{"id":92242,"date":"2018-03-16T17:17:21","date_gmt":"2018-03-16T16:17:21","guid":{"rendered":"http:\/\/www.gbopera.it\/?p=92242"},"modified":"2018-03-16T17:17:21","modified_gmt":"2018-03-16T16:17:21","slug":"staatsoper-berlin-salome","status":"publish","type":"post","link":"https:\/\/www.studioroldo.it\/gbopera\/staatsoper-berlin-salome\/","title":{"rendered":"Staatsoper Berlin: “Salome”"},"content":{"rendered":"

\u00a0Deutsche Staatsoper Berlin, season 2017\/2018<\/span>
\n<\/span><\/span><\/em>\u201c<\/span>SALOME\u201d
\n<\/span><\/span><\/span><\/strong><\/span>Drama in one act, t<\/span><\/span>ext after the drama \u201cSalom\u00e9\u201d by Oscar Wilde translated by Hedwig Lachmann.
\nM<\/span>usic by <\/span><\/span>Richard Strauss
\n<\/b><\/span><\/span>Herodes, Tetrarch of Judaea and Perea <\/i><\/span><\/span>GERHARD SIEGEL
\n<\/span><\/span>Herodias, his wife<\/i><\/span><\/span> MARINA PRUDENSKAYA
\n<\/span><\/span>Salome, his stepdaughter <\/i><\/span><\/span>AUSRINE STUNDYTE
\n<\/span><\/span>Jochanaan <\/i><\/span><\/span>THOMAS J. MAYER
\n<\/span><\/span>Narraboth, Captain of the Guard <\/i><\/span><\/span>NIKOLAI SCHUKOFF
\n<\/span><\/span>The Page of Herodias <\/i><\/span><\/span>ANNIKA SCHLICHT
\n<\/span><\/span>First Jew <\/i><\/span><\/span>DIETMAR KERSCHBAUM
\n<\/span><\/span>Second Jew <\/i><\/span><\/span>MICHAEL SMALLWOOD
\n<\/span><\/span>Third Jew <\/i><\/span><\/span>LINARD VRIELINK
\n<\/span><\/span>Forth Jew <\/i><\/span><\/span>ANDR\u00c9S MORENO GARC\u00cdA
\n<\/span><\/span>Fifth Jew <\/i><\/span><\/span>DAVID OSTREK
\n<\/span><\/span>First Nazarene <\/i><\/span><\/span>ADAM KUTNY
\n<\/span><\/span>Second Nazarene <\/i><\/span><\/span>ULF DIRK M\u00c4DLER
\n<\/span><\/span>First soldier <\/i><\/span><\/span>ARTTU KATAJA
\n<\/span><\/span>Second soldier <\/i><\/span><\/span>DOMINIC BARBERI
\n<\/span><\/span>A Cappadocian <\/i><\/span><\/span>DAVID OSTREK
\n<\/span><\/span>A slave <\/i><\/span><\/span>CORINNA SCHEUERLE
\n<\/span><\/span>Oscar Wilde <\/i><\/span>CHRISTIAN NATTER
\n<\/span>Staatskapelle Berlin
\n<\/span>Conductor <\/span><\/span>Thomas Guggeis
\n<\/b><\/span>Production <\/span><\/span>Hans Neuenfels
\n<\/span><\/strong>S<\/span>tage and<\/span><\/span> costumes<\/span> Reinhard von der Tannen
\n<\/span><\/strong>Choreography <\/span>Sommer Ulrickson
\n<\/span><\/strong>Light <\/span>Gleb Filshtinsky
\n<\/span><\/strong>Berlin, 10th March 2018
\n\"\"<\/a><\/span><\/span><\/em>The one-act operas by Richard Strauss are much more condensed but not at all less thrilling than the other Richard\u2019s long music dramas. The new <\/span><\/span>production<\/b><\/span><\/span> of <\/span><\/span>Salome<\/b><\/span><\/span> by <\/span><\/span>Hans Neuenfels<\/span><\/strong> at the <\/span><\/span>Deutsche Staatsoper Berlin <\/b><\/span><\/span>is actually coherent. I admit there are no really new aspects in it but is there anything we have not seen on the operatic stage yet since the 1960s when directors started the <\/span><\/span>Regietheater<\/span><\/span> in Germany. Neuenfels concentrates on the characters and their interactions so that the opera with the second largest orchestra (only <\/span><\/span>Elektra<\/span><\/span> requires more instruments) nearly turns into an intimate play. The <\/span><\/span>stage<\/span><\/strong> designed<\/span><\/strong> by <\/span><\/strong>Reinhard von der Tannen<\/span><\/strong> can be associated by its black and white geometric lines with the aesthetics