Richard Strauss’s marital intimacy “Intermezzo” returns to Dresden 100 years after its premiere. In Axel Ranisch’s production, the dreams of musical theater and the reality of the twenties overlap with the most beautiful sighs of love.
99 years later, Richard Strauss instrumentally enlarged his domestic life in the Domestic Symphony and even embellished it in a work called “Intermezzo” for another two decades. In 1935, the eight-part chorus based on Rückert’s ”The Goddess in the Cleaning Room” followed, which begins with the words “What chaotic cleaning”. And above all, it all served to pay homage to a woman in changing forms, from the first songs through the operas to the last “Four Last Songs”: his absolutely dominant wife Pauline, officer’s daughter and soprano.
At the Deutsche Oper in Berlin last May, Tobias reworked it in a contemporary way, staged in a very comically modernized way between cell phone chats and storm flight; but also with more than a touch of ruthless cynicism: because Christine has a real relationship with Hallodri Baron Lummer, who only wants to beg her; which makes his whims tasteless and dishonest. For moral support, she was occasionally dressed in an opera costume of other Strauss heroines, such as the merciful marshal “Rosenkavalier” who disappeared in the next flirtation, or Electra, who wielded the murderer’s ax in revenge at the notary.
Berlin filmmaker, director, author and actor Axel Ranisch had this obvious idea in Dresden, where “Intermezzo” is performed for the first time since its premiere at the Schauspielhaus in 1924, and also makes its debut in the large but acoustically pleasant Semperoper estates. Ranisch is a naive lover in the best sense of the word who would never betray his characters. And so, with an almost nostalgic emphasis (and in the precious Art Nouveau clothes of Alfred Mayerhofer), he raises Christine onto a pedestal.
This begins in the first minutes before the opera, when the Storch couple are placed on a floating pedestal, so to speak, like Straussens, on a dotted carpet that lines the stage from ceiling to ramp. Pauline sings the song “Cäcilie”, composed in 1894 (“If I knew, / What does it mean to dream / Of ardent kisses, / Of excursions and rest / With the beloved”), accompanying her on the piano. Then the vibrant prelude begins, overshadowed by a marital quarrel in the Strauss household (now two actors: Katharina Pittelkow, Erik Brünner).
Female empowerment
In this way Ranisch, who also speaks off-screen, manages to tell the story in a very flat way and yet break it up with gentle irony, mixing the levels. On a private level we see the marital crisis somewhat flattened together with the family of storks (apparently Straussian), stylized among black and white Art Nouveau cardboard backdrops (by Saskia Wunsch). At the same time, the Straussens sit in the opera box, watching everything during the premiere; until Pauline, increasingly angry at his supposed parody, bursts into the hall. There, the women of Strauss’ work, brought to life by a sepia vignette, come to life on posters and also interact in the interludes as an auxiliary solidarity group. And even during the actual break, Pauline, the actress, toasts pompously with her glass of champagne.
Richard Strauss never showed so much female emancipation as when Freihild (once sung by Pauline) from his failed debut opera “Guntram” hits her husband with the fatal notes, or when she hits the dreamy and melancholic fourth orchestral interlude which turns Helena into a cartoon. riding a Trojan horse with her loving husband. The young conductor Patrick Hahn, who sometimes lets things loose, encourages the bright and playful Saxon Staatskapelle to sing the most beautiful sighs of love; how he constantly expands with verve the tonal finesse of this banal yet complex work.
Pauline, one of the longest and most capricious female roles in the opera, requiring unconditional acting presence and agility in speaking, is, as in Berlin, embodied by Maria Bengtsson. The Swedish soprano has gained in volume and clarity; his noble but delicate voice sometimes reaches its limits. But here he behaves in an even more confident and relaxed way, not only leading the domestic regiment in every joke with his son Bubi willing to sleep in front of the fireplace and the various servants. Christoph Pohl as the jovial court music director adds another to his vast gallery of successful Dresden roles with an always warm baritone, but of course he also has to fend off a real Salome, who drags her head in Jokanaan’s place.
