{"id":77697,"date":"2014-10-24T18:52:43","date_gmt":"2014-10-24T16:52:43","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=77697"},"modified":"2016-11-26T00:02:55","modified_gmt":"2016-11-25T23:02:55","slug":"deutsche-staatsoper-berlin-rein-gold","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/deutsche-staatsoper-berlin-rein-gold\/","title":{"rendered":"Deutsche Staatsoper Berlin: “Rein Gold”"},"content":{"rendered":"

Deutsche Staatsoper Berlin – Season 2014\/2015<\/span><\/em>
\n \u201cREIN GOLD\u201d<\/b><\/span>
\n Musiktheater<\/span> by<\/span> Nicolas Stemann<\/b><\/span><\/span>
\n W<\/span>ith texts by <\/span>Elfriede Jelinek<\/b><\/span> and music by <\/span>Richard Wagner<\/b><\/span><\/span>
\n Br\u00fcnnhilde<\/i><\/span> <\/i>REBECCA TEEM<\/span><\/span>
\n Wotan <\/i>J\u00dcRGEN LINN<\/span>
\n Woglinde <\/i>NARINE YEGHIYAN<\/span>
\n Woglinde<\/i> KATHARINA KAMMERLOHER<\/span>
\n Flosshilde <\/i><\/span>MARINA PRUDENSKAYA<\/span><\/span>
\n Actress and acto<\/i><\/span>rs <\/i><\/span>KATHARINA LORENZ<\/span>, PHILIPP HAUSS<\/span>, SEBASTIAN RUDOLPH<\/span>
\nMusicians THOMAS K\u00dcRSTNER\/SEBASTIAN VOGEL (electronics\/synthesizer)
\nDAVID ROBERT COLEMAN (piano)
\n Staatskapelle Berlin<\/span>
\n Conductor <\/span>Markus Poschner<\/b><\/span><\/span>
\n Production <\/span>Nicolas Stemann<\/b><\/span><\/span>
\n Stage<\/span> Katrin Nottrodt<\/b><\/span><\/span>
\n Costumes <\/span>Marysol del Castillo<\/b><\/span><\/span>
\n Light<\/span> Olaf Freese<\/b><\/span><\/span>
\n Video <\/span>Claudia Lehmann<\/b><\/span><\/span>
\n Composition for electronics and modular synthesizer<\/span> Thomas K\u00fcrstner \/ Sebastian Vogel<\/b><\/span><\/span>
\n Composition<\/span> David Robert Coleman<\/b><\/span><\/span>
\n Berlin, <\/span>Staatsoper im Schillertheater, 21<\/span>st<\/span><\/sup> October 2014<\/span><\/span><\/em><\/p>\n

It takes a while until you get used to the childish and reproachful \u201cPapa\u201d (daddy)<\/span> and the text style as such. \u201eWell: daddy had his castle constructed and now he cannot pay off his loan. A situation like in every other family.\u201c That is the starting point of nearly three hours of criticism on today\u2019s capitalism without an interval. <\/span>Rein Gold <\/b><\/span>is actually a dramatic essay by <\/span>Elfriede Jelinek<\/b><\/span>, the Austrian winner of the Nobel Prize in Literature in 2004.<\/span> <\/b>Originally the Bayrische Staatsoper M\u00fcnchen had asked her for a contribution to the programme booklet of a new production of <\/span>Richard Wagner\u2019s <\/b><\/span>opera cycle<\/span> Der Ring des Nibelungen<\/b><\/span>. The result was a continuous text of nearly 200 pages read out first at the Prinzregententheater in Munich in July 2012, which took almost seven hours. The essay was published in 2013 and finally staged as an opera by producer <\/span>Nicolas Stemann<\/b><\/span> at the Deutsche Staatsoper Berlin in March 2014. The title is a play on words and refers to <\/span>Rheingold<\/b><\/span>, the first opera of<\/span> <\/b>Wagner\u2019s Ring cycle. Ms Jelinek<\/span> <\/b>drops the letter \u201ch\u201d in the name of the river turning the meaning into <\/span>Pure gold<\/b><\/span>. Inspired by the qualified pianist\u2019s passionate relationship to Wagner\u2019s music she added a drama to an existing one not for the first time. Apart from Wagner she was also influenced by <\/span>Karl Marx\u2019<\/b><\/span> and <\/span>Friedrich Engels\u2019 Communist Manifesto<\/b><\/span> and Marx\u2019 <\/span>Das Kapital. <\/b><\/span>But what is left of the revolution people once expected so much of at Wagner\u2019s and Marx\u2019 time? Revolution is replaced by nihilism: \u201cWe will be dead but the money will live.\u201d A lot of Jelinek\u2019s text is corny jokes, plays on words, a constant repetition of today\u2019s monetary crisis in a globalised and highly engineered world. It is just bringing up-to-date whatever Wagner, Marx, Engels etc. had already realised at their time. At the beginning there are five empty chairs on the stage. Two actors and an actress appear, sit down, and start to explain Wagner\u2019s Ring world that is after all our present world. As this is still too little, the musicians of the <\/span>Staatskapelle Berlin <\/b><\/span>take to their orchestra chairs in the semi-dark background. They start to play on a platform that is noiselessly rolled forward and back in the run of the evening. Conductor <\/span>Markus Poschner<\/b><\/span> creates a great Wagner sound based on the orchestra\u2019s thorough knowledge of the Ring score. It is the great music that keeps things going. Sometimes it is slightly modernized by modern electronics and a synthesizer to distort it or the <\/span>Descent to Nibelheim<\/b><\/span> with the anvils is turned into a percussion gig. Two of the five chairs are left for Wotan and Br\u00fcnnhilde, father and daughter in Jelinek\u2019s