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What Bayreuth Richard Wagner is in Salzburg is Wolfgang Amadeus Mozart: a myth to be crossed. In Salzburg, it's mostly the "Magic Flute", orchestra conductors and directors over and over – and overworked. Precisely because the room is so popular, expectations are high. At the same time, the "Magic Flute" is full of fractures – musical, dramaturgical, logical. It is almost impossible to make a rigorous scene history.
Lydia Steier dared to take on this task at the opening of the Salzburg Festival. And here, the American director manages an entertaining, imaginative, colorful and long-distance reading. Her approach is as surprising as it is plausible: she invents a storyteller (Klaus Maria Brandauer jumped for the patient Bruno Ganz). He, the grandfather of three boys from a bourgeois family of the early twentieth century, reads a story at bedtime to his grandchildren.
| Barbara Gindl / APA / dpa
Soon, the three boys are in the middle of the fantasy world. His room becomes the setting for the "Magic Flute". Already the crying Tamino (Mauro Peter) crushes through the window because he is followed by a fire-breathing dragon. Of course, boys think it's great.
And how it goes with children: The story is related to their own reality. Most of the family members, whom we observed with their servants in the opening of the dinner, appear again as figures of the "Magic Flute". The three governesses become the "three ladies," the mother becomes the queen of the night, and the boys, like the "three boys," also become part of the story. The three Vienna Boys & # 39; Choir are thus almost always present on the stage and challenged as the old ones. Hat!
St Steier's approach is also noted as his effervescent imagination fills the Salzburg Festspielhaus scene with great attention to detail. The Sarastro Empire is a circus, populated by clowns, acrobats and jugglers (costumes: Ursula Kudrna). Pamina, who is held here, is exposed to knife throwers
] This weird people is pretty indifferent until the end – Sarastro still speaks a lot about humanity and love. However, Steier also does not try to explain this world and smooth out the logical breaks. She leaves them as they often do in fairy tales.
All of this works very well in the first part. In the second part, however, the piece sinks more and more, the colorful world is more and more a review. The examination scene becomes even more serious: Tamino and Pamina are exposed as fiancés to the horror of the First World War, which transcends them in pictures. If their love survives this war, they probably did it.
Constantinos Cyradis, on the podium of the Vienna Philharmonic Orchestra, usually supports himself on rapid and sometimes hasty tempi, sometimes he brakes too much. This is not always conclusive, but you can still expect the clear, based on the sound image of the historical performance.
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| Image: Salzburg Festival / Ruth Walz
According to the motto that art should not be limited to depicting what can be represented, Castellucci captures what is not present in the representation, showing two central scenes as a negative impression. The dance of the veil, with which Salome imposes on Herod the head of Jochanaan (Gábor Bretz), she snuggles almost naked and motionless as the exhibition on a pedestal. But what looks like the opposite of the dance brings its core – the erotic – to the point.
Similarly, Salome does not receive Jochanaan's head served on a silver tray. Instead, a headless man sits on a chair in front of her – an idea as surprising as it is effective. It is rare that the images of Castellucci are immediately visible, but those involved with them, they still release their layers of meaning. It is worth thinking about it
On the road to the premiere of Salome, Elisabeth Schwind, editor-in-chief of SÜDKURIER, reads here:
The Salzburg Festival
Most performances of the "Magic Flute" and "Salome" are already complete at the Salzburg Festival, which will last until the end of August. Up to date information on other performances can be found on the Internet here
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