Also has the Horror aesthetic claims, so much is in the new Zurich “Arabella” rapidly clear. Fesch count Elemer in his SS Uniform, the swastika flag that matches perfectly to the red walls of the hotel, the Gideon Davey on the stage. And consummate virtuosity of the dancers during foreplay close to the third act of each Solo with the Hitler salute. Who heartedly doing it only half way, gets clean choreographed beating.
One sees it is fascinated and irritated at the same time. Intrigued because of the Director Robert Carsen is the operetta-like plant of the piece at the same time supports and tilting, because the dance takes place at the beautiful Arabella even closer to the abyss than usual. No longer irritated, however, because the Nazi’s decor is just as decor. Because far too many of the operas-Unsympathen swastika wore a tie.
And because it is ultimately just a pretty clumsy Trick is not to have the unspeakable image of women in this piece have further questions. In a fascist world, Arabella learns well, quickly, what did you say to your Future: “And thou shalt be my Lord, and I subservient to you.”
Big love, big misunderstandings: Arabella (Julia Kleiter, which had to be replaced in Premiere by Astrid Kessler) and Mandryka (Josef Wagner). Photo: Toni Suter
The Lord: That is Mandryka, who travelled from the wild Slavonia to Vienna, because he has fallen in love with Arabella’s picture. Her father had sent, in the hope of finding a rich groom for the daughter. Their sister, Zdenka, has disguised the meantime, as a boy, because you can’t afford the proper Raising of two daughters. The confusion and misunderstandings are programmed, and their resolution certainly has its appeal: Hugo von Hofmannsthal had a particular Talent for bitter sweet twists and turns and formulations.
is Not only the waltz are overexcited
“Arabella” was his last Libretto for Richard Strauss, the world premiere of Opera he has not experienced. In Dresden, she was held in 1933: To Robert Carsen has, after all, a justification for the relocation of the action from the original 1860s in the Nazi period. Hitler was for half a year, Chancellor of the Reich, as the work came to the stage; the Dresden General music Director Fritz Busch and the Director Alfred Reucker, which was dedicated to originally, had to leave their Posts already. Strauss had declared that it would then quickly agree that Clemens Krauss at Busch’s, the Premiere conducted. After that, it was not long until he was appointed President of the Reich chamber of music.
And, of course, in this piece of some of that Zeitgeist to find. In the orchestra pit, especially where the General music Director Fabio Luisi and the Philharmonia Zürich sharpen the sounds, until they hurt. Not only is the waltz are wound up; the whole sound image is heated, the Parlando hysterical, relaxation there is no. The orchestra plays over long distances too loud, however, be suspicious: if you Want to fool da fortissimo to the fact that the last costume detail sophisticated staging is in spite of the swastikas above all dignified?
“Holy mother of God!” The mother (Judith Schmid) learns from the card reader (Irène Friedli) will not only be Pleasing. Photo: Toni Suter
The singers anyway, you would have indulged in a more restrained accompaniment. Especially Josef Wagner, as Mandryka his Zurich debut, needs to upgrade his baritone is sometimes pretty rough. This fits, of course, fights with a bear, before he goes to courtship; but, Arabella’s love you can’t comprehend yet so right.
Others have an easier time of it: Valentina Farcas is a lovely Zdenka, her Matteo, Daniel Behle, a lucky hit. A terrific Pair of parents give: Judith Schmid calls a very the “Holy mother of God of sound”, when something goes wrong; for Michael hewing stone gmögig-dominant father is solved, each Problem, as soon as he has some money he can squander.
An emancipatory act
And Arabella to yourself? They had to be replaced, Julia Kleiter has missed her debut in the Role of disease in half (which is all the more regrettable, as she was listening to, Zurich already as Zdenka to). But Astrid Kessler was a luxury replacement, a Arabella, as she has to be flirtatious and cold, superficial, and yet adorable, with a bright soprano and that special ability to show in the third act, suddenly personal depth.
That do not prevent the Mandryka at the end of it, breaking the symbolic glass, from the “no one will drink after me,” makes their love story not better; but it has to be trusted as an emancipatory act. And if Elemer and co. will not disappear as a rejected suitor, such as in the Libretto intended to be easy, but with your party colleagues Fitzpatrick: the decorative is suddenly still a threat.
But it was too late. The performance was too good to be true.
Created: 02.03.2020, 14:39 PM
