Dresdner Musikfestspiele

Lance Ryan singt den Tenorpart in Mahlers 8. Sinfonie "Sinfonie der Tausend" mit dem Israel Philharmonic Orchestra unter der Leitung von Omer Meir Wellber bei den Dresdner Musikfestspielen. Das Konzert findet am 21. Mai 2016 in der Dresdner Kreuzkirche statt.

Oper Dortmund

Lance Ryan singt den Tristan in der gefeierten Neuproduktion der Oper Dortmund zum letzten Mal am 29. Mai 2016.

Oper Köln

Lance Ryan singt ab 26. Juni 2016, erstmals an der Oper Köln, den Cavaradossi|Tosca.

Dresden, Semperoper

Lance Ryan singt erstmals die Rolle des Herodes|Salome im Rahmen einer Neuproduktion an der Sächsischen Staatsoper Dresden. Premiere 24. September 2016

Hess. Staatstheater Wiesbaden

Lance Ryan debütiert in der Titelrolle von Peter Grimes am Hessischen Staatstheater Wiesbaden ab 10. Februar 2017.

Oper Dortmund

Lance Ryan singt  Otello in einer Neuproduktion des Theaters Dormtund. Die musikalische Leitung hat Gabriel Feltz, Regie führt Intendant Jens-Daniel Herzog. Premiere am 26. III. 2017

Nederlandse Opera, Amsterdam

Lance Ryan singt Herodes|Salome im Rahmen einer Neuproduktion an der Nederlandse Opera Amsterdem ab dem 9. Juni 2017. Die musikalische Leitung hat Daniele Gatti, Regie führt Ivo van Hove.

Staatstheater Wiesbaden

Lance Ryan singt zur Saisoneröffnung 2017 in einer Neuproduktion die Titelrolle in Tannhäuser am Hessischen Staatstheater Wiesbaden.

04.08.2015

The virtual reality that we are constructing around ourselves is rapidly diminishing the need for human social activity. This activity has been a necessity for survival throughout the evolution of the homo genus and has dictated the form of our societies. Now, we are entering a time that has no need of interpersonal relationships.

Already the formation of sedentary groups leading up to metropolitan living began the course of humans anonymously intermingling: an unprecidented natural phenomenon in itself as only life a very limited consciousness exists without acknowledging its surrounding fauna. The stability and security that we have achieved in modern western lifestyles have made this tunnel vision survival tactic not only possible but seemingly advantageous. What we value as a successful life comes through persistent effort of concentrated tasks which lead to the further canalisation of our existence.  A part from various cultural endeavours society has desired to incubate itself into pods of individual consciousness which are increasingly becoming virtually relative.

Despite this social development it is hard to deny the intangible pleasures that can be experienced from interpersonal contact. These moments of pleasure however have come to be the exception rather than the norm, which arguably may render their appreciation even greater. This product of the virtual lifstyle is increased  proof of its irresistible advancement. Even at this point of our social evolution the call to revert to a natural lifestyle is completely conditioned by our virtual existence to the extent that we understand the need to become stewards of the earth in order to maintain nature in its entirety. Otherwise, our desire to maintain a connection with our prehistory is in vain having totally changed its dynamic, risking its very existence. A truly unnatural relationship.

Thus, we cannot but try and come to terms with the nature of virtual reality. Sitting in my courtyard under the fig tree writing these words on my tablet and saving the text intermittently on the web via my Wifi connection, so far I have managed. Yet, I can't help but fear that I am of the few who are able to find this equilibrium. No matter how we choose to live our lives the value of humanity must have precedence. The alternative is an human integration into artificial intelligence. An intelligence without humanity or values: lifeless intelligence.


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