of Fritz Lang\u2019s silent film <\/span>Metropolis<\/span> or show theatre decorations from the roaring twenties<\/span>. <\/span><\/strong>Herodes, Herodias and Salome are sitting on chairs when the curtain rises. Jochanaan is visible in a phallus-like steel rocket which hangs aslope from the ceiling. Later the soldiers lower it so that Jochanaan can leave it for the big scene with Salome who has taken off her black tulle dress (<\/span><\/span>costumes<\/span><\/span> also by <\/span><\/span>Reinhard von der Tannen<\/span>) after lifting it voluptuously to make Narraboth obey her. I wonder if the tulle is supposed to remind us of the veils in Salome\u2019s dance which is of course performed differently in this production. Jochanaan wears a kind of black dress while Salome has turned into a business woman in a trouser suit. Neuenfels is carrying sexual identity so far that Oscar Wilde appears announced by red neon writing: \u201cWilde is coming\u201d to act as Salome\u2019s alter ego in a suit with<\/span> displayed silver testicles. She gives him her crescent crown that he puts on along with a skull mask and leather harness for the <\/span>Dance of the seven veils<\/span>. Salome brings him down at the end of it and pretends to bite pieces of flesh out of him. For the final scene he is presenting her a few dozens of identical heads of Jochanaan rolled in on a big platform so that Salome can play with them, nibble at them and smash a few. Altogether\"\"<\/a> it turns out a thrilling and condensed opera night as intended by the composer, also thanks to the very young <\/span>conductor<\/span> Thomas Guggeis<\/b><\/span>. As the assistant to Daniel Barenboim he was to conduct only the last of the first run of performances but Christoph von Dohn\u00e1nyi packed in his job before the dress rehearsal, supposedly out of disagreement with the director\u2019s approach. Guggeis does a very good job turning the score into a vibrating sound at a firm and appropriate tempo without the <\/span>Staatskapelle Berlin<\/b><\/span> covering the singers.<\/span> Ausrine Stundyte<\/span><\/strong> in the <\/span>title role <\/span>may not have an ideal Strauss soprano but her singing intensity is awesome and largely makes up for the fact that her voice is neither big nor<\/span> does it sound charming. <\/span>Jochanaan<\/span> is sung by <\/span>Thomas J. Mayer<\/span><\/strong> in a mostly stentorian way, which goes with both the static character of the prophet and the director\u2019s conception. <\/span>Gerhard Siegel<\/span><\/strong> as <\/span>Herodes<\/span> sings top notes with aplomb and uses compelling pianissimi when telling his stepdaughter about his hidden jewels. He proves that he is not a tenor at the end but on the crest of his career. <\/span>Marina Pudenskaya <\/span><\/strong>is a very elegant <\/span>Herodias <\/span>with<\/span> a warm and plush mezzo-soprano which is able to sing really all notes of the part including a fantastic \u201c<\/span>hei\u00df ihn schweigen!<\/span>\u201d. There is no doubt that <\/span>Nikolai Schukoff<\/span><\/strong> is<\/span><\/strong> on the way to become a <\/span>Heldentenor<\/span>. His <\/span>Narraboth<\/span> sounds attractive and powerful and the singer enhances the part. The same with <\/span>Annika Schlicht\u2019s<\/span><\/strong> page <\/span>who sings adequate warnings of gloom and doom.<\/span> <\/b>The <\/span>five<\/span> Jews<\/span><\/strong> are excellently cast with <\/span>Dietmar Kerschbaum, Michael Smallwood, Linard Vrielink, Andr\u00e9s Moreno Garc\u00eda<\/b><\/span> and <\/span><\/span>David<\/b><\/span> <\/b>Ostrek <\/b><\/span>while<\/span> Adam Kutny <\/b><\/span>as<\/span> first Nazarene <\/b><\/span>sticks out of the other minor parts. <\/span>The actor <\/span>Christian Natter<\/span> is also worth mentioning in the silent role of <\/span>Oscar Wilde<\/span><\/strong>.<\/span><\/strong><\/p>\n

