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First, l & # 39; review of national critics, who show themselves all excited:
With five stars out of five ennobled Gert Korentschnig the "Gesamtkunstwerk" in the "Kurier": "Salome" in the Felsenreitschule is fascinating, throbbing like a thriller A very visual and musical masterpiece with Asmik Grigorian, an intense and touching protagonist in the center, with Franz Welser-Möst, a leading Strauss entity, on the podium of the Vienna Philharmonic Orchestra, and with Romeo Castellucci, one of the first The most visually stunning theater magician of our time, responsible for the staging, the stage, the costumes and the light "
A" triumph "is this" Salome "for Karlhein z Roschitz in the "Kronen Zeitung": "If we attended the throbbing psycho-study of Castellucci on Salome, we wonder if we really want to see staged full of Oriental waste and sometimes embarrbading dances of the seven veils. Castellucci, the visionary of the theater who designs himself, the costumes, the lighting – a "magician of the paintings" – also creates a total work of art with this Salome: the game and the gestures of the singer are perfectly matched to Richard Strauss' nervously exalted music. (…) Asmik Grigorian is an enchanting child Salome with radiant heights, innocent-lascivious in the game and the expression, word for word. In his naive soul is raging. "
Ljubisa Tosi c the ennobled staging as title-role in the" standard ":" Castellucci submits the evidence of a metamorphosis, condensed scenes to the puzzling-archaic poetry. His symbolism creates magical living tableaux with all the details: The ritual gestures of the figures, which culminate in the sculpture, are confused with the effects of light (scenography of Castellucci, costumes, light) to the paintings of Salome. (…) Incredible: Despite all these scenic demands, Grigorian's voice retains its power and flexibility. Full of character in all situations, Grigorian is able to model sounds in terms of sound – depending on the emotion. In height, poetic supplication is possible as well as dramatic excess. In the depths, the dominant tone becomes noble as well as a curse. Finally, there is enough substance to measure the last peaks of dramatic immediacy. "
An" event "is" Salome "for Karl Harb in the" Salzburger Nachrichten ":" One can see (and ear) this energy and power, and at the same time of the graceful fragility emanating from Asmik Grigorian. After an hour and a half, at the end of this memorable and grandiose performance, she will be the new star of the Salzburg Festival, indelibly already, shining like a Salome for eternity. (…) Franz Welser-Möst himself had a great time with the Vienna Philharmonic Orchestra. It unveils the bursting color palette of the beginning of the moon and the silver glitter of compact prophecy with the explosion of hundreds of facets, the richest sound at each moment wonderfully transparent (what a vocal presence of the whole thing). whole set and the exemplary verbal clarity the good support). "
It could be one of those festivals that will be talked about in many years
APA / Barbara Gindl
The rise of Lithuanian soprano Asmik Grigorins in the league absolute is already very clear.
APA / Barbara Gindl
Grigorian, who had already made a great impression at the Festival as Mary in the "Wozzeck" last year, is now the model of the Salome of our time in her debut ..
APA / Barbara Gindl
A woman who oscillates between violence and her own excess of violence, desire and hatred. Sometimes, audacious and teasing teens, sometimes avenging angels in fury.
APA / Barbara Gindl
The success of the premiere of the opera "Salome" is also due to the exceptional work of Romeo Castellucci, at his symbolic and roaring charge. Franz Welser-Möst with the Vienna Philharmonic
APA / Barbara Gindl
Yet, the 37-year-old Lithuanian surpbades the second opera performance of this year's Festspiele with her presence, her agility voice and its look.
APA / Barbara Gindl
Rightly, Romeo Castellucci is thrown to his knees in the last applause in front of his main actress
APA / Barbara Gindl
Sometimes audacious and teasing teenagers, avenging sometimes angels in fury. She is able to do it not only by playing, but also vocally.
APA / Barbara Gindl
So remember this name: Asmik Grigorian
APA / Barbara Gindl
Have fun with the other pictures!
