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What to do with one of the most staged operas in the world? A great global game of feathery musical ideas and complicated philosophy, in which there is examination, redemption, great love, dark powers and bright worlds?
Lydia Steier, a highly acclaimed American director, wears classical circus on the Salzburg Festival Hall stage for her version of the Magic Flute in 2018, as well as a comic-inspired scenario with a touch of "Downton Abbey" and a lot of magic magic.
In the middle of the colorful and thoughtful Remmidemmis, Klaus Maria Brandauer acts as a freshly installed narrator and exploder. Unfortunately, the musical equivalent of this new work view was not so happy.
Brandauer explains and directs
Anyone who knows the classic comics "Little Nemo" of the American cartoonist Winsor McCay (1871-1934) has an idea, as Lydia Steier tells the "Magic Flute" from the point of view of Three Boys that she places in pre-war Europe from 1913.
In the midst of a family doll and idyll scene, Steier goes from narrative level to that of the Magic Flute. He must be saved by the beloved Tamino and led out of the darkness of apparent evil into the light of a new time and pure knowledge.
To put order throughout the race to salute, the director had the good idea to dress up this highly philosophical case in an educational tale. , that Klaus-Maria Brandauer reads to the three boys – the scenario of the "Magic Flute", because much of this vision of the work is cinematographically designed, not only because the team "fettFilm" provided the video parts of the staging
It is quite moviemäßig and quite in the swing of Mozart's music of the world boy's idyll in the world of music. Action rough exams for Prince Tamino and his sidekick, the Papageno bird gatherer, in the end even his lover Papagena waits. To this end, the "Three Ladies" in the service of the Queen of the Night, the story of the kidnapping of their daughter Pamina by the Lord of the "evil" diffuse, Sarastro, who commands on his empire of seemingly anarcho-revolutionary circus. Tamino, take over! He is also after that he fell in love ("This gorgeous portrait is enchanting") immediately in the princess.
The circus as a creative counter-world
The idea of the circus has worked well as a mirror of the Queen's nightlife intrigue. The circus society is a community of solidarity, independence and creativity that must act as an alternative to bourgeois society. A touch of freedom with its own strict rules that can be thought of in the spirit of Mozart's Freemason ambitions. Here, however, the design ends in the horror of the First World War, as suggested by the fettFilm team in video footage towards the end of production
Lydia Steier under a big hat that threatens sometimes slip, for example, the playful Papageno The singer and actor Adam Plachetka with his full-bodied baritone has almost repelled the sentimental tenor of Mauro Peter, who also appeared as a lied singer. Peter, however, plays with so much enthusiasm, which compensates for some vocal over-decency.
Unfortunately, the highly esteemed singer Matthias Goerne in the role of Sarastro seems strangely poorly communicated. It lacks the powerful and confident depth that would be needed for this parry bass game. But Goerne is also baritone
Night Queen of the Night
Audible, Christiane Karg feels with the role of Pamina as a daring but contemplative circus princess, the vocally varied nuances to offer, safe heights and warm shades. A pillar of production.
Albina Shagimuratova does almost everything well but without real glamor with striking coloratura acrobatics. Irreproachable but somewhat soulless and impenetrable top notes of the Russian soprano. Ironically, she has decorated costume designer Ursula Kudrna as a sort of white snow queen, but this fits perfectly with the ambiguity of Steier's staging.
Playful and playful boys are rightly carried away advanced to the center point and sung by three members of the Vienna Boys' choir technically irreproachable and expressive, pure joy.
The world's first immensely busy and successful leader, Constantinos Carydis, did not trust voices and staging. He liked to speed up the pace, then rushed into the open air of Sarastro ("In these halls") once Matthias Goerne, and then again sat in sensitive intermediate stages, finely tuned, followed by his Vienna Philharmonic Orchestra perfectly. An oscillating direction, balanced, but without the very strict line.
At the end of the premiere, there was rather moderate rejoicing, a lot of applause for the orchestra, the choir, some well-groomed bosses for the direction. The spell only worked in places.
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