Die Operneinakter von Richard Strauss sind viel dichter, aber \u00fcberhaupt nicht weniger aufregend als die langen Musikdramen des anderen Richard. Die Neuinszenierung von <\/span><\/span>Salome<\/b><\/span><\/span> von <\/span><\/span>Hans Neuenfels<\/strong> an der <\/span><\/span>Deutschen Staatsoper Berlin<\/b><\/span><\/span> ist eigentlich in sich stimmig. Zugegebenerma\u00dfen gibt es keine wirklich neuen Aspekte darin, aber gibt es etwas auf der Opernb\u00fchne noch nicht Dagewesenes seit den 1960ern, als Regisseure in Deutschland mit dem <\/span><\/span>Regietheater <\/span><\/span>anfingen? Neuenfels konzentriert sich auf die Protagonisten und ihre Interaktionen, so dass die Oper mit dem zweitgr\u00f6\u00dften Orchester (nur <\/span><\/span>Elektra <\/span><\/span>erfordert mehr Instrumente) fast zum Kammerspiel ger\u00e4t. Das von <\/span><\/span>Reinhard von der Tannen <\/strong>entworfene B\u00fchnenbild erinnert durch seine schwarz-wei\u00dfen \"\"<\/a>geometrischen Linien irgendwie an die \u00c4sthetik von Fritz Langs Stummfilm <\/strong>Metropolis <\/strong>oder Revuetheaterausstattungen aus den goldenen Zwanzigern. Der Vorhang hebt sich und Herodes, Herodias und Salome sitzen auf St\u00fchlen. Jochanaan ist sichtbar in einer phallus\u00e4hnlichen Stahlrakete, die schr\u00e4g von der Decke h\u00e4ngt. Sp\u00e4ter lassen die Soldaten sie herunter, so dass Jochanaan sie verlassen kann f\u00fcr die gro\u00dfe Szene mit Salome, die ihr schwarzes T\u00fcllkleid (<\/span><\/span>Kost\u00fcme<\/b><\/span><\/span> auch von <\/span><\/span>Reinhard von der Tannen<\/strong>) ausgezogen hat, ohne es zuvor l\u00fcstern zu l\u00fcften, um Narraboth dazu zu bringen, ihr zu gehorchen. Ich wei\u00df nicht, ob die T\u00fclle uns an die Schleier in Salomes Tanz erinnern soll, der nat\u00fcrlich in dieser Inszenierung anders ausf\u00e4llt. <\/span><\/span>Jochanaan <\/strong>tr\u00e4gt eine Art schwarzes Kleid w\u00e4hrend Salome zu einer Businessfrau im Hosenanzug mutiert. Neuenfels treibt sexuelle Identit\u00e4t so weit, dass er Oscar Wilde auftreten l\u00e4sst, der mit roter Leuchtschrift \u201eWilde is coming\u201d angek\u00fcndigt wird, und als Salomes alter ego agiert, in einem Anzug mit sichtbaren Silberhoden. Sie gibt ihm ihre Halbmondkrone, die er zusammen mit einer Totenkopfmaske und einem Lederharness f\u00fcr den Tanz der sieben Schleier tr\u00e4gt. Salome ringt ihn am Ende zu Boden und gibt vor, Fleischteile aus ihm herauszubei\u00dfen. F\u00fcr die Schlu\u00dfszene pr\u00e4sentiert er ihr einige Dutzend gleicher Johanaan-K\u00f6pfe, die auf einem gro\u00dfen Podest hereingerollt werden und mit denen Salome spielen, sie anknabbern und einige zerschlagen kann. Insgesamt kommt ein aufregender verdichteter Opernabend heraus wie vom Komponisten beabsichtigt, auch dank des sehr jungen Dirigenten Thomas Guggeis<\/b>. Als Assistant von Daniel Barenboim sollte er nur die letzte der ersten Auff\u00fchrungen dirigieren, aber Christoph von Dohn\u00e1nyi schmiss vor der\"\"<\/a> Generalprobe hin, dem