Display
Peter Konwitschny makes his directorial debut with Wolfgang Rihm’s “The Conquest of Mexico”.
“Because of the noise,” writes the clairvoyant visionary Antonin Artaud, “is connected to the theater.” And already blaring a new percussion cascade through Salzburg Felsenreitschule, geklöppelt on various platforms in space. Then she combines these qualities give a giant space over-filling chorus from the tape, which is recently broken and primed by live gambling ORF Vienna Radio Symphony Orchestra under conductor Ingo Metzmacher. But sometimes mingle in the Klangorgasmen lines a delicate unheard, but always seeking death poetry. And the Salzburg audience is amazed, more puzzled than frightened about this throughout spellbinding sound space theater.
Was Antonin Artaud (1896-1948) one of the most unrestrained theater Erträumer, then the composer Wolfgang Rihm, born in 1952, be no less uninhibited executors. One who repeatedly flooded the boundless and always common sense busting visions of his mentor with relish from-subtle sounds and so pieces devised that proclaim to be of a poe-table so entirely different world of theater, as they endemic to today’s brave opera stages is.
Because of the legendary György Kurtág, he will next year ninety, still not finished his Samuel Beckett’s opera “Endgame”, the Salzburg Festival opened now her opera program with Rihm’s 1992 Hamburg ur -aufgeführten theater-denial and dissolving boundaries “The Conquest of Mexico”. This four-part Zweistünder told musically intoxicating dramatically in dark sound eruptions that Konfronta-tion between the Spanish Hasardeur Hernán Cortés and the Aztec king Montezuma, which ended with the destruction of his kingdom.
basis of the opera is a europakriti -sches scenario Artaud, that’s for GE-taken little more than a bad conscience primed Karl May. But Rihm infiltrated another, hallucinogenic Artaud text, “Théâtre de SERA phin”, so titled after the name of a legendary shadow theater. Its most famous, extensively quoted by Rihm passages are “neutral female male” and “I want to try a fright-lich Female.” Therefore he-appears in the opera the Mexico-conquest as a basic male-female conflict, especially Rihm will have sung the role of Montezuma by a woman and to himself pierced by a poem by Octavio Paz deeper into Urgründe of love.
Display
Peter Konwitschny, who now gives his late Salzburg debut, focuses therefore in his production to a modern man-woman study the historical events he hides almost completely. Finally Rihm says music has more than enough of this cultural conflict, of massacres, strange rituals and a fascinating earthbound thinking, which knows no up and down, but only a juxtaposition of competing forms of life.
John Leiacker on a phalanx of car wrecks, symbol of lebensverach-border throwaway society, provided a bright living room, in the rumble along the life-worlds of Mrs. and Mr. Montezuma Cortez. The disastrous artist relationship of Frida Kahlo and Diego Rivera is it visible and avowedly the template. The wonderful Angela Denoke, whose song is very longing, mystery and life affirmation, shows obvious fascinated by the macho world which even penetrates with Bo Skovhus, jagged and muscled in singing, in their earthly paradise. Instead of flirting he undertakes the same times an attempted rape, and even crashes the howling horde of his cronies from the auditorium to the stage. Since only Gegrapscht, gepöbelt and caroused. A Go-Go-Girl Combo that posing on the red sports car of the usurper, makes the perfect bachelor party. No wonder that Montezuma is after the orgy pregnant, and – Konwitschny are like the brachial reconnaissance – gives birth to a litter tray and smartphones. Audience laughter. But Rihm raging Ursuppenmusik which is always conditioned by the Urauffüh-tion conductors Metzmacher with to-nehmendem Fury makes this gaffe quickly appear as venial sin.
The composer has lots of its two protagonists characteristically he-panded. The Cortez he has added two often excessively raging spokesman, currency-rend Montezuma reinforced by two other singers, deepens, becomes excessive, by the dizzyingly high Singing extreme soprano Susanna Andersson and on-the contralto Marie-Ange Todorovitch. Although these four often sit in the orchestra, but come in particularly dramatic moments again and again on the stage and tighten so physically the central male-female conflict, which then goes far beyond individual Intimate.
Montezuma’s death corresponds in Konwit-schnys interpretation the marriage of the protagonist, with the wife of the man’s world is unconditionally turned on and subordinated to, which is why it solidifies as a doll in white wedding dress. But unlike in the history and in the lived reality may at Rihm also Cortez the clash of cultures do not survive. Finally, the protagonist couple is dead and now is umschwebenden finally in equal love ghosts find themselves “lucky way and dumb” in the final stanza of Octavio Paz ‘Liebeserfor-research poem:… “Thunderous silence, / forever umrißlos / unfailing love , death emanates. “
No comments:
Post a Comment