{"id":115326,"date":"2023-08-06T20:10:30","date_gmt":"2023-08-06T18:10:30","guid":{"rendered":"https:\/\/www.gbopera.it\/?p=115326"},"modified":"2023-08-06T17:11:22","modified_gmt":"2023-08-06T15:11:22","slug":"bayreuther-festspiele-2023-gotterdammerung","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/bayreuther-festspiele-2023-gotterdammerung\/","title":{"rendered":"Bayreuther Festspiele 2023: “G\u00f6tterd\u00e4mmerung”"},"content":{"rendered":"

Bayreuther Festspiele 2023, Festspielhaus
\n<\/i><\/span><\/span>\u201c<\/strong>G\u00d6TTERD\u00c4MMERUNG
\n<\/b><\/span><\/span>Terza giornata in tre atti.
\n<\/span>Libretto e musica di Richard Wagner
\n<\/b><\/span><\/span>Siegfried <\/i><\/span>ANDREAS SCHAGER
\n<\/span><\/span>Gunther <\/i><\/span>MICHAEL KUPFER-RADECKY
\n<\/span><\/span>Alberich <\/i><\/span>OLAFUR SIGURDARSON
\n<\/span><\/span>Hagen <\/i><\/span>MIKA KARES
\n<\/span><\/span>Br\u00fcnnhilde <\/i><\/span>CATHERINE FOSTER
\n<\/span><\/span>Gutrune <\/i><\/span>AILE ASSZONYI
\n<\/span><\/span>Waltraute <\/i><\/span>CHRISTA MAYER
\n<\/span><\/span>Prima Norna <\/i><\/span>OKKA VON DER DAMERAU
\n<\/span><\/span>Seconda Norna <\/i><\/span>CLAIRE BARNETT-JONES
\n<\/span><\/span>Terza Norna <\/i><\/span>KELLY GOD
\n<\/span><\/span>Woglinde <\/i><\/span>EVELIN NOVAK
\n<\/span><\/span>Wellgunde <\/i><\/span>STEPHANIE HOUTZEEL
\n<\/span>Flosshilde <\/i><\/span>SIMONE SCHR\u00d6DER
\n<\/span><\/span>Orchestra e Coro del Bayreuther Festspiele
\nDirettore <\/span>Pietari Inkinen
\n<\/b>Maestro del Coro Eberhard Friedrich
\n<\/b><\/span><\/span>Regia <\/span>Valentin Schwarz
\n<\/b><\/span>Scene <\/span>Andrea Cozzi
\n<\/b><\/span><\/span>Costumi\u00a0 <\/span>Andy Besuch
\n<\/b><\/span><\/span>Drammaturgia <\/span>Konrad Kuhn
\n<\/b><\/span><\/span>Luci Reinhard Traub <\/b>riprese da N<\/b>col Hungsberg
\n<\/b><\/span><\/span>Video<\/span> Luis August Kraken
\n<\/b><\/span><\/span>Bayreuth, 31 luglio 2023.
