At the Bayreuth Festival, the summit is. reached enthusiasm when the clapping of the audience will be drowned by thunderous tramp.
And those Bayreuther conditions prevailed on Saturday night also at the premiere of Wagner’s “Rheingold”, the artistic director Johan Simons in the Jahrhunderthalle in Bochum staged for the Ruhr Triennale has. Simons had succeeded in bringing the heavy fabric close to the audience – in every sense.
As with “Accattone” his upbeat presentation as the new artistic director of the festival, Johan Simons admits in “Rheingold” the orchestra played a central role: No orchestra pit covered the more than 100 musicians studded ensemble Musica Eterna. It takes on the raised stage the whole width of the space and is in the aisles between the orchestral groups themselves the venue and even an actor.
Central venue is the flat bottom of the Jahrhunderthalle before the giant orchestra, on which a cracked stucco ceiling upside down. Water has been building up between the stucco debris. But the Rhine has low water, Alberich and Mime wade, crawl and crawl around in it. This fissured venue adjacent to the towering grandstand and allows the actors maximum closeness to the audience.
Johan Simons recorded the whole room, the scaffolding on which the construction is suspended. Simons sees the early Wagner as a revolutionary who processed in “Rheingold” his reading of Marx and already formulated with the eve of the “Ring” a radical version of the criticism of capitalism.
And to Wagner to outdo even, Simons breaks the score several times: The Finnish sound artist Mika Vainio has composed electronic ingredients that already sound for the foyer and interrupt at two distinctive sites Wagner’s score. After Alberich’s curse be discharged explosive cascades of sound, and in the Nibelheim scene itself Wagner’s original hammers is still for minutes in the hall continued.
In addition, Simon invents a male figure to the omnipresent as valet, and primed of Vainios sounds are an angry monologue Jelinek for the best.
Teresa Verghos costumes refer something vaguely to a period between the mid-20th century and the present. The closeness to the audience and Simon always remaining in motion directing tell often as lengthy perceived “Rheingold” action fluid and exciting
The actual engine of the evening is the orchestra Musica Eterna under Teodor Currentzis:. Has become legendary Currentzis’ reputation as a radical thinkers and samples fanatics, and actually sounds much unusually transparent, some contrast never heard brachial. At two points Currentzis lets the musicians even stand what additionally enhances the sonic shock waves.
The singers are total famously, at the top of the still very young Mika Kares as effortless Wotan, outstanding and Leigh Melrose as Alberich Peter Bronder Loge and Jane Henschel’s unusually delicate timbre Erda. Overall, a strong evening.
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