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The Bregenz Festival kicked off Wednesday night with Berthold Goldschmidt's opera "Beatrice Cenci". Bright costumes and beautiful music on stage tell a real story about violence, money, power and the church. And the narration is literally meant here.
All the pictures of the first and other reviews can be found here: vorarlberg.orf.at
Francesco Cenci happily announces the death of his two sons at a noisy party that is still going on. he killed. He struts on a glbad walkway filled with gold coins, wearing golden gloves and penises.
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Francesco turns to gold – in the pope he buys several murders. German baritone Christoph Pohl plays the superficial gallant, narcissistic manipulator with his credible scary joy of tormenting. Francesco's daughter, Beatrice, unsuccessfully seeks help from guests and is raped by her father. The director Johannes Erath spares the public the explicit presentation – as well as the other sadistic tortures and the torture of those arrested after the tyrannicide. The pictures in the head are pretty bad – there the real horror takes place.
The real horror
In the year 1599, Beatrice Cenci, 22, as well as her stepmother Lucrezia and her brother Giacomo are executed. Together, they had planned and executed an badbadination plot against their father and sadistic husband. The Judeo-German composer Berthold Goldschmidt made an opera with this material in 1949 in exile in London. The Bregenz Festival brought Beatrice Cenci to the stage yesterday as the first Austrian and world premiere of the German version, remaining faithful to the tradition of presenting music rarely heard in the house
Goldschmidt began working on Beatrice Cenci in 1949 – to participate in an opera contest participate. He also won that, but the earnings-related performance never happened. It was only in 1988 that parts of "Beatrice Cenci" were played in a concert dedicated to the music of fugitive composers. After that, his partner Margot inspired him to complete the opera. On September 10, 1994, "Beatrice Cenci" was created in Magdeburg in English, which Berthold Goldschmidt has experimented with. He also worked on the German version, which is currently played in Bregenz
"I was impressed by the strict, almost military, dictatorial discipline of the twelve-tone school – so to speak, they put themselves in a camisole was nice.I would be uncomfortable with a straitjacket.What I write are emotional expressions of my personality, "says Goldschmidt in an ARD documentary from 1996. [19659008] Wristbands and Braces
On the Bregenz scene, white-painted faces can be seen, orange, blond or golden hair, braces and white underwear, sweeping puffed sleeves, panties, strawberries – very opulent and colorful. In addition, muscular men, young and naked in the background, all this evokes memories of Alice in Wonderland Tim Burton and Rocky Horror Picture Show by Richard O. Brien.According to the reading, this caricature l & # 39; 39 bitter seriousness of the material, or it solves the history of its time and makes it universally readable: "There are a lot of Francesco Cencis today," says Johannes Erath. He compensates with these images the fact that the figures often stand on stage and sing as they please – the piece has little active action.
The catwalks become glbad coffins, in them instead of gold the previous Victim of Francesco, slightly clad. And the murdered Francesco shows off his coffin on gold reads all the stinky fingers – which leads to laughter in the audience. The Danish bbad By Bach Nissen, hypocritical Cardinal Camillo, was locked in an old pink dress and his lie, his flattery and his cruelty almost palpable
Music Through the Ages
Goldschmidt illustrates the violence, l 39; hypocrisy and suffering with multi-faceted music. For the conductor Johannes Debus, it is between the painter and Puccini, for Dschamilja Kaiser, who sings the Lucrezia, it has echoes of the music of the Renaissance as well as Erich Wolfgang Korngold, Richard Strauss and Claudio Monteverdi. The bigger the horror, the better the music – Goldschmidt did not want to double the violent and traumatic events of the music. Johannes Erath, with Katharina Tasch, head of costumes, and Katrin Connan for the stage, also held in Bregenz
The musical director Johannes Debus conducts the Wiener Symphoniker with great sensitivity. The musicians also hear that the orchestra really appreciates the conductor, so there is harmony in the orchestra pit and in the play. Three years ago, Johannes Debus was already at the Festival, when he directed the Wiener Symphoniker in Jaques Offenbach's "Hoffman's Tales".
However, Debus did not accept the offer of another house to drive "Beatrice Cenci", He agreed to Bregenz. When asked why the publisher of the ORF, Bettina Barnay, asked him "the opera workshop," he replied, "Can we refuse something to the Artistic Director Elisabeth Sobotka? " desperate, dramatically suffering Beatrice
Self-Righteousness
The Church in the person of Pope Clement VIII remains hard. Unlike the murdered murderer, the two women can not buy freely. The Pope rejects a request for clemency to give the example – and ultimately to bring together all the fortune of the Cencis
The Institution Church, a collection of corrupt, power-hungry and intriguing individuals. The rich narcissist who can take everything out and take it out. The pope enjoys bribes Cencis, Cenci of the pope's greed. The production of Erath criticizes clearly, without hitting the scenes of Splatter and with surprisingly small but video technology deliberately used. He questions the great question of the moral legitimacy of the vigilante, but does not answer it. Unfortunately or thank God.
Martin Hartmann, ORF Vorarlberg
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