BUBER DORÁTI TEAM MEETING with Achim and Esther Freyer

Martin Fischer-Dieskau and Achim Freyer looking forward to the realisation of an opera dream.

BUBER DORATI team meeting March 13, 2020

 

production team EVA KAREN TITTMANN

filmmaker DR. REINHOLD JARETZKY

opera director EIKE MANN

dramatic and cultural advisor STEFAN ROSINSKI

YMUSIC producer ERIC NICODYM

head of International Affairs Ukrainian Opera OSTAP HROMYSH

YMUSIC producer und composer MARC SINAN

artistic coordination MICHAEL STURM

ensemble management LAURA EISEN

academic-artistic dramaturge FRITZ TANGERMANN

artistic director Prof. Dr. MARTIN FISCHER-DIESKAU

cultural attachée Republic of Ukraine OLHA MISHKINA

By Yemima Hadad

At the commemorative event for Europe’s Sinti and Roma on January 27, 2019, in my capacity as Buber appointee of the BUBER DORATI FESTIVAL I met German Moyzhes. He is travelling all over Europe in his manyfold functions as activist for the Lew Kopelew forum as well as practising his core business: law. German – ordinarily domiciled in St. Petersburg and Cologne – presented some of BUBER DORATI FESTIVAL’s maxims to Minister of State Michael Roth and also to Federal Foreign Office’s special commissioner, Michaela Küchler. We decided, we could actually regard our mutual interests in Martin Buber’s and Lew Kopelew’s philosophy as a joint venture in future … a wonderful encounter!

Greetings from Ilse von Alpenheim-Doráti

Dear Martin,

you know best: Toni’s opera is his only work still waiting for its first performance. I know that your team and you yourself are fully dedicated to make this dream come true.

Let me wholeheartedly wish you the best of luck and I hope that the gods will be merciful and allow me to attend.

In old friendship,

Yours,
Ilse

Disclosure of a commemorative plaque

by Fritz Tangermann:

1. International conference:

To my own astonishment I learn that the Israeli-Palestinian conflict is being discussed with a lot of political engagement during the »Christian-Jewish summer university« (July 2018) at the Berlin H(umboldt) U(niversity). How would these current questions fit into the context of »Jewish and Christian mysticism – common features and distinctions«?

Does that have to do with Martin Buber’s life work? Can we fertilize the dialogic principle – this essence of Buber’s thinking – for an international conference? Is the catalyst Buber with his unending trust in the Arab-Jewish dialogue an example even today, let alone a model or an appeal for political action?

What relevance can be assigned to the concept of prophety which is associated with the figure of Elijah? Christian, Jewish and Islamic tradition come into play as much as the overall reception of poetry and art. Why does Antal Doráti set Martin Buber’s late mystery play to music? Does music theatre reflect elements of geopolitical reality? A terrific field for the combination of music theatre and scholarship.
Musicology, theology, philosophy and the study of literature will dig into these questions; our leading scholars will be Paul Mendes-Flohr, Bernd Witte, Peter Schäfer, Jens Malte Fischer and Jürgen Maehder. Which additional fellow campaigners will they be inviting? With the new complete Buber edition at Bertelsmann/Random House being first presented within the scope of the conference, many important aspects of Buber’s thinking will be addressed under the watchful eye of a broader public. Modern exposition didactics might work miracles here!

All of that should be incorporated into the structure of the convention. Much stuff to think about!

2. Dominique Bourel

Buber is up-to-date and present in town! A public event organized by the Berlin ›Senatsverwaltung für Kultur and Europe‹ on October 16 really could be labled with such a phrase. The author of a comprehensive biography of Martin Buber addresses an assembly which gathered to undrape a commemorative plaque at Vopeliuspfad in Berlin-Zehlendorf. Incidentally I had met Dominique Bourel at a private encounter two days earlier. Vivid, approachable, full of stories and anecdotes about Buber, Scholem, Rosenzweig … no wonder, because Bourel had to deal with 50.000 letters and evaluate them in the biography.