somehow one-dimensional approach to their relationship. A considerable part of her texts read out by the actors are like a dialogue between the two accompanied by significant passages from the score. <\/span>J\u00fcrgen Linn <\/b><\/span>is an experienced<\/span> Wotan <\/b><\/span>and his profound <\/span>Heldenbariton<\/b><\/span> impresses<\/span> <\/b>right from the beginning when he sings the phrase <\/span>Auf Berges Gipfel die G\u00f6tterburg <\/b><\/span>twice probably reflecting the numerous text iterations by the actors. The song <\/span>No more heroes<\/b><\/span> by <\/span>The Stranglers<\/b><\/span> does not seem to be his cup of tea, perhaps only due to the fact that he has to sing it from the back of the stage on a high platform behind the orchestra. Like in the Ring cycle Wotan\u2019s monologue from the 2<\/span>nd<\/span><\/sup> act of <\/span>Die Walk\u00fcre<\/b><\/span> though partly sung, takes a central position and the climax full of foreboding <\/span>Nur Eines will ich noch: das Ende, das Ende<\/b><\/span><\/span><\/b>! <\/b><\/span>is separated and heard almost at the end leading to one of the producer\u2019s best ideas: <\/span>Wotan\u2019s farewell and magic fire music <\/b><\/span>alternating with<\/span> Br\u00fcnnhilde\u2019s Immolation scene <\/b><\/span>in the finale. <\/span>Rebecca Teem<\/b><\/span> is by both appearance and vocally an ideal <\/span>Br\u00fcnnhilde <\/b><\/span>who is to sing the best of the part: <\/span>Der diese Liebe mir ins Herz gehaucht<\/b><\/span>, <\/span>Ewig war ich, <\/b><\/span>the final duet from<\/span> Siegfried <\/b><\/span>with non-hero <\/span>Philipp Hau\u00df <\/b><\/span>who as an actor, tries to deliver the notes; Teem crowns it with a brilliant C that she even repeats. It is a pity she sings (Sieglinde\u2019s) <\/span>hehrstes Wunder <\/b><\/span>in a transposed way. Another three singers contribute to the musical part of the show: <\/span>Narine Yeghiyan<\/b><\/span>, <\/span>Katharina Kammerloher<\/b><\/span> and <\/span>Marina Prudenskaya <\/b><\/span>lend their beautiful and wonderfully contrasting voices to the Rheint\u00f6chter<\/span> Woglinde<\/b><\/span>,<\/span> Wellgunde <\/b><\/span>and<\/span> Flosshilde<\/b><\/span> <\/b>in golden glittering cocktail dresses (costumes by <\/span>Marysol del Castillo<\/b><\/span>). Another example of an actress to become a singer is <\/span>Katharina Lorenz <\/b><\/span>who falls short of the interpretation of a song by pianist <\/span>David Robert Coleman. <\/b><\/span>Apart from the <\/span>rolling orchestra platform there is another splendid idea on <\/span>Katrin Nottrodt\u2019s <\/b><\/span>stage lit by <\/span>Olaf Freese<\/b><\/span>: Daddy Wotan\u2019s castle <\/span>Walhall <\/b><\/span>is in fact the historical building of the <\/span>Deutsche Staatsoper Unter den <\/b><\/span><\/span>Linden <\/b><\/span>that has been under construction for many years and appears like that with scaffolding, covered chandeliers, a concrete-mixer etc. When a pink panther shows up at last to wrap up corpses dropped from the stage ceiling before, Wotan drives a caravan in to be set on fire (a poor association with the end of <\/span>G\u00f6tterd\u00e4mmerung<\/b><\/span>), the three actors are cycling round the stage to pick up pieces of cardboard with slogans written on them, the orchestra sto<\/span><\/span>ps<\/span><\/span> to play, and the rest of the music comes from an old-fashioned tape-recorder switched on by a girl, some audience were bewildered and when an English-speaking gentleman left the theatre with the words \u201cWhat a nonsense was that?\u201d, I replied \u201cYou see: Wagner\u2019s music can never be killed.\u201d To put it in Jelinek\u2019s way: \u201cWe will be dead, but his music will live\u201d.<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Deutsche Staatsoper Berlin – Season 2014\/2015 \u201cREIN GOLD\u201d Musiktheater by Nicolas Stemann With texts by Elfriede Jelinek and […]<\/p>\n","protected":false},"author":177,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[9669,12488,12486,12487,173],"class_list":["post-77697","post","type-post","status-publish","format-standard","hentry","category-senza-categoria","tag-deutsche-staatsoper-berlin","tag-markus-poschner","tag-nicolas-stemann","tag-rein-gold","tag-richard-wagner"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/77697","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\/177"}],"replies":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/comments?post=77697"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/77697\/revisions"}],"predecessor-version":[{"id":86906,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/77697\/revisions\/86906"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=77697"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=77697"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=77697"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}