The “Valkyrie” at the Bayreuth Festival: Colorful and almost beautiful |

With her “Ring 20.21”, Katharina Wagner wanted to keep alive the hope of a new staging of the tetralogy and to whet your appetite. “Das Rheingold” is represented with the hour-long world premiere of Immer noch Loge: The god of fire is tried and in the pond in front of the village hall, with puppets by Nikolaus Habjan, to music by Gorden. ..

With her “Ring 20.21”, Katharina Wagner wanted to keep alive the hope of a new staging of the tetralogy and to whet your appetite. “Das Rheingold” is represented with the hour-long world premiere of Immer noch Loge: The fire god is tried and in the pond in front of the Festspielhaus, with puppets by Nikolaus Habjan, to music by Gorden Kampe and a text by Paulus Hochgatterer: Independent, but with many moments of déjà vu for the Wagnerians. Across the park, Chiharu Shiota’s installation “The Thread of Fate” is reminiscent of the “Götterdämmerung”, and instead of the full “Siegfried” you might even have a dragon fight in the village hall for a few. minutes in 3D glasses in the “Sei Siegfried” experiment of Jay Scheib’s creation.

The evening then filled the “Walküre” in the form of a concert. But in color: where the star Leipzig painter Neo Rauch was inspired by the music of Wagner in his studio to design his Bayreuth scene “Lohengrin”, the veteran Viennese actuist Hermann Nitsch (82) takes the word for the “Werkstatt Bayreuth” like that literally like no one before him. With Nitsch, who allowed himself to be taken a few steps to the stage to prove his presence and lead the participation in the final applause, the Bayreuth stage becomes a branch of his studio. He has ten assistants who color a huge triptych three times live along the length of an elevator and the horizontal area in between. Vertically, the colors descend from above. They are knocked down on the ground with momentum. At the beginning everything is white, at the end of the act everything is colored. Between a lot of color schemes. A kind of barcode abstraction comes out in the stream. Three huge sets per performance – it will be interesting to see where they appear after the festival. For the final fire magic, of course, Nitsch’s blood red dominates. Even before that, one can imagine one or the other connection between Valkyrie’s soundtrack and artistic action. But you can also let it go – Nitsch’s ground staff didn’t really have a flair for music. In front of every quiet place, you can be sure that a new load of color will land with a loud splash on the floor and between the music. The idea was good, the result looked more like “good”. Taken in isolation, it was beautiful and colorful – but not really meaningful.

For the future nominated conductor of the “Ring”, Pitari Inkinen, this evening was, at best, a dress rehearsal in premiere conditions. He got a lot of boos for it – in this house the audience compares them to Krill Petrenko or Christian Thielemann. One can only hope that the theatrical superstition is correct, that it’s a good sign for the real premiere in the coming year if the dress rehearsal doesn’t work. And that Christian Thielemann (with or without an extension of his contract as the current musical director of the festival) brings his experience here and the house beginner listens to it. Maybe then there will be the tension, especially the speed and the contour, which was still lacking on this first try.

Ever since Günter Groissböck donated and cast the artist “I’m Not So Far” after this year’s dress rehearsal, Thomasz Konieczny was the entry-level Wotan. And did it well with noble vocal power. The second audible, powerful, healthy and above all young voice was (unfortunately) not the Brünnhilde of Iréne Theorin, but the new star of the Wagnerian sky from the north, Lise Davidsen in Sieglinde. Like Siegmund, Klaus Florian Vogt appeared more mature than his radiant image. Dmitry Belosselskiy’s research was a sure bet, and Christa Mayer, member of the opera Fricka of Semper, demonstrated that Wotan’s wife doesn’t have to bark to assert herself, but cultivated and clearly articulated song can be done. She was also one of the Valkyries who stood lined up on the ramp of her famous merry-go-round, but unfortunately didn’t sound like that.

bayreuther-festspiele.de

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