10:30 clock <- self.position: -1 -> <- classid: hcf inline-left -> <- position: left -> <- inisprint: false -> <- inhaspic:! true ->
<- self.position eq 2 -> <- classid: hcf ! inline-left -> <- position: left -> <- text position: -> <- inisprint: false -> <- inhaspic: true -> <- self! ! .position eq 2 -> <- inteaserpicposition: 2 -> <- self.position: 2 -> <- classid: hcf inline-left -> <- position: left ! -> <- text position: -> <- inisprint: false -> <- inhaspic: true ->
Loving you nourished at the Deutsche Oper the tale, director Benedikt von Peter did is an elephant for his “Aida” stipulated. Yes, a real live elephants, preferably African provenance. Since the powerful animal but the stage elevator could not use it, it had to remain where it no conditions for its protection needs: in the imagination. How would you even want to insert an elephant in a room concept that already offset the enormous choir and all games except Aida, Amneris and Radames in the auditorium? Undoubtedly the Rüsseltier had surrounded the placed onstage orchestra or even the parquet caused some shouting. But that manages the director on opening night even without animal assistance.
By Peter admits so consistently with any escapism to exotic Egypt that one must first blink, in order to recognize what about on stage at all is seen. It is not much. On the front stage marks a table remains unfulfilled community what it is, is projected as a still life on a canvas:.! Books about Egypt, a map of the Red Sea, historical photos of the pyramids, newspapers, an empty coffee cup
<- self.position - otherwise> <- inteaserpicposition: 2 -> <- self.position: -1 -> <- classid: hcf inline-left -> <- text position: -> <- inisprint: false -> <- inhaspic:! true -> <- self!. position eq 2 -> <- inteaserpicposition: 2 -> <- self.position: 2 -> <- classid:! hcf inline-left -> <- position: left - !> <- text position: -> <- inisprint: false -> <- inhaspic: true ->
Front, at the ramp on the built-up orchestra pit, crouching man, which convulsively clings to a substance pile. He looks sad and irretrievably with the utmost contrition into nothingness. It is Radames, who dreams of Aida, the slave girl who is still a princess. The fabric bundle in his arms turns out to be wedding dress, which he had intended for her.
webs and ghosts hanging there in the pale light on the proscenium around
The daily, however in this inhospitable, with their control monitors to a bunker reminiscent site has clearly Amneris in hand. Oscillating between rage and mothering, it sets the desired Radames to that just get wegmöchte: his Aida, from which the viewers must accept soon that there is not it, at least not from flesh and blood
<. ! - self.position otherwise> <- inteaserpicposition:! 2 -> <- self.position: -1 -> <- classid: hcf inline-left -> <- text position: -> <- inisprint: false -> <- inhaspic:! true ->
<- inteaserpicposition: 2 -> <- classid: hcf inline-left -> <- text position: -> <- inisprint: false -> <- inhaspic: true ->
webs and ghosts hanging there in the pale light on the proscenium around in their lives simply can not solve a knot – although it is not the first port of call for them. The Aida game that wreaks of Peter at the Deutsche Oper, enters an infinite loop in itself. And it is trying with all his directorial power, the classic love triangle as well as to overcome any pyramid decor. Behind them sniffs the 38-year-old director, the old (not only opera) regime of passive Weltschmerz.
the other hand, rebel, feels by Peter as his duty. His approach is musical, as you leave an elderly person from his fears tell that show up in their entirety, if you just listen actively. The combined force of despair with their outbreaks in war cries and raunender mysticism discovered the director in the choruses. And it takes a truly poignant sound space: choir and extra chorus of the Deutsche Oper sing scattered from the Auditorium, the singer suddenly rise from their seats and form as directed by an invisible hand in the gloom a collective, the one partout can not escape. <- self.position eq 1 -> <- inteaserpicposition: 2 -> <- self.position: 1 -> <- classid: hcf center -> <- text position: hcf text-left -> <- inisprint: false -> <- inhaspic: true -> <- self.position eq! 2 -> <- inteaserpicposition:! 2 -> <- self.position: 2 -> <- classid: hcf inline-left -> <- position: left -> <- inisprint: false -> <- inhaspic: true ->
There, the agonizing, welded together in unrequited lovers who actually nevertheless belongs to the young elite , here the unimpeded power delivery a mass that soon the death of all foreigners, soon mercy but especially demands affirmation fate with them. No laborious elevator costumed singers dampens this elementary experience that by shaking emotionally repeatedly until the break. No frivolous Ballet deposit of Amneris-minions, like you’ve let Götz Friedrich on the stage, directs here from the core of a “Aida” as existential Hördrama from.
An approach which tied also a sound analyst as Giuseppe Sinopoli would have. The Maestro 2001 slipped from the baton in the third act of “Aida” – performance at the Deutsche Oper forever. Benedikt von Peters consistent finishing of highest paid commissioned work for the history of opera Requiem with largely invisible voices like the wrath of those who awaken that love it when the eye is allowed to saturate. At vorbeikonzeptioniert’s music and his world view it is not. This is also reflected in how much the director choir and orchestra can inspire for his reading.
choir and orchestra be inspired to great deeds
What William Spaulding with his chorus singers and choristers achieved is – to make blind faith audible – in the literal sense. A great deed, which will give further confidence this gripping ensemble. The orchestra of the Deutsche Oper experienced a soulful evening under the young conductor Andrea Battistoni, which makes it seem perfectly normal to pay with sprung baton 360 degrees attention and demand.
When this “Aida” at the end behind their own high standards remains, which is mainly due to the theater group, which has yet to authenticate itself to the front stage. To create is not, because not even the gentle decided Alfred Kim as Radames manages to save his endless remorse and stubborn Aida obsession about the hours. Also that the energetic Amneris of Anna Smirnova is happy when they finally can lubricate a sausage sandwich her tousled procrastinator, may believe, who wants. Finally you have the barmende Tatiana Serjan not envy, as Aida Fantasma to slip in wedding dress on the floor. Musically make the ill-fated three in her gray limbo almost everything right without spreading volatile soloists shine
Ultimately, of Peters with surprisingly many firsts-boos finished production in its core conservative. She believes in the power of music and people who read the newspaper. If still get up the ass instead of our society to sing the Requiem, then we can do it. For this you must first open his heart – and let the house in spirits. Addio, Aida
again on the 25th, 28th 11th and 3rd, 6th, 10th 12
<-..! self.position eq 1 -> <- inteaserpicposition:! 2 -> <- self.position: 1 -> <- classid: hcf center -> <- position: center -> <- inisprint: false -> <- inhaspic: true ->
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