Run Lola Run //
Opera based on the film by Tom Tykwer · Libretto by Bettina Erasmy
Manni is in big trouble. His girlfriend Lola has exactly 20 minutes to get him out of it, otherwise Manni is dead! Lola gets a call from Manni telling her he was on his way to deliver a bag of money – 100,000 euros – to his boss Ronnie, but left it lying in the subway car when the police started chasing him. Now Ronnie wants his money. So Lola starts running. First to her father, who really can’t deal with this at the moment and sends her away. Then on to Manni who is about to rob a supermarket. Lola gets shot and lies bleeding in the street. Suddenly the story rewinds and takes a different route, and rewinds once more with a completely different ending.
Ludger Vollmer’s opera adaptation of the film of the same name by Tom Tykwer evolves into a thrilling musical race against time which reveals the ambivalence between the time constraints placed on us by life and our inner sense of time. He particularly focuses on how similar moments differ from one another in the context of each of the three plot variants. After every new attempt to save Manni, we learn more about the protagonists. And within this construct, two moments comprise the core of the opera – the moments when time seems to stand still, when Lola and Manni are alone together, far from existential danger and far from vulnerability. In the end, which of these moments will have a lasting impact on their life?
Michael Dissmeier and Christian Wiehle have collaborated as co-directors since 2013. Christian Wiehle has staged productions at the Kulturfabrik Kampnagel in Hamburg and the Theater Meiningen, and worked as a set and prop designer at the Staatsoper Stuttgart and the DNT Weimar on several occasions. Michael Dissmeier worked at the DNT as a dramaturge and director from 2000 to 2013, during which time he staged numerous productions.