\n<\/i><\/span><\/span>Se vogliamo trovare qualcosa di positivo in questa produzione del Ring firmata da\u00a0 Valentin Schwarz \u00e8 l’aver portato il pubblico a delle scelte senza appello: o accetti o fino a che punto ignori il testo originale, i personaggi e le indicazioni di scena e accetti\u00a0 l’introduzione di personaggi e situazioni estranei in nome di ” licenza poetica. Dai commenti scambiati durante i lunghi intervalli dalla bordata di fischi che hanno accolto il regista e il suo team alla fine ci \u00e8 parso chiaro che il limite di accettazione era stato superato. Ci \u00e8 parso chiaro il fatto che Schwartz abbia calpestato la fitta e complessa rete di musica e testo, selezionato ci\u00f2 che gli serviva\u00a0 e manipolato con autoindulgenza, sostituendo l’inclinazione sull’universalit\u00e0 e l’atemporalit\u00e0\u00a0 originale di Wagner. \"\"<\/a>L’originale drammaturgia wagnerina contiene gi\u00e0 profonde riflessioni e presenta le lotte e i paradossi della condizione umana e il\u00a0 simbolismo usato ha lo scopo di rappresentarli. Le grandi questioni legate all’ordine oggettivo del diritto,\u00a0 della fede e della fiducia, la natura dell’amore, la lotta tra amore e potere, libert\u00e0 e obbligo, verit\u00e0 e menzogna, senza dimenticare i complicati rapporti familiari, non solo sono tutte contenute ma sono scrutati da diversi punti di vista, da diverse prospettive legate a diversi personaggi e situazioni. Abbiamo gi\u00e0 in precedenza fatto cenno che alcune idee di Schwarz erano comunque interessanti e plausibili: la breve apparizione trionfale di Freia nella scena finale di Walk\u00fcre, ovviamente non contemplata nell’originale, ma qui la si \u00e8 collegata a ci\u00f2 che era accaduto in precedenza. O ancora La scena delle tre Norne rappresentata come un incubo della figlia di Siegfried e Br\u00fcnnhilde (new entry) si inserisce nel contesto. La scena \u00e8 stata ulteriormente esaltata dal canto squisitamente luminoso ed espressivo di tutte e tre le Norne, ciascuna che scivola magistralmente,\u00a0 senza soluzione di continuit\u00e0 nella linea vocale dell’altra: Okka con der Damerau, Claire Barnet-Jones<\/strong> e Kelly God<\/strong>. La partenza di Siegfried invece a causa di una crisi coniugale ha stravolto il testo. Semplice provocazione?\"\"<\/a>
\nL’arrivo della sorella di Brunnhilde, Waltraute, cantato con passione e grinta da Christa Mayer<\/strong>, \u00e8 stato uno dei pochi momenti drammatici. L’intensit\u00e0 delle sue suppliche e l’altrettanto fermo rifiuto di Brunilde hanno dato la piena misura dell’amore e del sacrificio di Brunilde e della non negoziabilit\u00e0 dell’anello. Alla Corte dei Ghibecunghi, invece, il tradimento di Siegfried, sedotto da un Gunther vanitoso, petulante e rozzo e da una Gutrune vanitosa, volgare e sbadata. Sia la Gutrune di Aile Asszonyi<\/strong> che Michael Kulfer-Radecky<\/strong> nei panni di Gunther hanno avuto l’ingrato compito di dover interpretare questi personaggi superficiali sia fisicamente che vocalmente. Ci sono riusciti con convinzione. Mika Kares<\/strong> (Hagen) ha dominato la serata con un’esibizione avvincente e imponente. \"\"<\/a>Il suo personaggio ha rappresentato in modo completo e coerente il tema del risentimento e, in questo caso, Schwarz non ha infierito. Kares ha dalla sua una grande sicurezza scenica e vocale, con un atteggiamento tranquillo e meditabondo nella linea vocale, cos\u00ec come nell’azione che per\u00f2 faceva emergere un sottofondo minaccioso e teso, senza mai scivolare in inutili truculenze. Un colore vocale brunito, personale e immediatamente riconoscibile, unito a una presenza scenica veramente carismatica, anche quando semplicemente in agguato sullo sfondo. Olafur Sigurdarson<\/strong> ha dato un’altra bella interpretazione di Alberich, perfettamente calibrato nella sua scena con Hagen.
