2024-08-15 11:17:42
Jacques Offenbach’s “The Tales of Hoffmann” is a pain in the history of music. The Salzburg festival is now trying to save the sweet torso. It doesn’t end well for the hero.
When the opera direction has reached the end of the often-obtrusive process of abstraction, then theater is performed on stage or – even more famously – a film is made. Like recently in Munich (“Tosca”) or Salzburg (“Falstaff”). There, Mariame Clément has recently turned Jacques Offenbach’s “The Tales of Hoffmann” into a completely chaotic author’s cinema – a serious industrial accident.
Now the unfinished opera of Jacques Offenbach is the most beautiful mountain in the history of music. Of course you have to act as a translator. For about twenty years now, the surviving sheet music has finally been philologically improved and somewhat completed; But every show has to create its own version from differences, both on the part of the director and the director.
The high-octane story of the singer Hoffmann (not synonymous with ETA, but with his romance and an eerie set of motifs), which sees the same woman appearing in four different parts and in the end being inspired to create again by muse, who became something in Salzburg Hollywood, hippies and MeToo. Ladies are treated so much, they are reduced to dolls, musical monsters and prostitutes. That’s exactly how it can be done Mariame Clement apparently he was unable to control himself.
On the stage of the Great Festival Hall, which is almost intact due to its grandiosity, a dirty wall (material: Julia Hansen) points to a workshop set in Luther’s wine cellar the exorcists appear, sometimes dressed as Romans and and don’t give birth to Cowboys. Stella, the current fire, the fire that could not reach Hoffmann, who just bum sleeping under his shopping cart, walked by. Kathryn Lewek, who sings the other three female roles, is also silent.
He has his personal assistant Andrès (Marc Mauillon) in tow. The muse appears from a Beckett garbage can and beguiles Hoffmann as a young, ambivalent man named Nicklausse (flat-reading and completely unerotic: Kate Lindsay). Lindorf, evil in many forms, but thanks to Christian van Horn with a one-dimensional voice, appears as a sleazy agent.
There are jerks and bangs from the pit drummer. Pre-examination with alcoholic spirits begins spontaneously and irregularly. Marc Minkowskiearly music composer and loved Offenbachian, and the Vienna Philharmonic will not be friends in this life: For four hours you can experience an unequal battle of sounds, in which the piece is specific, which shows many inconsistencies rarely hear facets, cause short ones. Minkowski could not express his thoughts;
Olympia is not a doll, but a parody of Barbarella playing in a sixties garage movie setting. An inexplicable leap in time leads to a medieval love film, where the actress playing Antonia, as a soprano singing herself to death, acts as if she is singing herself to death. and in the unprofessional hustle and bustle of the exorcist, all human emotion is destroyed and all operatic feeling disappears. Giulietta’s Venice is a fascinating salad of images with hanged people and giant faces. At the end everyone sat on the couch and loved each other.
This “Hoffmann” debut will be a triumph for the singer who has sung here since 2012 Benjamin Bernheim should be: Following the Salzburg footsteps of Domingo and Neil Shicoff, the current French tenant, who was just seen by an audience of billions at the Olympic final ceremony in Paris, could have won.
But these conditions make him lost, not the greatest professional by nature, to be lost in a foolish idea. So what separates him from it is the magnificence and sense of the wonderful, the play with words and shocks without any surface impressions. It’s a shame.
“Les contes d’Hoffmann” is also a game of illusion, the noise between mirrors and identities. It doesn’t even appear here. In the program of the following festival there is an article about “Mirror Neurons” as a “literary dance evening” and the first collaboration between singer Sasha Waltz and research theater group. Rimini Policy promise
Above all, it is a very simple, even transparent, participative theater in which those who just pay 65 euros to see themselves in front of a mirrored wall for 80 minutes and perform joint actions. To La-Ola water waves, shaking and riding on chairs, accompanied by push music and expert results from psychology research, biology, psychology and artificial intelligence, everyone is allowed to do it from their seats “as an active part of the common system, itself as a part “experiencing such a great brain”.
Played by non-challenging dancers and extras, it is more of a tasteless experiment in seduction, in the imitation of desire out of boredom than in the beginning of the program as a whole. At first wanted, but actually scared. Salzburg as a sociological study.
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