Status: July 19, 2024, 14:23
The Eutiner Festival once again presents Carl Maria von Weber’s “Freischütz.” The romantic opera about the struggle between good and evil is directed by Anthony Pilavachi, transforming it into a dark experience.
“Freischütz” tells the story of the hunter Max, who fights for the hand of his beloved Agathe in a pact with dark forces. Right at the beginning of the piece, a large sign reading “Whoever trusts in God builds well” catches the eye, with the word “God” lying on the ground—an indication of a godforsaken place? Skeleton-like towers flank the stage, while the background is dominated by a mystical forest reminiscent of the eerie fairy tales of the Brothers Grimm. Pilavachi utilizes this bleak setting to highlight the menacing and sinister elements of “Freischütz.”
Pilavachi’s Fascination with the Horrific
Kaspar, played by Thomas Weinhappel, has already succumbed to evil
The renowned director Anthony Pilavachi explains his vision: “All composers from Beethoven to Schumann to E.T.A. Hoffmann and Edgar Allan Poe were influenced by the Brothers Grimm. These fairy tales are brutal and reveal the darkness of human behavior. This fascination with the horrific and brutality was what I wanted to bring to the stage. This is German Romanticism—gloomy and mysterious.”
Music Underlines Emotional Peaks
The Wolf Gorge scene in “Freischütz” unfolds like a feverish nightmare.
Under the musical direction of Leslie Suganandarajah, the Lübeck Chamber Philharmonic plays in front of the stage in the orchestra pit—during rehearsal, due to weather conditions, under a tarp. The Wolf Gorge scene is particularly impressive, becoming an emotional climax in this production. With a 49-member choir appearing in black attire from the fog-covered forest, and a Max who fights against inner and outer demons in a fever dream-like state, Pilavachi creates a fever dream come true.
Deeper Roles and Strong Stage Presence
On the open-air stage, singing is done without microphones, requiring great vocal strength from the opera singers. Occasionally, the nearby birds join in. When a thunderstorm rolled in during rehearsal, it was hard to tell if the thunder was real or came from the speakers. Tenor Marius Pallesen, who plays Max, describes the unique atmosphere: “When you step onto this stage, it does something to you. It is monumental, especially when the sun sets. It affects the mood and helps express emotions vocally.”
Women’s Roles Gain More Depth
Pilavachi gives the otherwise often inconspicuous female roles in the piece greater significance. Océane Paredes, who plays Ännchen, describes the change in her role.
I rehearsed the part lightly and humorously, but Pilavachi has given Ännchen a deeper, almost eerie connection to the demonic Samiel. She is almost possessed.
Océane Paredes, Soprano
The role of Samiel is surprisingly played by a woman. Nina Maria Zorn provides much space for the devilish with her own monologues and texts.
Text of Freischütz Very Ambiguous
The Hunter’s Choir: Pilavachi’s most provocative scene on stage
But despite the overall darkness in the piece, Pilavachi cleverly uses cheerful moments to emphasize the play of light and shadow. Particularly the hunter’s choir, which is interpreted with exuberance about life and hunting joy, reveals a dark, almost provocative layer upon closer listening.
No one pays attention to the text. What are the men singing? The text is actually an insult to women. It is male desire and almost pornographic.
Anthony Pilavachi, international opera director
Premiere and Further Performances
“Der Freischütz” by Carl Maria von Weber, an opera that has been performed over 200 times on the Eutin open-air stage for the past 46 years, celebrates its premiere on July 19 under Pilavachi’s new interpretation. Performances will run until mid-August.
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