sirene evolved from the cooperation between Kristine Tornquist and Jury Everhartz in 1998 with first performance of Hirlanda and operates since then - on one hand with absolute terms, on the other with variable casts of characters, but not known before 2002 under the name sirene Operntheater. Altogether sirene performed world premieres of 64 opera pieces (2018) visiting different stages and playhouses.
First Releases Engine
Regarding the established opera houses´ business opera-production seems to be a lumbering and cumbersomely thing. We deem it essential to forge music theatre as flexible as it has been usual in the capital tenses of flowery opera and take therefore some risks as it seems to be as a matter of course in other scopes of arts.
Cooperation and Balance
Our main focus is a groundbreaking redetermination of the possibilities of modern music theatre, specially in face of cooperation with artists from "foreign" departments. As against uniform total art works we are interested in persistent contention to other modes of operation not to freeze in smugness and self-approval, but staying inflective, snoopy and curious. For instance we try to install new styles of cooperation between authors and composers, over and above between performers and musicians, choreographers and exponents of other artistic domains. It appears to be basic to find a kind of balance between well proven quality and open risk of the bare unknown so we neither want to fail in unsuccessul experiments nor hedge one´s bet completely.
Also it´s significant to keep equation in single components for the complex of opera: music, conversion, permutation, lyrics and stage design and all other things should become perpetuated coequal and adhesively. So finally we neither want to streamline notoriously old operas nor perform the new ones dowdy or frumpy. Inhomogeneity of the audience is our first draft. In a final step we want to reset the opera apart to some cultural discourse affecting everybody and not attracting only well-niched experts.