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When on the track, Wilhelm Sinkovicz sees the staging of Castellucci in the "Press", while the music "in the Philharmonic piece under Franz Welser-Möst sparkles": "Can to be that everything is just fantasies of girl, which tells tonight to the director Romeo Castellucci: all the bearers of black coats around the heroine, all the human bodies drawn on the stage in plastic bags, all these weird figures with no apparent connection to the plot set to music by Richard Strauss Visions of a young woman who is just beginning to discover her baduality … (…) Generations of drivers have dreamed of a salome of this vocal cut: thanks to the Philharmonic flexibility, the soprano Grigorian penetrates through all the orchestral clusters The voice of these visits runs often is another matter. "
G Michael Tschida in the "Kleine Zeitung": "L & # 39; Castellucci's minimalist approach to this episode of the Bible has maximum effect when he describes the essentials with some props, emphasizes the darkness with sparse light, or round A hole in the podium once as a dungeon and once bad uses for hands that never wash in innocence. "The musical level is also convincing:" Asmik Grigorian surpbades them: the Lithuanian soprano sings and plays brilliantly until the total exhaustion of obsessed Salomé, who has to endure the rejection and abuse, becomes then an avenging angel and realizes too late: "The secret of love is Greater than the mystery of death."
Gerald Matt is also impressed by "Heute": "What kind of Salzburg production is this? If one is shameless, she puts one on the Yes, and it is a good thing that the Romeo Castellucci version is different, unknown, new, but the director gives up the impudence of the amateur He conserves opera, and he transforms the erotic dance of Salome into sculpture. However, his protagonist is seductive, exciting and poetic. "
More critical and sometimes a somewhat more puzzling sight I international critics:
So Wolfram Goertz in the" Bonner Generalanzeiger "with his own suggestion:" Because Castellucci is a very artist serious, but we journalists suffer from the heat in the limelight, would be music critic Working Group that clarifies the most important issues. […] We have our intuitions, but it would be logical for this GA to meet in the cool September to present the first results. "
Also Eleonore Büning by the" Neue Zürcher Zeitung "said:" Yes, of course, you have to read the program, if you want to understand at least some of the usual Castellucci puzzles "Nevertheless, she sees" a breathtaking and dense, almost perfect and celebrated by the stormy public "Salome".
Susanne Benda of the "Stuttgarter Zeitung" is also somewhat skeptical as to whether the staging is explicable: "… the applause is more like a staging of Strauss" with riddles "Salomed by Romeo Castellucci (who was also responsible for the stage, costumes and light), nobody wants to risk being considered intellectually inferior." So the work remains erratic several times: "But a lot of things are not clear – although one can discover after a long search and reflection, but still a lot of direct references to the text of Oscar Wilde. " The solution: "To whom the visual is still too much tonight
Even Frederik Hanssen is not really hot in the" Tagesspiegel "Berlin with the interpretation of Casetellucci:" A strange hybrid is here to be experienced in the Salzburg Felsenreitschule, an installation whose surface so carefully sealed and oversized is broken by a grand protagonist, flooded with emotion. Because we are in the opera, Romeo Castellucci has yet to call 'Salome'. tonight. If it was a painting job, he could choose an outcome that matched his fundamental belief that in an ideal artwork, the viewer is completely self-aware and simply write next to the artifact: "Untitled".
Reinhard J. Brembeck particularly praises Grigorian's performance in the Süddeutsche Zeitung: "Since Anna Netrebko 16 years ago in Mozart's Don Giovanni at the Salzburg Festival, the public has been struck by their ovations and their global career was founded "And the staging also has an effect on the critic:" Everyone is fascinated, no one in the room can escape the force of this badysis and this revelation, seriously sacred ritual reveals the mystery of love, which, according to Wilde, is greater than the mystery of death. "And this is not the least because of the musical interpretation: "Straight Because Welser-Möst always takes over the exceptionally lucid, discreet and elegant Vienna Philharmonic Orchestra, the Salzburg miracle on stage can even succeed."
The critic of the "Frankfurter Rundschau" was more skeptical than the "Salome" but "not a overwhelming reach ". "Karg Castellucci refused the oriental tinsel, in the black and white timeless costumes modern contrast in striking contrast with the dynamics of multicolored music Jugendstil. […] Franz Welser-Möst led the demanding score with a light hand, so easy and almost comfortable Low Voltage (and needed a few minutes longer than the usual duration of usual performance), but the Vienna Philharmonic finally led to the necessary dynamic climaxes safely and effectively. "[19699010] L & # Intendant Markus Hinterhäuser praises the "Hamburger Abendblatt": "The Salzburg Festival and its intimate director Markus Hinterhäuser dared to make their second opera premiere (which was the first major event of the season) radical, smart and good: scary cool to turn left. "This is not the least of the merits of Castellucci:" He made in the Felsenreitschule a fascinating array of images of the soul striptease, cool, hot, perverted, touching. "
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