This "Salome" is not an overpowering action, fraught with problems and is still absolutely worth seeing and worth listening to.
Munich - The box of happiness the number 237890 wearing. A gift, begged, erlechzt and dance. However, the content, the Princess hugs and kisses, is bloody, not at all but a head, not that of the prophet. The latter shuffles sometime paffend back in and the low is propagated impassive, on a cigarette after. Only: according to what?
Anyway, none of this "Salome", which sweep like an overwhelming storm, heat, lustful, hormone excess, over the audience. The box with the "head" is a quote from the movie "The night porter", 1974, the Nazi stories mixed with Sadomasochism and, therefore, in the United States on the Index came, Krzysztof Warlikowski is important. As the Director for the opening of the Munich Opera festival at the national theatre tried very many quotations, Allusions and cross-references, and stirred, that he backs up his view of the Richard-Strauss-Opera.
"Salome", as the Director is compliant with the composer Strauss and template poet Oscar Wilde, is a piece of time, musically, by the way. A society is described, drained, firmly clawing on the old standards, which is just before the Tipping to a new, unknown, dreaded time. In the case of Warlikowski these are the forty years. A group of Jews has surrounded himself here, holed up in a library (equipped with: Malgorzata Szsześniak), i.e., from the past and now threatened the guarantors of truth and of knowledge. A post-apocalyptic world in which one is aware of history and myth, also through the game, for example, by a "Salome" in-house.
The Director opens wide speculation space
This is a real basic situation of Warlikowski breaks up and opens a wide speculation space. The is run in the best case, enigmatic, ambiguous and exciting, but – as if the Director must always make sure – to the quotes-Rates. Such as the last supper with Herodias were in the middle of the trick film-projection to Salome's dance (with mythical creatures and signs of the zodiac from a German destroyed synagogue), or the Mahler'sche children dead song before the start. Infinitely long this could continue. Salome has the right Libretto-question: "Alone, what does?"
in Principle a lot of Positive is. Almost convulsively Warlikowski strives not to fall into the Track of the popular sweating "Salome". The cold Glow of his head cinema running under and behind the clichés asks. At the same time, he is careful to address the historical framing of the world premiere of time, even the reception after the Second world war. An invitation to further thinking is to Animate the Association – the, you can feel it after the Premiere in the Foyer and staircase conversations, is extensively perceived.
And yet there are spaces. Significantly, it could be Salome's dance with death in any other enactment. And is Jochanaan Warlikowski thought of as the frontal singing of something blässlichen Wolfgang Koch. What fascinates the title character in this faith-Ultra? We don't know it. Warlikowski is the crucial little bit of sensuality, and a playful theatricality, which manages the colleagues of Stefan Herheim in his masterful Transitions from action history and Background:.
This Strauss does not gleißt, he shimmers
In a fascinating way, the stage and the pit mesh yet. Kirill Petrenko aligns the coordinate system of its main actress. Marlis Petersen is not a real Salome-singer. The expansive force, the triumphant Opening of the voice, the missing her (which is just in the final, a pity). But what is thereby gained: an art of the Sublime, a fine, fine text work, a chamber music-like intensity to this character who is not a spoiled teen, but an out-of-lane salon serpent.
Consequently, Petrenko offers the state of the orchestra – apart from a couple of razor-sharp eruptions – an unusually silent "Salome". This Strauss does not gleißt, he shimmers, and this as the sum of numerous small Carbuncles. And it is no Strauss, the culinary delights, of the orgiastic plot, the turn-rest to a grateful Drinkability, but really one of the time, a Modern, the of your Wohins is (also in the demonstrative Experiment) not sure yet. This is very exciting – if you have resigned to the fact that Petrenko always pulls the hand brake as soon as the title heroine of the mouth.
Michaela Schuster has saved as a flash the mother monster Herodias across out of the classic "Salome". Wolfgang Ablinger-lock hoe, this is typical for the evening, a Herod, without hysteria. This man, frustrated and introspective, knows most of what is coming. The only real couple in Love is Narraboth (Pavol Breslik a little lackluster singing) and the great Rachael Wilson as the Page, which is here a woman.
Almost half of the drama she is in mourning at the lifeless body of the Beloved, to this ("The mystery of love is greater than death.") rises. When death comes, then he meets all: as of this Jewish community with the poison escapes into the suicide. Everything is logical? Everything stringently? Hardly. But so quickly this evening is not whether scenic or sound release, and. What can happen to a performance Better.
Transmission
at 6. July, from 20 clock, on the Internet at www.staatsoper.tv.