\nAndreas Schafer<\/strong>\u00a0 ci mostra qui un Siegfried pi\u00f9 oscuro e maturo rispetto al Siegfried, ma che fa ancora emergere la parte pi\u00f9 esuberante. Una voce d’acciaio quella di Schafer, che non ha mostrato segni di stanchezza (tenendo presente che in tre sere consecutive ha\u00a0 cantato Siegfried, Parsifal e G\u00f6tterd\u00e4mmerung) ma che ha saputo mettere in luce un’ampia gamma di colori, in una linea di canto sempre dinamica, concentrata e vibrante. La Brunnhilde di Catherine Foster<\/strong> meritava una migliore valorizzazione registica che non ha fornito alcun supporto per mostrare una vera realizzazione del personaggio.\"\"<\/a> La Foster in ogni caso \u00e8 riuscita a\u00a0 fare emergere il suo cantosuperbamente uniforme, ricco e brillante. sempre in perfetto equilibrio con l’orchestra. Come nel Rheingold, Evelin Novak (Woglinde), Stephanie Houtzeel<\/strong> (Weelgunde) e Simon Schr\u00f6der<\/strong> (Flosshilde) sono state tre magnifiche Figlie del Reno, mentre si dimenavano sul fondo della piscina asciutta. Qui abbiamo la personificazione del cavallo Grane, impersonato da\u00a0 Igor Schwab<\/strong> (servitore\/guardia del corpo), una presenza a suo modo intrigante. Il coro, preparato da Eberhard Friedrich<\/strong>, era semplicemente perfetto. Vestiti con mantelli neri,\u00a0 con in mano una maschera rossa, evocavano un mondo di tragedia greca. La dizione perfetta, il fraseggio pulito sempre con una emissione piena e omogenea. L’orchestra ha suonato al solito a un livello altissimo, nei numeri puramente orchestrali si \u00e8 elevata, librata, come se fosse stata liberata. La straordinaria acustica del teateatro continua ad essere fonte di meraviglia per l’incredibile equilibrio e pienezza che orchestra e palcoscenico riescono a produrre. Pietari Iniken<\/strong> ha guidato l’orchestra in una resa musicalmente accurata e fluida. \"\"<\/a>I costumi di Andy Besuch<\/strong> di volta in volta efficaci, ironici, divertenti, sgargianti, hanno dato un’inconfondibile rappresentazione visiva di ogni personaggio cos\u00ec come immaginato dal regista.\u00a0 Lo stesso si pu\u00f2 dire dell’impianto scenografico firmato da Andrea Cozzi<\/strong> con l’assistenza tecnica di Stephan Mannteuffel, quanto mai brillante nel creare i vari ambienti voluti dal regista. Gli interni erano coerenti e pertinenti e gli effetti scenici erano a loro modo suggestivi. Un impianto scenico efficace, silenzioso e veloce, coincidendo perfettamente con i passaggi orchestrali. Nell’ultimo atto, se l’obiettivo era la bruttezza, la desolazione e la disperazione della piscina abbandonata, lo scopo \u00e8 stato raggiunto.
\nIl progetto luci originale di Reinhard Traub<\/strong> conla ripresa di Nicol Hungsberg<\/strong> ha svolto un ruolo significativo nel creare le atmosfere\u00a0 modo discreto in generale, ma anche di irrompere in primo piano per evidenziare i momenti forti con una luminosit\u00e0 penetrante. I video di Luis August Kraken<\/strong> hanno aperto e chiuso questo Ring.
\nAlla fine il pubblico ha salutato con applausi tutti i componenti del\u00a0 cast, il direttore d’orchestra e i musicisti, riservando sonore contestazioni all’apparire alla ribalta del team tecnico. Anche in questa ripresa questa produzione del\u00a0 Ring<\/em>\u00a0 non viene “digerita” dal pubblico di Bayreuth.