Ute Selbig is the lively maid Anna, the tidy James Lay Baron Lummer, who must wait tied between the couple. It also multiplies in terms of dance, just as Axel Ranisch in this successful return of the Dresden “Intermezzo” repeatedly and happily mixes causalities and yet always remains faithful to the action - until the inevitable apotheosis of Strauss, Christine/Pauline as the eighth silhouette, on equal terms and to the great applause of the public emblazoned in the grandstand next to the other Straussian heroines.
Interview Between Time.News Editor and Axel Ranisch, Director of “Intermezzo”
Editor: Today, we have the pleasure of speaking with Axel Ranisch, the visionary director behind the revival of Richard Strauss’s “Intermezzo,” which returns to Dresden 100 years after its premiere. Axel, welcome! It’s such an exciting time for this production. What inspired you to bring “Intermezzo” back to the stage, particularly now?
Ranisch: Thank you! It’s a joy to be here. “Intermezzo” is such a deeply personal work for Strauss, reflecting his life with his wife, Pauline. In today’s world, where themes of domesticity, love, and conflict are ever-relevant, I felt it was the perfect time to explore this piece anew. By intertwining the dreams of musical theater with the realities of the 1920s, we can draw parallels to the complexities of relationships today.
Editor: Absolutely. You’ve mentioned that this production blends nostalgia with a contemporary twist. Can you elaborate on how you achieve that balance in the staging?
Ranisch: One of my main goals was to maintain the essence of Strauss’s narrative while infusing it with elements of modern life—like cell phone chats and the quirks of relationships today. In the original, there’s a marital quarrel that serves as a backdrop, and we depicted that with a playful, almost cynical touch. This allows us to reflect on how timeless these themes of love, misunderstandings, and reconciliation truly are.
Editor: That sounds fascinating! The character of Christine, set against the backdrop of a marital crisis, also seems to play a pivotal role in your interpretation. How do you view her journey in this production?
Ranisch: Christine is very much the heart of “Intermezzo.” She represents the complexities of women’s roles, especially in the context of a relationship governed by a dominant partner. In our production, she’s elevated, almost literally, onto a pedestal. This symbolizes both her struggles and her empowerment. We also integrate elements from other Strauss heroines she relates to, creating a connection that enhances her story and emphasizes the theme of female empowerment.
Editor: I find that such an interesting approach—it seems to allow for a deeper exploration of Strauss’s views on women. You’ve drawn upon Strauss’s past works and characters, which adds an exciting layer to the production. Can you tell us more about some of these references?
Ranisch: Of course! For instance, you see Christine referencing the merciful marshal from “Rosenkavalier” and even Electra, which creates a commentary on her situation. The juxtaposition of her struggles against the backdrop of these powerful women from Strauss’s oeuvre allows for a dynamic exploration of femininity and strength. It’s like she’s surrounded by these characters, almost as a support group, representing the different facets of womanhood and resilience.
Editor: That sounds quite powerful. The production’s setting at the Semperoper also adds to its splendor. How does the venue play into your artistic vision?
Ranisch: The Semperoper is an incredible venue, rich with history and acoustics that enhance the music’s emotional depth. The space allows for an intimate connection between the performers and the audience, which is essential in a work so centered on personal relationships. The floating pedestal and the Art Nouveau backdrop we designed create a dreamlike quality that mirrors the essence of love—sometimes elevated, sometimes tumultuous!
Editor: The imagery you’re creating is truly captivating, Axel. As you prepare for the premiere, what do you hope the audience takes away from this revival of “Intermezzo”?
Ranisch: Above all, I hope they leave feeling a renewed sense of connection to the themes of love, struggle, and celebration of women—past and present. “Intermezzo” is a reminder that even amidst quarrels and conflicts, there is beauty, humor, and ultimately, a shared humanity. I want our audience to resonate with Christine’s experiences, rethinking what empowerment and partnership mean in today’s world.
Editor: That’s a beautiful sentiment, Axel. Thank you for sharing your insights with us today. We look forward to witnessing your vision come to life in Dresden!
Ranisch: Thank you! It’s been a pleasure discussing this with you. I can’t wait for the audience to experience “Intermezzo”!