anyone Who finds themselves in times of Corona new, or even acts perhaps differently than usual: less optimized for performance and attractiveness, bent, cautious, defensive wägend, certainly grateful at all because once a relationship is formed. More vulnerable to such Neubegegnungen and because of this vulnerability, precious – are the halls, also in concert and on music stages, where now slowly back to analog life.
As one of Berlin’s Deutsche Oper has now shown with a Pocket-“Rheingold” (Jonathan Dove Wagner has shortened the Original for its chamber version by nearly one third) first new Beziehungsmut, played this fragility and produced unusual forms of communication. Where the singer must, otherwise, kidneys from a enggepackten, in the anonymous Dark sunken audience Expo, were approximately forty Active now on the car Park deck of the house in the same end-of-day half-brightness, your two hundred listeners were sitting. Each was placed, with a gap in each see – more-sports court – theatre conditions. And if then exits through the alley between the seat were rows, were artists, and Gazer so close, like the “under roof” is hardly ever possible.
game Director Neil Barry Moss has a courtyard situation, by the inclusion of a couple of window of the rotating wings, sent for some of the space at the end, quasi-Quadro phone Arrangements spanning used. The hunt for the Gold delivery, and in-between relish-anarchist together klaubten props in carnival of crazy Costumes, with much bustle, some of the comedic Exaggeration and, of course, quite a lot of impromptu idle.
With the shortest sample time and weather sensitive, Open-Air conditions
Occasionally flashed a refreshing, anti-pathetic irony, which could take perhaps as optimistic light on Stefan Herheims staging, which is supposed to have on that same evening, Premiere and now, sometime later it will come. One of these small, tongue-in-cheek moments was kept Frickas (with a woman of Dignity grows: Annika Schlicht) stunned humble view of the curved body Erdas, in the probably just the rebel child, Brünnhilde approach. Judit Kutasi, sang the mother with the first flowing orgelndem, in the progress of something zerfaserndem Timbre.
You have to keep the more selective punch-lines on closed dramaturgical arcs directed Drift to the benefit of that here with a very short sample time, weather sensitive, Open-Air conditions (capricious gusts of wind, greeted by an announced, but then the other way taking storm front) and in a constellation, where the singer acted almost entirely with his back to the conductor, worked was. And if, for example, Freias abduction race rather a small Bet as a ‘hands-on’ Overpowering was it, you could also think of infection-related distance of the commandments, the laminated otherwise, well and a maximum in Bondage struggle between Alberich and Loge short were tested. At the end of the happy crowd of Visitors seemed to be (all the cards for the planned six performances were sold out within minutes), a large majority of the ancient wisdom of leaning toward that you are no longer entitled to demand from the ox than beef. The enthusiasm to finally experience ever again analog music theatre, was almost palpable.