\nEnglish version
\n<\/strong><\/span><\/span><\/span><\/span><\/span>One positive outcome from Valentin Schwarz\u2019<\/strong>s production of The Ring in Bayreuth is that every member of the audience is obliged to decide up to what point disregard for the original text, characters and stage directions and the introduction of extraneous characters and situations in the name of \u201cpoetic license\u201d is acceptable. From the comments exchanged during the hour long intervals and the boos at the curtain call for the production team at G\u00f6tterd\u00e4mmerung<\/b><\/span> on the last night, it was apparent that this production had overstepped the mark.\u00a0The impression is that Schwartz has ridden roughshod over the dense and complex web of music and text, selected what serves him, and self-indulgently manipulated it into something of his own, substituting his own slant over the universality and timelessness of Wagner\u2019s original intention.\"\"<\/a> \u00a0<\/span>The original work already contains profound reflections and representations of the struggles and paradoxes of the human condition and the symbols utilized are meant to represent them. The big questions tied to the objective order of law and the inner order of faith and trust, the nature of love, struggle between love and power, freedom and obligation, truth and falsehood, and not forgetting complicated family relationships, are not only all contained therein but are scrutinized from different viewpoints, from different perspectives tied to different characters and situations. <\/span>Some novel ideas were however interesting and plausible. Freia\u2019s short-lived triumphal appearance in the closing scene of Walk\u00fcre was of course not contemplated in the original but tied in with what had gone before. \"\"<\/a>The three Norns scene represented as a nightmare of Siegfried and Br\u00fcnnhilde\u2019s daughter(a new entry) fitted into the context. The scene was further enhanced by the exquisitely luminous and expressive singing of all three Norns, each one gliding seamlessly into the vocal line of the other; Okka con der Damerau, Claire Barnet-Jones<\/strong> and Kelly God<\/strong> respectively. Siegfried\u2019s departure on the other hand due to a marital crisis made nonsense of the text;or was it meant to be ironic?\u00a0 <\/span>The arrival of Brunnhilde\u2019s sister Waltraute sung with passion and drive by Christa Mayer<\/strong> was one of the few dramatic high points. The intensity of her pleas and Brunnhilde\u2019s equally firm refusal gave the full measure of Brunnhilde\u2019s love and sacrifice and the non negotiability of the ring. <\/span>On the other hand in the Gibichungs Hall, Siegfried\u2019s betrayal was all the more ignominious for having been seduced by such a vain, petulant and loutish Gunther and a vain, vulgar and scatterbrained Gutrune. Both Aile Asszonyi<\/strong>\u2019s Gutrune and Michael Kulfer-Radecky<\/strong> as Gunther were given the ungrateful task of having to portray these shallow characters both physically and vocally. They succeeded with abandon.\u00a0<\/span>Mika Kares<\/strong> as Hagen dominated the evening with an arresting and commanding performance. His character fully and consistently represented the theme of resentment and here acknowledgement also goes to Schwarz.\"\"<\/a> But the bottom line is that the vehicle for this success was Kares\u2019 own ability in vocal portrayal and stagecraft. Even the leisurely ease with which he sings projects a quiet and brooding attitude in voice and demeanour, maintaining a threatening and tight undercurrent without ever needing to give full vent to his vocal powers. His burnished colour is distinct and instantly recognizable. He carried the tension through, from scene to scene and dominated the stage with mastery even when lurking in the background. Olafur Sigurdarson<\/strong> gave yet another fine performance as Alberich, perfectly calibred in his scene with Hagen. <\/span>Andreas Schafer<\/strong> as Siegfried portrayed a darker and more mature character at the beginning of the opera before letting loose with a more ebullient characterization after his arrival at the Hall of the Gibichungs. Incredibly his voice gave no sign of tiredness even though in three consecutive evenings he had sung Siegfried, Parsifal and Siegfried again. In fact, his Siegfried was notable for his range of tone colour supported by his focused and vibrant dynamics. \"\"<\/a><\/span>Catherine Foster<\/strong> as Brunnhilde deserved more from the staging, which petered out in a desolate desertification at the bottom of a swimming pool. The staging gave no support for displaying all the qualities she possesses and which she unleashes as she heads for the denouement of the Immolation. In any case she managed to pour out her superbly even, rich and resonant sound in perfect balance with the orchestra. The Rhinemaidens, Evelin Novak, Stephanie Houtzeel<\/strong> and Simon Schr\u00f6der<\/strong> as Woglinde, Wellgunde and Flo\u00dfhilde respectively, sang as beautifully as they had in Das Rheingold<\/strong> while thrashing about in the bottom of the dry pool.