SecondFirst is the pervert drama, then the tragedy-the last Berlin opera weekend takes place in reverse order, more or less the ancient Greek model. After Ulrich Rasche’s performance at the Deutsche Theater (FAZ August 30), the two musical theaters are now facing Sophocles’ Oedipus material Music processing; still suppressed by various new crown sanctions that are not always evocative, but the desire for new exchanges is close in every sense.
In “Greece” at the Deutsche Oper, there is an adaptation of Mark-Anthony Turnages from Oedipus in 1988, mediated by Steven Berkoff’s spoken drama: a crackling irony, tone Often vulgar, very serious imitation, transplanting ancient materials into England in the Thatcher era, driven by jazz and pop echoes, stinging instruments and a wide variety of vocal expressions, from soft music arioso To rap-like passages, the best ear food is provided. Under the careful guidance of Lin Yichen, nineteen orchestral musicians vigorously and flexibly assisted the self-discovery story of a lower class youth.
In her first musical, director Pınar Karabulut developed it with a boring, desperate optimism, exaggerated with a hoarse comedy effect: the resurrection between Oedipus Eddie and his father The manslaughter scene turned into a heart attack by the cafe owner in a duel full of manly and abusive remarks. The Sphinx is like a double figure surrounded by pink bands, and confronts her own radical feminism. Man’s hatred is bored. The screaming acrylic body and wig (Teresa Vergho), a loving and friendly incest, accompanied by prosperous commercial success as a side effect, the various compelling topics in the script are not only talking about the fear of infection and the “new The “Pandemic Protection Law”: The night has its parody and exaggerated social suspicion of high entertainment value. As the finale, after the hero blinds himself (just being disguised as a bad game), he is once again in heaven in the mother’s womb The resurrection.
From this semi-open, melancholic and ironic ending, there is a cross-connection not only with Sophocles’ original work, but also with the final deification of George Enescu’s scene “Œdipe”, which will be in Komische Oper Experience in the middle: It is true that it is not like the reluctant continuation and new beginning with Eddie from the East District, but as a tragic hero gloriously sliding into the protective arm of the gods-the end of the life story from birth to death, for the composition As far as the family is concerned, he has struggled with this subject for more than a quarter of a century, and part of it is his own.
Unlike Tenac’s contemporary readings, the Romanian immortal allegory of human nature is more like an oratorio than an opera in some respects, fully dedicated to solving the eternal problem of fate and tragic surrender. Although there was not a drop of blood flowing through Turnage, there was a river of blood, coupled with throbbing and various other pains, gloomy sexual entanglement, and red and black dangling mottles. However, under the guidance of Evgeny Titov, this standard supplement of drama guidance today actually acquires a sense of purpose that transcends shocking and emergence, and is integrated into an ancient network of ritual formulas. Because it was surpassed. Rufus Didwiszus delineated the stage in a sharp, icy cruel way, corroded metal plates as high as the horizon, and movable neon tube sculptures curled or stretched between them. Menacing-like the appearance of a sphinx, the explanation is Oedipus’s direct reflection is one of the many successful ideas over-displayed is rare; Katarina Bradic sings this song with a vicious insidiousness.
Complementing the cold and powerful presence in the scenes and plots, Enescu’s music is warm, tolerant, and although monumental, it is never bulky, and is usually displayed in a poetic flow. Ainārs Rubiķ allows the orchestra to flourish in smooth, almost Mediterranean colors. The wonderful, re-arranged choir crowd-rehearsed by David Cavelius and Dagmar Fiebach-rooted and anchored the individual in the group, just like the cheerful extra series in another house . But of course, the luck of the night depends on the cast of the main hero. In Turnage’s version, Dean Murphy showed the dexterity and direct method of movement, which can also be intimate and internalized, but the most important thing is freshness and youth. On the other hand, Leigh Melrose not only showed great endurance in Enescu, but also explored the huge range between existential insecurity and radical self-confidence, which contains a lot of voices and emotions, at most in lyrical and meditational tunes. Some cuts in the swatches-great! Jens Larsen’s crunchy, squeaky Tyresias and Vazgen Gazaryan’s patriarchal, bass-booming high priest are two examples of the consistently highly personalized character images in the solo ensemble. · Jocaste of Karolina Gumos’s impressive contrast mental map matches Susan Zarrapis Merope with dark, soft, and then all the wilder sexy bursts, cool and elegant-inserted. In addition to Murphy, the other three protagonists played all the remaining roles on Bismarck Street: Cescarico in a very ridiculous and downright petty bourgeois stupidity, Irene Roberts and Heidi Stopper There is an effective contrast between the muddy, lascivious sensuality and complaining about the mother’s worries.Anyone who has the opportunity to experience these two glasses has such a bright anti-cut basically with detailed Especially good. more!
