Rachel Wilson shines in Masnet’s “Witt” in Stuttgart

resistanceachael Wilson-You must remember this name from today! You can’t take your eyes and ears away from the singer. She sits on the white loop of the Stuttgart State Opera, a sparse floor plan of the relational pressure chamber designed by Katharina Pia Schütz, struggling between Witte and Albert. She didn’t say anything, she didn’t sing anything. You can only see her face, and that bright smile becomes a sign of struggle. As Charlotte, she tried to stay calm during a terrible riot. She wanted to remain loyal to Albert, and she vowed to marry her late mother. But Werther, this drowning poodle wore oversized pants and a silk blazer with hanging sleeves (invented by Elke von Sivers), and this Werther with a bunch of red roses impressed her. : His frankness, his talent can be touched all over the world, and he exudes this kind of intimacy.

But when Rachel Wilson sang, she first defended herself from Witte’s praise, and then told her sister Sophie the tears that must cry so that they would not fall into the heart, into the soul, until everything was Abandoned and you get heart palsy (the tenor saxophone groans for it, like a dog dying in the distance), and then a miracle happens: Rachel Wilson makes Charlotte his own character-against the traditional The dominant, complete and sympathetic mezzo soprano. Her voice is not as sexy and gorgeous as Brigitte Fassbaender or Elina Garanča. When Wilson sings, you hardly think of the mezzo-soprano; on the contrary, it is reminiscent of the young days of the soprano Elly Ameling, who exudes a sovereignty based on the excellence of French repertoire. Wilson’s light tone has a matte sheen of silk. Even with nasal sounds, the entire mask resonates on the head is also enviable. Your French dictionary is exemplary, full of nuances and dynamics. It’s not cumbersome—that’s why it fits so perfectly with Jules Massenet’s music, who knows how to tell the most intimate secrets of mankind without bragging.

At the Stuttgart State Opera, “Werther” also showed the new artistic director Viktor Schoner (Viktor Schoner). He once again strengthened the music in the room-the good sound, the sensitivity of the orchestra, this time by Mark ·Piollet (Marc Piollet) meticulously directed-after the drama has mastered everything, you hardly have to try to experience exquisite music in Stuttgart. Albert’s collaboration with Polish baritone Paweł Konik is also excellent. He exudes a noble voice that director Felix Rotenhausler does not allow, just as he disqualified Sophie’s exquisite elegance and commercial indifference, played by Orphee Gibney. Witte, played by Arturo Chacon-Cruz, has a heart-wrenching charm. He sings with strength and beautiful tenor materials, but he is a little careless. Everything is exposed from the throat; it does not cover the vowels from above, it hardly releases any enhanced resonance in the mask; his French also needs some follow-up. By studying this technology, he can still get a lot of sound. His talent is amazing.

Director Felix Rothenhäusler adapted Masenet’s “Werther” based on Johann Wolfgang Goethe’s novel, bringing modern people’s The powerlessness driven by pressure and efficiency is the theme. This essay-like reinforcement comes at the expense of the minor characters Albert, Sophie, and the bailiff (singing with power, but the deliciousness of Shiruo Ishino and his son). But on its own, this reinforcement is coherent and impressive: always clockwise, after time, the characters run in circles, chasing each other, and avoiding each other. Touch, Resonance-This booklet brings an article by Hartmut Rosa and Martin Pfleiderer on the theory of social resonance in music, which is very helpful-it can only be achieved by breaking the loop and stepping into the middle. It is always an earthquake.