The German Opera Berlin was repeated performance venue unusual scenic interpretations of “Aida”, of Wieland Wagner to Götz Friedrich. For the recent revival of Peter Benedict shows, together with the literary manager Dorothea Hartmann, the opera act as a reflection of the ménage à trois of the old Verdi and Giuseppina Teresa Stolz – an autobiographical politikverdrossener approach. The remarks to read in the program quite positively, even if – extended to seven pages – arg labored for “Aida” as “intimate theater” the “central perspective interior” of the opera house is the “best [n] mausoleum, which you can get” , In reality, the performance, this approach proves to be a dangerous saving concept.
In fact, in such a procedure for a prime example of an equipment opera neither elephants nor required dromedaries or horses, or even extras. And the high art of opera direction, the choir leadership, is also not required if the well 100-strong, musically rehearsed by William Spaulding choir and extra chorus partly sitting in auditorium, singing part from the halls of the ranks.
In the stage space, look slightly caught up behind a gauze, makes it louder so the orchestra of the Deutsche Oper Berlin. Before that, on the covered orchestra pit, actually act only the three main characters of the plot. These can set designer Katrin Wittig flicker at 33 black and white monitors the faces of potential other actors, intervening flutters on the screens, the live broadcast of the highly agile conductor Andrea Battistoni. A work table with chairs, about a screen on which is projected, which is on the table: a map, a picture postcard and later a knife. Sometimes the actors are projected live on the side walls, in the third act superimposed on a shaft projecting the scene, and the projection of the real black-white postcard is superimposed with its colored version.
has been saved is even clearer in costume of Helene Schwind: the bespectacled Radames as exotikverliebter researchers in everyday dress, Amneris (v B. Peter.) in a blue robe and Aida “as a classic, femme fatale ” in the cream-colored gown. (A fourth costume of Radames libidinous recorded and Amneris fired into the corner, second white Aida Dress likely saving technically derived from the collection.)
Your Pharaohs crown Amneris tinkering from a newspaper spread, and the Medal that are refugee-photos she sticks Radames to his chest as picks from current Journaillen.
Lurenbläser having intoned the fanfare of triumph march á la Bayreuth before the performance in the foyer, later allowed as a stage musician of exception also enter the front stage. The audience can “because of the placement of participants in the visitor area” until “From 5 minutes before the performance” into the auditorium (Cast list). Then a number of seats in the stalls are already occupied by a chorister * interior that will fit from there, singing in private black evening clothes, twice or standing, in the process. An announcement of the Deutsche Oper Berlin therefore refers precautionary “temporary visual disabilities [...]. With the help of video streams the events for all is made visible. “
From the rank-parapets of the King (Ante Jerkunica), Ramfis blaring (Simon Lim), Amonasro (Markus Brück), the messenger (Attilio Glaser ) and the priestess (Adriana Ferfezka) their bets – and the including seated visitors is a special experience given: they are wetted with the spit sustained moist Singer pronunciation. Reinforced singers voices knows the Opernfreund of the Bregenz Floating Stage, where the amplification is, however, reacted much more skillful than in the opera production, where the electro-acoustic amplification of the solo voices from the rank with which seems to vie Discos: reliance on Phonlautstärke rather than differentiation.
On the second part of the evening the singer actresses clatter on the rank with half-filled tube of tablets.
In particular, on the stage itself, the level of there unamplified singing is very high. How often has a Tacet Radames, will only become clear when he is constantly on stage. The effortless prevailing tenor Alfred Kim bends spastic his hands when once again on the scene gral Aida held her father there absent of feet clutching the lover’s. Tatiana Serjan vocalized the title role wonnevoll, imposing in Love contest with the dramatic dominant Anna Smirnova, who claims as Amneris her place on stage (is banned while rival Aida in the fourth act in the first place, but fortunately there is not electro-acoustically amplified) , As a special Regiegag deceives accustomed to success, Pharaoh’s daughter Amneris, having torn down the screen and the breakfast dishes smashed, her own death before.
Repeat sets of Peters staging to laugh, as if Amneris the Radames serves a Knackwurst or place Winner of the ring presents a meager daisies bouquet (and so also once again emphasized the saving concept).
To applause order of gauze will be demolished before the orchestra. The impressive orchestra and conductor are then equally loudly cheered by nighters like phonstarken soloists. The reduction of entire opera acts on its main protagonists, there were already in the last century – but as an experiment: And also, according to the Director
will be booed furiously with his work technically demanding team The approach of the director is neither new nor unusual. . free musical theater formations (about Tannhäuser experienced the act of Tannhäuser in solitude)
Danger full of this production seems to me the leadership of Berlin: The closure of the Schiller Theatre, just after the turn, enabled only, that small, even poorer cities felt morally authorized as the “poor but sexy” ostentatious Berlin to close its theater. Now, the new production of “Aida” at the Deutsche Oper Berlin rides the theater-saving commissioners ahead compliantly.
The questionable system of Stagione according to Italian provincial theaters of the past century, a production can be like these savings “Aida “create within a few days.
If you look for example at the Volkstheater Rostock, where in performances of” “less than a hundred visitors were counted Meistersinger von Nürnberg (at more than twice as many participants), so be there with Berlin’s approach is not only the statistical use of space thoroughly renovated, the costume workshops were one to two cutters reduce and said “Meistersinger” could be – seemingly innovative – scenic than dream of the lonely Poss poet Hans Sachs realized …
- <. li> Other performances: 22, 25, November 28;
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