From Matthias Nöther
René Jacobs brings an unknown Baroque Opera to the Schiller theater: Agostino Steffani’s “Amor vien dal destino “
Yes, the new discovery of early music hitmakers René Jacobs at the Staatsoper at the Schiller theater will take beaten three and a half hours. A true baroque opera just an opera seria, and even with the cuts. Agostino Steffani’s “Amor vien dal destino”, not played in 300 years and the first time presents stringent and sonically diverse from the Academy of Ancient Music, is a long, but entertaining piece.
But not least the director Ingo Kerkhof, who manages to put a cleverly placed dramaturgical bracket to the product obtained from a side strand of Homer’s Iliad makes Drama. First of all, this is not self-evident in an opera seria. At its premiere in 1709 in Dusseldorf, the noble audience is eaten in the imagination, drunk, have talked. The genre of this consumerism is the baroque opera – and that is certainly not tight Hitchcock thriller. Nevertheless, there are in this to rigid aesthetic rules abschnurrenden genre and especially in the unjustly forgotten Handel precursor Agostino Steffani aspects that are so conclusive and timeless that they can be transformed into a modern opera dramaturgy outstanding. There are the gods who decide in a prologue to the former Trojan hero Aeneas (here: Enea) to marry can not capsize his boat off the Italian coast, but give him the opportunity, and to establish Italy.
Actor in baroque costumes can be seen at first, then put on a head of curls on the head that looks halfway Cloud, halfway Hofperücke. The paper ship their protégé let the gods on a lay-flat mirror slide, make a little wind, decide in the laboratory the weal and woe of Menschleins on the Mediterranean.
A few minutes later the gods have turned into humans and play the characters of the drama: In addition to the coloratura like lightning around throwing Jeremy Ovenden as Enea falls here vocally especially Olivia Vermeulen on. The figure of the warlike Turno, Eneas competitors to win the favor of the Latin king’s daughter Lavinia (a highly delicate mezzo-soprano Katarina Bradić), it borrows a soprano of beguiling rounded timbre, dramatic power and yet lightness in the guide.
director Ingo Kerkhof relies on the enthusiasm of the singers is otherwise carefully with the conventions of opera seria to, because to blow, they are not – certainly not in a fine specimen of this genre such as the excavation “Amor vien dal destino”, which represents the lengthy hardships and troubles of two entangled love stories into the center.
The god Cupid, which is sung in such operas almost in every other sentence, Kerkhof leaves (great sentimental and clumsy Konstantin Bühler) in a silent role come to the stage and it also the setting design.
The people who enter go into the Liebeswirren, are here surrounded by a curtain, but a hard, smooth wall is: you do not come out, and run against the wall, hurts. Who rebounds, is again in the golden grain scrub the feelings that Amor grow and at the end of the stage can inundate inextricably. A cleverly thought clip that knows something universally human reshape Today actually uninteresting misfortunes in love baroque aristocrat for us and summarize.
Staatsoper at the Schiller Theater, Bismarckstr. 110. performances again on 27, April 30, 19:00
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