2023-09-03 12:21:16
Climate change actually only disadvantages. And you have to do everything humanly possible to prevent it from progressing. Just not as a Wagnerian.
They have a reputation – whether rightly so, we don’t want to argue about that at this point – that they tend not to believe in the man-made nature of the increasing global weather disaster. On the other hand, of course, it might suit them if the Rhine were to really dry up.
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Especially in the Gensheim area. “He let him sink,” says the Nibelungenlied about Hagen, the wicked assassin of the dragon slayer Siegfried, “at the hole in the Rhine.” The Nibelungen treasure is meant. That’s what everyone is looking for. Everything depends on him, everything urges him. Goering, that was one of his many craziness, had a ring forged from the gold that the river washed up on and possibly came from old Germanic times. It should be known by now that he gave him neither eternal life nor infinite power.
Loch, on the other hand, has nothing Scottish about it. It is the designation for dark and deep places in the river. A particularly dark place is the “black place” near Gensheim – located on the sharpest knee of the Rhine. Not far from Worms, the city that adorns itself not only in summer and during the Nibelung Festival with dragons of all kinds and in the shadow of the cathedral, which is steeped in Burgundy blood and history, is home to a Nibelung Museum.
A kind of Nibelungen homecoming
Now we have to get to the Sunday night thriller quickly. Of course, that wouldn’t be very difficult if “Gold”, the first “crime scene” after the summer break – the Bayreuth and Nibelungen Festivals have both gone into hibernation – were a Münster case. With Alberich, the pathologist, and with Professor Doctor Karl-Friedrich Boerne, who loves to saw up corpses while riding the Valkyries and always has a really funny alliteration on his lips.
But we are not in Münster, which has nothing to do with the Nibelungen, but actually in the Palatinate. Which is somewhat surprising, since the Ludwigshafen commissioner Lena Odenthal has not necessarily attracted attention as a supporter of hardcore high culture in her seemingly endless years of service.
Nor could it be said that she was too close to wine, the most important agricultural product in her district. Perhaps because this time she is dealing with both – with Wagner and with wine – she is finding it so incredibly difficult to clarify a case that colleagues in the evening program usually get over with within three quarters of an hour.
Schildmaiden: Melania Wolter (Pheline Roggan left) and the winemaker Susanne Bartholomae (Ulrike C. Tscharre)
What: SWR/Benoît Linder
But that’s not the point. So about the case. It is about an almost ghost train combination of myth and murder. Of course, it’s actually not that difficult. Because, of course, an unbelievable number of people died in the Nibelungen. And the basis of everything that interested Wagner, the old revolutionary and anti-capitalist barricade fighter, so much about the dwarves and gods, dragons and Valkyries, was of course the matter of gold, after which everything strives, on which everything depends. And whose possession (or non-possession) will inevitably at some point bring the life and limb department, as the homicide squad is called in Austria, onto the scene.
The case is as follows: Boris Wolter has disappeared. He was a bank manager with a raging penchant for jousting. He was also an epileptic. And he had a wife, Melania by name, which doesn’t bode well. Of course she’s crazy. She attacked him with a sword.
We know in the living room from the opening credits that things probably didn’t end well with Boris. A fork-stacked vineyard tractor drove through a vineyard in the blood-red night light, a corpse lay in front, picturesquely laid out like the dead Siegfried on the Green Hill, where Euro pallets are usually transported.
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The vineyard is in Deidesheim. Fantastic Riesling grows there. Unfortunately in a ground that you don’t have to dig very much to come across any relics from the Roman and Germanic times. This is how golden coins are found in “Gold”. The greed ferments.
An antiques dealer then goes nuts. And a winemaker too. A fence lies in his blood until he smells strange. And André Eisermann stands at the window as a Palatinate hotelier and sings something from the “Ring” (in between: if the Palatinate dialect drives you crazy, avoid “Gold” widely).
Debts are incurred and debts are collected. A dog is looking for Boris’ corpse, its name is Freia. An opaque man goes around, his name is Hagen. And a Palatinate Indiana Jones, played by Heino Ferch with fabulous, almost Alberich-like mischievousness and stubbornness, guides through the “Gold” program as Nibelungen Museum curator. This is divided into four chapters. “Das Rheingold”, “Valkyrie”, “Siegfried” and “Götterdämmerung” without there being a dramaturgical basis for it.
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That’s how it works in the screenplay by Fred Breinersdörfer and Katja Röders. Wagnerians will be amazed at the artifacts of knowledge and allusions to their main sanctuary that can be sunk in the hole of a Sunday night crime thriller. Lay people like to wonder why all this has to be.
But not for long. Rarely has a Ludwigshafen “crime scene” sounded better. Rarely has one looked as grandiose as “Gold”. So grandiose, as if the SWR had already spent the millions saved by the departure of Heike Makatsch from the Mainz “Tatort” police station. The effects are chic. The screen turns blood red.
Gold dust flies up and settles down. And yet only thinly covers the rather bland story. Now, before I run out of alliteration, let’s stop here. Next week we’ll continue on the other side of the Rhine. “Mercy. Too late” is the name of the new case of the Frankfurt trackers. “Gold” has even less to do with the Rodgau Monotones than it has with the old Wagner. But this night piece will follow you for weeks. See you then.
#Crime #Scene #Wagalaweia #Greed #ferments #Gau