Someone wanted to explain to the director of the festival, Markus Hinterhäuser, that he would be a little crazy that he wanted to introduce two songs on the stage that seemingly are completely different. Not only aesthetically but also thematically. If Bela Bartok talks about a journey into the abyss of instinctive nature in the style of lyrical impressionism (talking about 1911), then Carl Orff has devoted himself to overcoming evil with his “De Temporum Fine Comedia”, in which Catholicism, Archaic and Percussion Para into the world theater of breath – and the catharsis of exhaustion.
Enthusiasm for the big “Bluebeard”
Hard Hinterhauser walnut
Romeo Castellucci, along with his experienced colleagues Piersandra di Matteo and Cindy Van Acker, was tasked with breaking that hard nut in a Theosophical way by Hinterhäuser – and he did it if you prefer, questioning his own cultural roots. Theodor Curentzis also prepared two works by Castellucci in such a way that the director was able to induce a deep psychological bath in the first part, before using archaism as a driving force for interpretation in the second part.
Without archaism, there would be no visual language of the great Italian cinema of the 1950s and 1960s. And if we consider that in Part Two, Castellucci unveiled the floor of the great Italian churches where once in his homeland people had to kneel on their knees from corner to corner of the floor pattern, then some Salzburg usefulness can be assumed here.
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Strong access to Orff
Orff’s music, on the other hand, inspired Currentzis, because the form of Orff’s sound production requires just the kind of access that a Greek brings with it. The orchestra has to sing, hiss and sometimes even simulate a wind machine. It’s incredibly impressive – but there’s no denying that Orff’s music has basically remained totally immune to change since it became known and famous for its great oratorio.
‘Castle of Prince Bluebeard’ and ‘De Tempore Fine Comedia’ can be watched five times until August 20 at the Felsenreitschule.
Castellucci does not dispute this; he reads an Orff text which he draws from the Sibyl prophecies and the Orphic Hymns. Orff’s art first warns against evil and the Last Judgment, before it becomes clear that evil is inherent in man, as is the propensity for good. All of this could, of course, be borrowed from Nietzsche – only it has little to do with it.
Weirdness is an element
Castellucci and his team prepare an amazing as well as elementary fight of the fallen man, until a strangely beautiful salvation finally appears. When Lucifer brings the light, things turn around. So it’s not blatantly bright, but dark like the entire evening somnabulb. And the man, defenseless and accepting the end, sheds his dark skin.
So, finally, there’s room for Prince Bluebeard and Judith from the first play. Bass Mika Kares and Ausrine Stundyte, who sing all humility, are the couple of the evening who not only embody the path in the clutches of evil. Basically Bluebeard’s Castle signifies any form of relationship that begins with an intercourse, is driven by desire until the seventh door opens at the end. The corpses of previous women may actually lie there, as in the case of Bluebeard – in fact, it all means much more, which attracts people and leads to their downfall. Castellucci chooses the fire and water themes here to face this endlessly seductive and lamenting music.
Evil at the festival
After last year’s sensational success with Mozart’s Don Giovanni, the dream group Currentzis and director Romeo Castelucci are now returning with an extraordinary program: with Bluebeard’s Castle by Bela Bartok and Carl Orff’s De Temporum fine Comoedia, the first opera premiere of the year this year.
The widest stage of the theatrical world
He turns the Felsenreitschule scene into a screen with an aspect ratio of 20: 9 – huge curtains covered the rough rock that fascinated him so much. The skin is the centerpiece of this evening. If you subtract it, it is not only the “spirit” that remains after the human, as Orff put it. Man, here he is a skeleton of flesh and flesh and blood – too sensitive on his own. But dependent on finding fellowship – even if it has to wait for some form of external redemption. That’s more Hofmannsthal than Hofmannsthal ever thought he could hope for. In any case, salvation in Salzburg is not an act of idealistic independence. If so, it is a division into a larger whole that cannot be recognized, but can certainly be dreamed of.
Currentzis and the Gustav Mahler Youth Orchestra deserve the highest praise for making this dream come true. You don’t have to like Mozart of Curentzis – in the area of the 20th century, the Greek prepares the ground for a great listening experience.