about the coarseness of the performing style met with the Bard’s infamous words seems like the perfect oxymoron, and yet this production succeeds because it challenges any preexisting notions of Shakespeare’s work.