Anyone who wants to hold festivals, internationally acclaimed especially, needs a certain pleasure in Stars and spectacle bring and on top of that can still pull a white rabbit out of the hat. Since 20 years now invites Daniel Barenboim to his feast days to the State Opera and classical music fans from around the world follow his call without looking on the money. Here every night special rates apply. Clear, that it also requires something which so only Barenboim can bring off.
This year’s opening premiere, Gluck’s “Orfeo ed Euridice”, looks at first glance like a posh restrained choice, it is this opera quite to inwardness and authenticity of feeling. Moreover Barenboim penetrates with her again in so far unerobertes musical territory before, in the time of change before Mozart and their musical and dramatic search for meaning. A pretty contrast even in its portfolio Staatskapelle, the recent first all the symphonies of Bruckner flew to Asia with her boss.
But where she is hiding, the special ingredient for the essential festive kick? Everybody knows Barenboim, and Barenboim knows all the world. Frank Gehry builds its Barenboim-Said Academy in the former warehouse building of the State Opera just a concert hall with 662 seats, the design for it gave it free by star architect. Why should the 87-year-old icon since not even a stage for the Staatsoper contribute – and feast days provide their sensation? Also the Friends and Sponsors of the house can be such Freundesgut sell well: –
and includes EUR 150 000 Private Extra grant for the Gehry-Coup In Progammheft “but extraordinary also requires extraordinary commitment”, recognizes the club. is suddenly only of a “cooperation” is mentioned
All the more surprising that in the program only exceptionally modest from a stage “in cooperation with Gehry Partners, LLP” is mentioned. Visiting in the Master’s in Los Angeles office to have fallen into the eye superintendent and festive-time director Jürgen Flimm model one, the ideal seemed in his unbridled color for Gluck’s Elysium. Judging by the boards radical which arrived in the Schiller Theater, it could be to Gehry’s design of the Museum of Biodiversity in Panama. Some folded scales and bold witches stairs later the heroes and heroines of Elysium short and very carefully take place, turning their sunglasses. Thereafter, the color cascade disappears unceremoniously.
The space around it is so unmistakably together swiped that a direct mention of Gehry had as scenery probably had to visit his lawyers resulted. Input can be the funeral hall of a modern crematorium account, his dead Euridice counter moves by the Orfeo on a stretcher itself the flames. That you can use this functional death slide as rack, is evident in Orfeo’s attempts to curb the Furies with his singing. The dark crowd with their Ku Klux Klan hoods beaten the lashed singer with knives, individual henchmen beat him until the fake blood clots.
Bejun Mehta dominated this passion play, as he put still in Claus Guth scenic dressing of Handel’s “Messiah” fixed. And he copes with the role of Orfeo so unchallenged that any torture games slide off him. What remains is a strange spread between the music and you slipped over Bühnendrastik – exactly what wanted to overcome Gluck 1762nd Barenboim and Flimm play his work in the compact Wiener Urversion, from which they also cut yet. Finally one has experienced the colleague Dieter Dorn in Salzburg, how stupid it might look like if music needs to be replenished with wobbly choreography. Serious movements on Gluck’s delicate creations issued Flimm therefore a rejection -. The only question is why for cup antics or stubborn striding but dancers must be booked
Anna Prohaska sang Euridice with an unconditional, before no man can exist
90 minutes takes this Festtags- “Orfeo”, which at least gives birth to a thrilling scenic moment: the reunion of lovers in a kind of hotel room Flimm attracts the accumulated distrust and bottomless fear apparent that Euridice by the forced absence the physical union with Orfeo lived through. Anna Prohaska interprets furious with absoluteness, before no man can exist. The Nadine Sierra elegantly sung Amor smokes a cigarette frustration, Jupiter looks a silent partner to such a grizzled storm of emotions analysts.
And Barenboim? Conducted a Gluck, the well behind the large distortions and hot heart moves, the “reform opera” stuck in rigid concept. He decides at Instrumentarium and tempos consistently for what sounds good. The Staatskapelle has mostly under control, can also shine with fine solos. But in the great choral scenes seems a certain lifelessness on, lurching as after a sudden power drop
A bit of cheating must feel all the early end -., Looking for the festive gold and that from Gluck’s bold departure old glamor worship. The omitted sneering presence of Jürgen Flimm at manageable applause pleads clearly for ‘Take’s me old jugglers not crooked. Whether it arrived? The international opera circles anyway stood helplessly together in the foyer. Oh yes: The performances in June and July only cost a festive fraction. Prohaska, Sierra and Barenboim are no longer there. Only Bejun Mehta, the lone hero in his grief, wakes. What is alone worth the visit.
again on 23 and 27 March, on 22 and 24 June and on 1 and 3 July
No comments:
Post a Comment