As the New Year approaches, opera houses in Stuttgart and Munich aimed to deliver light-hearted performances, but their efforts fell flat. Stuttgart’s “Casanova” and Munich’s “Regimentstochter“ failed to engage audiences, despite the presence of a TV celebrity. Both productions opted to eliminate spoken dialog, which left viewers confused, especially given the obscurity of the works. Munich’s staging featured lifeless performances against a backdrop that resembled a deteriorating winter landscape, while the thin plot struggled to resonate. In contrast, a prosperous adaptation of Ingmar Bergman’s “Fanny and Alexander” in Brussels showcased how operatic storytelling can captivate, highlighting the missed opportunities in Germany’s New Year’s offerings.The recent performances of “Casanova” in Stuttgart and Munich have sparked mixed reviews, highlighting a disconnect between modern interpretations and the original charm of the operetta. In Munich, Sunnyi Melles’ portrayal of the Duchesse de Crakentorp, dressed in an extravagant costume, has been criticized for lacking depth and clarity, overshadowing othre cast members, including a commendable Dorothea Röschmann as the Marquise de Berkenfield. Meanwhile, Stuttgart’s production, directed by Marco Štorman, has been described as overly didactic, failing to capture the essence of the character while leaning heavily on outdated moral themes. As audiences seek fresh and engaging theatrical experiences, the question remains: can these classic works be revitalized for contemporary viewers?The Staatsoper Stuttgart is set to present a modern interpretation of “Casanova,” a revue operetta by Johann Strauss and ralph Benatzky, on December 30, 2024. This production, reimagined by Judith Schalansky, promises to explore the complexities of love and desire through a contemporary lens, challenging customary narratives in the #metoo era.The performance will feature a vibrant set design and a diverse cast, aiming to engage audiences with its fresh take on the classic tale of the legendary lover. Tickets are available now, with prices ranging from €72 to €126, making it an accessible cultural experience for all opera enthusiasts. For more details,visit the Staatsoper Stuttgart’s official website [3].
Time.news Exclusive: Engaging discussion on the State of Modern Opera with Expert Dr. Helena Fischer
Editor: As we step into a new year, there’s been considerable discussion around the recent performances at major opera houses like Stuttgart and Munich. Their attempts at light-hearted operatic offerings didn’t seem too resonate with audiences. What do you think went wrong with productions like “Casanova” and “Regimentstochter”?
Dr. Helena Fischer: The performances in Stuttgart and Munich indeed illustrate a important challenge in contemporary opera. Both productions made the controversial choice to eliminate spoken dialog, wich left audiences confused, especially given the obscure plots. In a bid to modernize, thay seemingly neglected the essential storytelling element that engages viewers.A narrative without dialogue creates a disconnect, and audiences were left struggling to follow along.
Editor: That’s an interesting point. The visual elements can certainly enhance a performance, but storytelling remains crucial.how did the staging choices contribute to audience disengagement?
Dr. Helena fischer: The Munich production, as an example, was set against a backdrop that resembled a deteriorating winter landscape—certainly not the light-hearted experience one might expect from an operetta. This aesthetic choice added to an overall lifeless performance. The portrayal of characters wasn’t dynamic enough to capture audience attention, resulting in mixed reviews.Conversely, Stuttgart’s rendition of “Casanova,” directed by Marco Štorman, was criticized for being overly didactic, pushing outdated moral themes rather than revitalizing the operetta for a modern audience.
Editor: In contrast,you mentioned the successful adaptation of Ingmar Bergman’s “Fanny and Alexander” in Brussels. What can we learn from that success regarding operatic storytelling?
Dr. Helena Fischer: The success of “Fanny and Alexander” showcases the power of compelling narratives. it emphasizes that operatic storytelling can still captivate audiences if it’s done thoughtfully. Productions must find a balance between tradition and innovation, preserving what makes the story resonate while adapting to contemporary sensibilities. They must engage the audience with relevant themes and relatable character depth.
Editor: for the upcoming modern interpretation of ”Casanova” at the Staatsoper stuttgart, which aims to explore love and desire through a contemporary lens, what measures do you think are necessary for it to succeed?
Dr. helena Fischer: This production, led by Judith Schalansky, seems promising. Still, its success will hinge on how effectively it reinterprets the material. By acknowledging contemporary issues—like those raised by the #MeToo movement—it can resonate deeply with today’s audiences. A vibrant set design and a diverse cast can certainly attract viewers, but the crux will be in the nuanced performances and coherent storytelling. Engaging audiences requires a performance that speaks to them, with characters that reflect their realities.
editor: It’s encouraging to hear about these efforts to revive classic opera. As we look forward to 2024, what should opera houses keep in mind to engage modern audiences?
Dr. Helena Fischer: Opera houses must prioritize adaptability and relevancy. They should not shy away from exploring contemporary themes and employing innovative staging techniques. Engaging dialogues absolutely need to remain a central part of performances. Importantly, producers should listen to audience feedback to understand their preferences and discomforts, effectively bridging the gap between classic operatic charm and the expectations of modern theatergoers.
Editor: Thank you, Dr. Fischer,for your insights on the evolving landscape of opera. This dialogue highlights the complexities faced by opera houses as they navigate traditions while appealing to contemporary audiences.
Dr. Helena Fischer: Thank you for the possibility to discuss these pressing issues in modern opera. I hope to see more productions that thoughtfully engage with audiences in the future.