War, cultural sponsorship and cancellation debates: festivals have to go through it. The new manager at the helm of the Salzburg Festival faces delicate tasks. And the “Everyman” is specified.
At the Salzburg Festival, after two pandemic seasons, the signs are not pointing to carefree cultural enjoyment in 2022 either. In times of crisis, not only top-class productions are expected from the theatre, opera and concert festival, but also an attitude towards war or the environment.
The new festival president, Kristina Hammer, and the artistic director, Markus Hinterhäuser, are trying to take a differentiated course when it comes to the engagement of stars with a connection to Russia or sponsorship by the raw materials industry.
The war in Ukraine has thrown a world out of joint, which already showed cracks along nationalities, cultures and genders, Hammer told the German Press Agency. Art cannot save the world. “But I believe that art has the power to give people the opportunity to reflect on and sort through dramatic external changes. Art is an encouragement and a source of strength from which you can draw,” said the woman from Baden- Württemberg-born Hammer, who used to work as a brand specialist for car manufacturers, among other things.
Lars Eidinger as “Everyman”
The festival opens on Monday with Hugo von Hofmannsthal’s traditional play “Jedermann”. Lars Eidinger will be on stage in the title role and Verena Altenberger as paramour, who had already impressed in Michael Sturminger’s production last year. The two acting stars are also known for their clear positions on current issues. Altenberger is involved in the fight against abuse of power in theater and film, while the pacifist Eidinger has spoken out against German arms deliveries to Ukraine.
In his own words, director Sturminger sharpened this year’s “Jedermann” again with “minimal precision” compared to the new concept for 2021, which was created under rather hectic conditions. “Now it’s really to the point,” said Sturminger. He deliberately refrains from references to the bloodshed in Ukraine. “I didn’t want to try to bring any artificial topicality into the play. That wouldn’t do justice to what’s happening.” However, this European tragedy points to the really important issues that “everyman” is also grappling with.
Clinging to Teodor Currentzis
The conductor Teodor Currentzis has had to take criticism for his silence on the war. On Tuesday (July 19) he will perform Shostakovich’s 13th Symphony with the choir of his Russian ensemble MusicAeterna and the Gustav Mahler Youth Orchestra. On July 26, he will conduct the first premiere of this festival season: Romeo Castellucci will juxtapose Bartók’s “Bluebeard’s Castle” and Orff’s apocalyptic oratorio “De temporum fine comoedia”.
Despite the criticism of Currentzis and MusicAeterna, which is financed by the Russian bank VTB, the festival is sticking with both. “One should proceed here in a differentiated manner and with a sense of proportion,” said Hammer. Many people in Russia, including artists, are against the war. Criticism will be punished with imprisonment. “These people are currently being made almost impossible to express their opinions,” said Hammer. VTB has never had direct financial ties to the festival, she stressed.
Separation from commodity investor Solway
The festival parted ways with the Swiss commodity investor Solway, who had supported youth projects. After allegations of environmental damage and human rights violations around a nickel mine in Guatemala, the sponsorship contract was terminated a few days ago.
The soprano Anna Netrebko, who has fallen out of favor elsewhere, was not uninvited in Salzburg – she had not planned any performances this summer in the city of Mozart anyway. Asmik Grigorian could take on the star role this time. She sings all three female leads in the three one-act plays of Puccini’s “Il Trittico” (from July 29).
Exciting artists have also worked on a new version of Schnitzler’s “Reigen” (from July 28): Well-known authors, including Sofi Oksanen, Leïla Slimani and Sharon Dodua Otoo, have rewritten the scenes of the classic about sexuality and power – with little Sex, but lots of relationship discussions.
With so much topicality, the corona pandemic in Salzburg is almost fading, but not quite: masks are mandatory for the audience at the 174 performances that will take place until the end of August. (dpa)