\"\"<\/a> Left high and dry <\/span>they exited down the drain<\/span>. Igor Schwab<\/strong> in the silent role of Grane, manservant\/bodyguard, conveyed his intriguing part convincingly. <\/span>The chorus, prepared by Eberhard Friedrich<\/strong>, was immaculate. They resembled an Ancient Greek chorus, robed in black cloaks with hand held red masks. Their diction was perfect, their phrasing clean and their sound focused, strong, full and homogeneous. The orchestra played at their usual high standard and in the orchestral interludes surged, as if liberated. The acoustics of the unique pit continue to be a source of wonder for the amazing balance and fullness that both orchestra and stage manage to produce. Pietari Iniken<\/strong> led the orchestra in a musically accurate and flowing rendition. <\/span>The costumes of Andy Besuch<\/strong> reflected the staging. In turn, smart, ironic, facetious, gaudy, his costumes gave an unmistakable visual depiction of each character as envisioned by the director.\u00a0The stage design by Andrea Cozzi<\/strong> with the technical assistance of Stephan Mannteuffel<\/strong> was interesting for the repurposing of Hunding\u2019s house to Mime\u2019s, the tawdry beauty clinic waiting room, and for creating the different recognizable areas associated to the Valhalla \u201cVilla\u201d, locations for the scenes concerning Wotan\u2019s extended family. \"\"<\/a>Fafner\u2019s luxury pad emulates the same style, resourcefully accomodating different independent areas for the interconnecting scenes. The interiors were consistent and pertinent<\/span> and the stage effects (billowing curtains) were suggestive. The stage machinery was effective, silent and quick, coinciding perfectly with the orchestral interludes. In the last act, if ugliness,desolation and despair of the abandoned swimming pool was the aim then it was an unqualified success. <\/span>The original lighting design by Reinhard Traub<\/strong> with the revival by Nicol Hungsberg<\/strong> played a significant role in setting the atmosphere unobtrusively in general but bursting into the foreground to highlight forceful moments with seering brightness. The videos by Luis August Kraken opened and closed the staging.\u00a0Thunderous applause for the cast, conductor and musicians, but the persistent booing of the production team\u2019s curtain call testifies to the fact that this Ring<\/em> production is still controversial. Photo Enrico Nawrath<\/em><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Bayreuther Festspiele 2023, Festspielhaus \u201cG\u00d6TTERD\u00c4MMERUNG Terza giornata in tre atti. Libretto e musica di Richard Wagner Siegfried ANDREAS […]<\/p>\n","protected":false},"author":105,"featured_media":115354,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,4],"tags":[28259,34357,7749,34358,34355,5715,14697,34369,5535,16728,10491,9354,172,34425,34421,34367,34359,34422,34360,18620,7397,34424,8210,30357,145,34423,6409,2181,173,21032,34362,34356],"class_list":["post-115326","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","category-recensioni","tag-aile-asszonyi","tag-andrea-cozzi","tag-andreas-schager","tag-andy-besuch","tag-bayreuther-festspiele-2023","tag-catherine-foster","tag-christa-mayer","tag-claire-barnett-jones","tag-der-ring-des-nibelungen","tag-eberhard-friedrich","tag-evelin-novak","tag-foreign-readers","tag-gotterdammerung","tag-igor-schwab","tag-il-crepuscolo-degli-dei","tag-kelly-god","tag-konrad-kuhn","tag-lanello-dei-nibelunghi","tag-luis-august-kraken","tag-michael-kupfer-radecky","tag-mika-kares","tag-nicol-hungsberg","tag-okka-von-der-damerau","tag-olafur-sigurdarson","tag-opera-lirica","tag-orchestra-e-coro-del-festival-di-bayreuth","tag-pietari-inkinen","tag-reinhard-traub","tag-richard-wagner","tag-simone-schroder","tag-stephanie-houtzeel","tag-valentin-schwarz"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/115326","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=115326"}],"version-history":[{"count":12,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/115326\/revisions"}],"predecessor-version":[{"id":115371,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/115326\/revisions\/115371"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/115354"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=115326"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=115326"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=115326"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}