Der neue Merker

Aktuelles aus Österreich
„Entfesselte Frauen“, bald aus Machtgier, dann wieder aus Rachsucht oder
enttäuschter Hoffnung bevölkern gleichsam als Sondertypus der „Pazze“
die Bühne der frühen Werke: Ein Hinweis auf Abigaille („Nabucco“),
Odabella („Attila“) und Lady Macbeth darf hier genügen.
Ein in jeder Hinsicht unvergleichliches Werk steht mit „Stiffelio“ (1850)
am Ende der hier skizzierten, hektischen Periode. Es ist zunächst ein Zeitstück,
sein Handlungsmilieu lebt von der Spannung zwischen Religion,
privaten Affekten sowie der Hierarchie familiärer Ordnung und weist
gleichwohl einige vertraute Muster und Konstellationen auf: den strengen
Vater (Stankar), zwei rivalisierende Männer (Stiffelio, Raffaele), eine
am seelischen Konflikt verzweifelnde junge Frau (Lina). Am Ende steht
eine Versöhnung der besonderen Art: Als der Titelheld in Ausübung seines
geistlichen Amtes die biblische Geschichte von der Ehebrecherin vorträgt,
verzeiht er zugleich als Ehemann seiner reumütigen Gattin, die davor
ihre Beichte abgelegt hatte.
Ein Werk an der Schwelle zu den Meisterjahren ist dieses Stück, über das
Leo Karl Gerhartz überzeugend schreibt: „Diese Oper ist der vielleicht radikalste
Versuch des jungen Theatermanns, zu erproben, welche Gegenstände,
welche Formen auch von Konfliktdiskussionen, sein Operntyp zu tragen und
zu ertragen in der Lage war.“
Oswald Panagl
England:
BRITTEN CENTENARY CELEBRATIONS
There have been many performances all over the world to celebrate Benjamin
Britten. In the U.K. Opera North has been touring Grimes’, ‘Midsummer
Night’ and ‘Death in Venice’, Orchestras and singers have been
performing his works all round the country, and here in London’s Barbican
a weekend was devoted to his life
and music, culminating in a BBC
concert performance of ‘Albert Herring’
under Steuart Bedford. Pleasures
still to come include a newly
choreographed ‘Prince of the Pagodas’
from David Bintley and Birmingham
Royal Ballet.
I chose to visit the various offerings
in Suffolk, his home county, since
one could not do everything, and
a rewarding time it was.
Opera North at Snape Maltings:
“DEATH IN VENICE” – 1.1.
Yoshi Oida’s production, first seen
at Snape in 2007, has travelled
widely, and was enthusiastically
reviewed by me at its first performance,
when I hoped it would have
an afterlife. Opera North have staged a worthy revival (by Rob Kearley).
Tom Schenk’s set of walkways across shallow water, Richard Hudson’s
perfect period costumes and Katharine Kurz’ choreography for the important
dance scenes (revived by Katharina Bader), and if Paule Constable’s
atmospheric lighting seemed a little subdued from its previous
outing, there are obvious constraints when touring the production to several
venues.
I noted the spare setting and the intellectual rigour Oida brought to the
piece, and thanks to Alan Oke returning to the role of Aschenbach, was
as intense and engrossing as before. His step into the water as he surrenders
to his feelings is just as shocking as before, and the whole experience
is lit by his fastidious acting at first and later his physical decline, his crystal
diction and vocal colour. There is nothing purely decorative in anything
that happens on stage.
Peter Savidge as the Traveller and other parts contrived to characterise
them all, beautifully sung (managing the few important falsetto moments
perfectly), and throughout providing a sinister presence without exaggeration,
the play scene being particularly successful.
Christopher Ainslie, an onstage presence as Apollo, was impressive and
smoothly sung, blending tonally in the whole ensemble without exaggeration,
particularly fine in the Dionysus scene, thrillingly alive with leaping
figures and blazing torches.
A word for Damian Thantrey’s English Clerk who created a real air of
menace in his scene, and to the members of Opera North Chorus who
gave a splendid account of themselves in the many solo parts and the choral
scenes. Tadzio was danced by Emily Mezieres, suitably androgynous,
and fleet of foot in the games on the beach.
Richard Farnes seems to conduct all he touches with unerring style,
and achieves wonderful textures from his orchestra, perfectly and attentively
paced.
All in all a revival which did not disappoint in any respect. Stephen Mead
Jubilee Opera at the Jubilee Hall, Aldeburgh – 10.11.
‘A TIME THERE WAS….’
Jubilee Opera, a company of local children who provided singers for
the Church Parables at this year’s Festival, presented an altogether enchanting
programme of excerpts from Britten’s output, devised (perhaps
for these 3 performances only) by Frederic Wake-Walker (director)
and Steuart Bedford (conductor). The music was put together
seamlessly, with excerpts from the song cycles, the children’s operas,
and scenes from ‘Albert Herring’, “Turn of the Screw”, ‘Midsummer
Night’s Dream’ and others.
The Jubilee Hall was the first venue for Festival Operas, the small pit
Das berühmte „red house“ in Aldeburgh (© Philip Vile)
holding nearly 30 players on this occasion, and the stage decked out with
cottonwool clouds. Through music we were led from childhood to maturity,
about 30 performers being ingeniously cast for the age required.
We began with the rehearsal for Albert Herring’s coronation (with adjusted
words for BB, the birthday boy), and took us on a journey: the bath scene
from ‘The Little Sweep’, the pirates from ‘The Golden Vanity’, a piece of
‘Noye’s Fludde’, and not neglecting the mature and dark side of the composer.
The indispensable Alan Oke gave us amongst other things “A time
there was” from “Winter Words”, the lute song from ‘Gloriana’, and the
battle for Miles with Alexandra Hutton’s Governess from ’Screw’. She
played the mother figure when required and was a delightful Tytania in
the sections from the ‘Dream’, where Alex Ashworth as the father was
an amusing Bottom.
The children of all ages were highly accomplished throughout, and the
whole entertainment was supported by the care Bedford and his players
took to match the abilities of his cast.
Stephen Mead
DER NEUE MERKER 12/2013| 5