Vernehmen nach wegen Differenzen mit dem Regiekonzept. Guggeis macht seine Sache sehr gut und setzt die Partitur mit flirrendem Klang um bei z\u00fcgigem und angemessenem Tempo, ohne dass die Staatskapelle Berlin <\/b>die S\u00e4nger zudeckt. Ausrine Stundyte<\/strong> in der Titelrolle mag keinen idealen Strauss-Sopran besitzen, aber die Intensit\u00e4t ihres Gesangs ist beeindruckend und macht weitestgehend wett, dass ihre Stimme weder gro\u00df ist noch wohlt\u00f6nend klingt. Jochanaan wird von Thomas J. Mayer <\/strong>gr\u00f6\u00dftenteils stentorm\u00e4\u00dfig gesungen, was sowohl zur statischen Figur des Propheten als auch zur Konzeption des Regisseurs passt. Gerhard Siegel<\/strong> als Herodes singt gro\u00dfartige Spitzent\u00f6ne und bedient sich bezwingender Pianissimi, wenn er seiner Stieftochter von den versteckten Juwelen erz\u00e4hlt, womit er beweist, dass er kein Tenor am Ende sondern auf dem Zenit seiner Karriere ist. Marina Pudenskaya<\/strong> ist eine sehr elegante Herodias mit einem warmen \u00fcppigen Mezzosopran, der in der Lage ist, wirklich alle T\u00f6ne der Partie zu singen, einschlie\u00dflich eines tollen \u201ehei\u00df ihn schweigen!\u201d. Zweifellos ist Nikolai Schukoff<\/strong> auf dem Weg zum Heldentenor. Sein Narraboth klingt ansprechend und kraftvoll und der S\u00e4nger wertet die Partie auf. Gleiches gilt f\u00fcr Annika Schlichts <\/strong>Pagen: sie singt angemessene d\u00fcstere Warnungen. Das Judenquintett <\/b>ist ausgezeichnet besetzt mit Dietmar Kerschbaum, Michael Smallwood, Linard Vrielink, Andr\u00e9s Moreno Garc\u00eda<\/b> und <\/span>David<\/b> <\/b>Ostrek<\/b>, <\/b>w\u00e4hrend Adam Kutny <\/b>als erster Nazarener <\/b>aus den anderen Nebenrollen heraussticht. Auch der Schauspieler Christian Natter <\/strong>in der stummen Rolle des Oscar Wilde sei erw\u00e4hnt. <\/strong>Photo Monika Rittershaus<\/em>
\n<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0Deutsche Staatsoper Berlin, season 2017\/2018 \u201cSALOME\u201d Drama in one act, text after the drama \u201cSalom\u00e9\u201d by Oscar Wilde […]<\/p>\n","protected":false},"author":177,"featured_media":92245,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[15741,7239,9354,20112,13228,6158,20113,3271,20110,14675,293,20111,10485,20109,6162],"class_list":["post-92242","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-senza-categoria","tag-annika-schlicht","tag-ausrine-stundyte","tag-foreign-readers","tag-gerhard-siegel-a","tag-gleb-filshtinsky","tag-hans-neuenfels","tag-marina-pudenskaya","tag-nikolai-schukoff","tag-reinhard-von-der-tannen","tag-richard-strauss","tag-salome","tag-sommer-ulrickson","tag-staatsoper-berlin","tag-thomas-guggeis","tag-thomas-j-mayer"],"_links":{"self":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/92242","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=92242"}],"version-history":[{"count":1,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/92242\/revisions"}],"predecessor-version":[{"id":92243,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/posts\/92242\/revisions\/92243"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media\/92245"}],"wp:attachment":[{"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/media?parent=92242"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/categories?post=92242"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.studioroldo.it\/gbopera\/wp-json\/wp\/v2\/tags?post=92242"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}