When “carnage” give women tone and tempo – Berliner Morgenpost

As the Black Knight with his black combat-squad rushes to the stage seems clear who wears the pants here: Hagen, the murderer of Siegfried, has in the new edition of Worms Nibelungen Festival before Dom a strong debut. But the distance (Max Urlacher) from Burgundy’s “massacre” of Albert Ostermaier only a man driven looking for forgiveness. There are women – Siegfried’s widow Kriemhild (Judith Rosmair) and armed with an explosive belt Brynhild (Catrin Striebeck) – indicating the tone and pace. However, not always with noble motives and peaceful results. “When women go to war, the men lose every battle,” the fool says (Maik Solbach) long before it comes to a bloody showdown between Burgundians and Huns. Ostermaier, who is also a poet, has the well-lit characters given a poetic language that creates a compressed and allusive narrative style.

Grimme Prize winner Thomas Schadt has the complex substance to revenge, betrayal and Rheingold set under the new Nibelungen director Nico Hofmann with a top-notch ensemble scene, which repeatedly received applause at the premiere on Friday evening. At the end of 1300 spectators clapped, which included numerous celebrities such as Mario Adorf, on the crowded ranks.

In the piece, which begins after Siegfried’s death, Aleksandar Denic manages two great “war storm” that are available for the camp of the Burgundians and the Huns, a martial and at the same time retaining stage. Kriemhild, the (Markus Boysen) is married to Siegfried’s death with the Hun Etzel and with him that hath the Son Ortlieb (Alina Levshin), the Nibelungen invites to Gunther and Hagen to the apparent reconciliation to Etzel’s court. In fact, she is interested in revenge for an act that is accounted for by men. And she wants to return the treasure, has sunk to Hagen in the Rhine. He seems to be important to her than Ortlieb, the sometimes gives Levshin childlike freshness and perplexity.

Experience is the larger first portion from the perspective Ortliebs that its interest in Siegfried and the Nibelungen Fabric occasion offers, new the Siegfried saga again – and ironically – to tell: by a fool, a narrator (Radu Cojocariu) and a juggler troupe who present with modern choreography the fight for the gold, and the fight against the dragon. Complemented is Kriemhilds dreams. Significant of stringent second part comes from the fact celebrate together in the burgundy and Huns, until it comes to a bloody end.

 (BM)