So much the spectacle was not long at the Bregenz festival: Philipp Stölzls "Rigoletto" you can criticize - or simply admire. The Premiere Criticism.
Bregenz - What to do with the Hit? With an Aria in which the a Choco Crossies, the other think of Pizza by Dr. Oetker? Philipp Stölzl thinks of Breasts, large, plump, pink-colored, especially of more than two per body. Ropes this Supervenusse and "La donna è mobile" is a word-for-word conversion. The women-Mobile, the dangles since the hit of the lecherous Duke in the Wind, sees the Director as a contribution to #MeToo. You can see it that way, but it is just another building block of a in the Evening, in the a more than once Listen to before See goes on.
Stölzl, the man for the Monumental, gross motor, Archaic with the corresponding cinema-past ("North wall"), is finally on target. More spectacle than in Bregenz is not. And more spectacle than in his "Rigoletto", with which the festival opened, was not experienced here in the past few years. It is a Paradox: Two hands, one to finger is movable, a balloon and a clown head with a circumferential fool-collar-game area, which is basically everything. But what conjures Stölzl, with Heike Vollmer also for the stage responsible for it, stunned.
at first, this is too much. After the music-Banda, demanding Verdi for the first image, is entered from the forecourt, explodes the Director. In the down gerockten hidden object-the circus, dominated by the Duke as the Director of Duca, asks Stölzl to the Stunt Show. Constantly someone taking a dump, and dream of dancing in a lofty height, suggests wheels, hooks and the like. And where else per the Bregenz production of one to two cast members to be watered, crashes a half-Armada in the lake of Constance.
The huge head is deceptive facial Expressions before
Before the piece is drowned in Stölzls ADHD-Director, focuses on the evening – also because of the Clowns-head trick, and gravity remains in the centre. Thanks to eyes, moving mouth-rolls, continuous movement of the crane boom and the perfect lighting direction (Stölzl, Philipp Veit) behaves as the Monster is actually something of a Mimic. Scenic comment of this time diabolic face, enlargement and coarsening of the main character. The bad Rigoletto goes, the more of the head, deprived converts to the nose, eyes, and teeth to the skull. Towards the end, when Gilda (for by the way irritating real Thunderstorm canned) sacrifices for the Beloved, flowing streams out of the eye sockets. If Stölzl is crying, then as a flood.
a motif that runs through the performance, a poetic Symbol for the short-lived happiness. It is a balloon, the a Rigoletto-Double loses from the beginning and with the title of hero appears later on again and again. For your Aria of Gilda ascends the basket of a real balloon-merciful, trills, a 25-meters-sky travel, it is the highest ever, singing "Caro nome" is. At the conclusion of the duet, the Giga floats off-stage prop final and how unattainable gen Firmament, an extra on Board, observed the pained-looking Clowns-head – because someone has sobbed?
Rather applauded: That Stölzls provoke ideas between applause, is also a sign of alarm. The well-oiled Show with the vocal sirrenden hydraulic is less directed narrative, but a permanent theatrical Garnish. Stunning, tight and exciting-arranged, wildly beautiful, but only in places, heart-attacking. Here is a (perfectly contestable) nerd the Dearest robbed of one of the most ruthless men of the Opera history, this brilliant, eloquent of forces, triangle of Verdi's can only hold its own with difficulty against Stölzls fantasy.
Acoustic-lifted sound system
Astonishing is transferred from the festival house next door to the acoustically-lifted-in speaker system. Conductor Enrique Mazzola and the Wiener Symphoniker understand the "Rigoletto" really as an Early-piece of the master. Crisp and flexible, vibrating in the rhythm and duration of Brio, as in the lyrical moments of the protagonists were to keep just a hopeless Pause. Presenter, deep sharper, spatial sound this year; the already-leading the Bregenz technology has saddled it.
Traditionally, the lots are occupied by up to three times. In the Premiere is not actuated Vladimir Stoyanov as the voice of the Exhibitor, but with a slightly attractive, rather light baritone much from the Drama of Rigoletto. Stephen Costello starts as a Duke under steam and slightly overdriven, calmed down, but in time to the Hits. Mélissa Petit makes intrepid actress bella figura, and as a fine drawing of Gilda with rich, Constance, water-clear soprano bella voce. One has understood Philipp Stölzl Yes: The best is the floating stage to work with Figurative or a human face. According to the "masquerade ball"-the skeleton, the "Tosca"-the eye and the bathers Marat in the case of "André Chenier" has Bregenz force back a stage with an iconographic. This head burns itself into your brain.
Other ideas
up to 18. August; Phone 0043/ 5574/ 4076.
