resistanceReligion is the stuff of lunatics or slackers. So for those who cannot cope with what we call “reality”. This is the dogma of contemporary musical directors. You can bet in advance that Renata will be related to every new work of Sergei Prokofiev’s “Seraph”.There is also Francis Poulenc’s “Dialogues des Carmélites” (Dialogues des Carmélites), newly produced by Claus Guth, now in Frankfurt Opera As shown in the picture, the young nobleman Blanche Delafos who decided to become a nun is a poor lunatic. When in the terror of the revolution-recording the execution of sixteen Carmelite nuns of the Abbey of Compiègne-her nuns were on the scaffolding, then for Claus Gus, this is first It means to show insanity in the main mind: all imagination, without reference to the outside world.
Well, Guth is not wrong. Even Planck’s play following Georges Bernanos in the opera completed in 1957 portrayed Blanche as a woman full of fear, except that she could not bear the world through the legalization of religion , There is no other way to help yourself. Planck himself wrote that Blanche is not just about fear, but about madness. But in “The Carmelite Dialogue”-a very clever script-it is not just the heroine’s mental illness that is negotiated. It is about hypocritical humility, pride in humiliation, sincere exploration of one’s own motives, and constant examination of whether one has abused the name of God for selfish purposes.
In the final analysis, it is also about the meaning of martyrdom, about the Christian’s confidence that life will not end by death, and the understanding of the morality that requires people to sacrifice their lives for an idea. The execution of the nuns attests to the totalitarian characteristics of modern emancipation, which makes the work of those who do not obey it short-lived. The sociologist Peter Ludwig Berger described it as “a repressive feature of the modern world.” Anyone who reflexively views religious people as lunatics—such as world flight and mental illness—continues this intellectual suppression.
However, in terms of drama, Gus did a great job. He asked the set designer Martina Segna to create a cubist landscape that should point to the future rather than the past, because-as he himself said-this kind of “hardness and coldness” also represents A world that has not stopped giving and has nothing to rely on. Maria Bengtsson’s tone is more lyrical than dramatic, her vocal charm is extremely delicate, and she has played Blanche since she first appeared as a fragile but mysterious woman. It cannot be unraveled: a mixture of Debussy’s “Melisand” and Hitchcock’s “Marnie”. When she insisted on her brother that her fear also contained the courage to fight, she would produce an ember that was inherently frightening. Jonathan Abernethy met her in this controversy. Her tenor is full of love, delicate wording and matte luster, which already hints at Jules Massenet. )’S “Manon” (Manon) is the upcoming knight rider.
Elena Zilio (Elena Zilio) is the incident of an old convent Madame de Croissy (Madame de Croissy): an old woman with gray hair and wrinkled arms, but her The sound was as bright and pure as the sun in the cold January weather. These otherworldly glorious moments alternated with the occasional flash of light when Blanche was subjected to a relentless mental test and those blatant creatures who were blatantly afraid of death. The glass coffin she was in was like an incubator. The cohesion of symbolism is great: this painting connects Snow White’s fairy tale with the promise of salvation of modern medical equipment, and the death of Blanche’s “second mother” with the death of her first mother. , The latter died of Blanche’s premature birth-an attack on the nobles triggered by fear.
Just as Poulenc succeeded in giving female characters a vocal appearance, singers are very happy to meet this challenge. As the new female bishop, Ambur Braid exudes a kind of faith that does not believe that fear of conscience is the will of God. Even crying over the nuns’ premature martyrdom vows, they started to sing without showing that they were singing. Florina Elly plays Constance’s sister, her voice has summer elegance. Her soprano is warm and bright, confirming the joy of life that always embraces death through conclusive evidence. As sister Mary, Claudia Mahnke portrays a torn apart woman’s complex character portrait: the desire for power and compassion, religious fundamentalism and a cowardly heart coexist. She showed a sense of superiority, behind which she was rummaging for doubts and longing for attention. When Frankfurt opera director Bernd Lobe officially named her chamber singer on behalf of the mayor after the stage performance, there was a long and loving applause from the audience.
The evening was splendidly held by the young Lithuanian conductor Giedre Šlekyte, who led the Frankfurt Opera and Museum Orchestra through this indoor version of Takeshi Moriuchi. She has the same intuition for the mental fragility of many Igor Stravinsky orchestral chords, just like her intuition for orchestral velvet chords, which are reminiscent of the chords of chansons by Jean Lenoir and Charles Trenet in the 1940s. Most importantly, she pushes the dialogue forward in a targeted manner and light elegance. In addition to conductor Mirga Gražinyte-Tyla, singers Asmik Grigorian, Aušrine Stundyte and Vida Miknevičiute, Šlekyte is the next Lithuanian to set the tone for European opera in the next few years.
