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Rigor at the price of depth – Lydia Steier's "Magic Flute", which premiered at the Salzburg Festival in 2018, can be summed up in this denominator. In the end, there was applause for all and partly for the young director, who had to take clear Buhs at the same time. This was certainly not the expected triumph for the festival
10:29, July 28, 2018
The # 39 Central element The concept of staging of the American Steier, 40 years old and living in Berlin, is a framework in which the legendary disparate libretto of Mozart / Schikaneder opera is polite and polite. Thus, the magical events of the grandfather of a middle-clbad family are told to his three grandchildren as a bedtime story. After the cancellation of the disease by Bruno Ganz, Klaus Maria Brandauer jumped into this role. Sitting in the difficult chair of a bourgeois villa on two levels, he is the Rector of Spiritus behind the action that finally emerges in the mind of the three boys
The whole world of the 'Flute Magic "finally follows from the childlike fantasy, which equates her own hysterical mother to the queen of the night, makes Tamino appear as a lead soldier, and make Papageno's butcher's son. Serpentine women and waders, artists and clowns appear on this fun and colorful fair, made up of boys' abstract toys, and they often remind more of ES than children's entertainers. Nevertheless, the pendulum of this "magic flute", which always oscillates between the theater of devotion and the popular theater, oscillates clearly in posse.
In itself, the concept is conclusive. As a narrator, Brandauer removes most of the parts spoken to singers – for which one can only be grateful as a spectator. The successive elements and floating technoids of the villa allow a fluid change of scene, which often causes difficulties in the "Magic Flute".
Set designer Katharina Schlipf and costume designer Ursula Kudrna set up a Zirkzische Bildorgie, an Alice in the Magic Flute. where there is so much to see that we can almost no longer orient ourselves as a spectator. Nevertheless, the "Magic Flute" in this interpretation becomes stricter, more closed – but it also loses its complexity. The levels of meaning beyond the fairy tale story find virtually no place. The interpretation of the work of Steier on long pbadages is what the front-scene Mozart is traditionally used by parents: a children's opera with which one can touch the next generation of music. Adults are not disturbed by the philosophical issues of the work, apart from the fire and water sample accompanied by war images.
The opulence of the scene, however, is not reflected in the orchestra pit. The philharmonic orchestras of Vienna are small, play fast and well, and sometimes surprisingly rhythmically imprecise. Constantinos Carydis struggles several times to adapt to the rhythm of the tempo, which is why he keeps bumping.
You even spew on Albina Shagimuratova, veteran of the queen of the day, who was already in Salzburg in 2008 the coloratura part was heard. Although she is not the most prolific singer actress, the 38-year-old Russian still convinces with a crisp intonation of the game.
On the plus side, we also find the Staatsoper Adam Plachetka ensembles as Papageno and Christiane Karg with pretty pbadages like Pamina call. The three boys' choirs in Vienna are impeccably managing their clearly improved games of the three boys.
The young Swiss Mauro Peter is still unable to cope with the demands of his Tamino. Above all, Matthias Goerne, as a baritone, simply does not have the depth for Sarastro's bbad section and inaudibly murmurs to himself.
So, a lot of potential lost on an evening with very good ideas. Rather a little music at bedtime than a big "magic flute".
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