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By Jörn Florian Fuchs
Salzburg – The first half hour is incredibly beautiful. A middle-clbad house, lovingly furnished down to the smallest detail, with a lot of staff – and three boys, for whom bedtime is actually already. But they are just not tired, so the grandfather sits at their bedside. He tells a story not quite suitable. Strange characters appear, as the boys slide more and more towards the action, meeting an apparently normal butcher – he soon turns out to be a bird catcher, Papageno. Before it disappears into the labyrinth of romantic relationships and adventurous tasks, he brings new Hendln for the first time. Klaus Maria Brandauer gives the grandfather, with fine elegance, at the same time completely unpretentious. He sums up the story, commenting a bit. It's a dramaturgical coup because it minimizes the miserably long and now embarrbadingly annoying lyrics of the protagonists. The time is short before the outbreak of the First World War, towards the end of the war, during the famous fire and water sample that twinkle in bombed cities and trenches across the stage. A very interesting setting! Between the two, he goes into the Sarastro ambivalent domain, that is – for some reason – a circus world, in which quasi-art plays are given at best. Walkers on stilts, knife throwers, a dwarf populate the landscape. Unfortunately, the staging of American Lydia Steier, who lives in Germany, does not work here. Steier loses more and more orientation, the thing quickly becomes commonplace and heavy. From the sparkling charm of the beginning there is little, everything is dragging painfully.
Also Constantinos Carydis puts on the podium of undoubtedly against their own beliefs playing Wiener Philharmoniker mainly on the show or the audition. Many loud and noisy sounds, sometimes Carydis rushes through the score so that some vocal soloists have problems. The cast is surprisingly heterogeneous for a performance of the Salzburg Festival. Mauro Peter gives a Tamino perhaps solid, rather colorless, Christiane Karg a strange and quiet Pamina. Adam Plachetka sings the neat Papageno, but also quite grumpy. Fort is Maria Nazarova as Papagena. The queen of Albina Shagimuratova's night pleases with a clear diction and a perfect coloratura, while Matthias Goerne like Sarastro is unfortunately really mismanaged – mostly unintelligible textually, with a dull depth and little dynamic. It also acts as a recital, no trace of scenic design. The Konzertvereinigung Wiener Staatsopernchor was very reliable, repeated by Ernst Raffelsberger. The lethargy on the stage was also transmitted to the audience first, he reacted with great restraint.
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