An opening that has it all: with the core of the festival brand “Jedermann”, with what else. And the next day a festival for everyone – with many events, no acquisition cards, just counting cards! There is something downright provocative in this prelude to the 2021 Salzburg Festival. We oppose the pandemic, which still hovers over our heads …
An opening that has it all: with the core of the festival brand “Jedermann”, with what else. And the next day a festival for everyone – with many events, no acquisition cards, just counting cards! There is something downright provocative about this prelude to the 2021 Salzburg Festival. The pandemic, which still hovers over our heads, is courageously fought. With the 3G principle (vaccinated, recovered, tested) for the public. Unlike 2020, the masks are only a recommendation and the rows are completely full again.
Time of course prevented the open-air version of the premiere in front of the back of the cathedral – a full-fledged lacing forced it to be moved to the great village hall in front of the back of the cathedral, which was not painted that there. A simple scene in front, a large table, first a few curtains in front, scaffolding on the sides.
For Frau Tod – Edith Clever – on the one hand, and for Frau Gott – Mavie Hörbiger – on the other. Almost clear that she’s the devil too. A lot of the zeitgeist (or the zeitgeist?) Waves got this Hofmannsthal rock track this year.
After all, Berlin stage star Lars Eidinger has retained the privilege of the title role, which always ennobles every German-speaking mime and graces every resume. The same goes for the shortest female lead role in theatrical literature with the biggest wave of attention bugs: Verena Altenberger (“Magda will do it”) is that passion assured at eye level. With a charisma, as if she was everyone’s Bond girl. If she sits on his shoulders at the first appearance and is covered in her red dress, if she moves her lips over his words, it is the prelude to an almost equal relationship with the rich man, that she enters and ends. The result is a pas de deux of physical love that has never been seen before. Even when he feels his end is approaching, Eidinger is on top of his game, completely on his own and igniting his turbo ego. And yet, it’s the scenes with the strong women that are memorable: Eidinger with Angela Winkler as a mother. Or at a table with Edith Clever. And at the end on his knees like a pietà. These are the impressive and calm moments of a surreal and light baroque spectacle with well-dosed stage music by Wolfgang Mitterer, who is not afraid of either the opulence of historical costume sets or the savage farce. For example, when everyone and their debtor (Mirco Kreibich) literally enter the boxing ring. Dusty educational theater is always different.
As director, Michael Sturminger from Vienna took over production in 2017/18 and further improved it with Tobias Moretti and for Caroline Petersen in 2019/20. There is now a whole new staging for the current new couple. The one who stays with the coin, of course, but undermines everything that is moralizing that sustains the state. The good thing is that the big old ladies let their extra class shine and the younger ones can effectively vaporize their temper. Eidinger becomes the center foremost in its light. The audience at the premiere was delighted!
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