It could get interesting on saturday at the bayerische staatsoper in munich. Andreas kriegenburg brings "das rheingold" there on the stage and gives the starting signal for his new interpretation of richard wagner's opera cycle "ring of the nibelungen. What kriegenburg has in mind should make wagnerians sit up and take notice shortly before the major anniversary year of 2013.
His production was particularly impressive because of the sheer mass of people on the stage. For a fixed stage image is almost non-existent. This is how the castle of valhalla is portrayed by people. Countless extras throw off their robes, smear each other with blue paint – and become the rhine. Fur kriegenburg, who did not even particularly like wagner three years ago and was more interested in "klangwelten handels" at home, it is a form, the "ring" to democratize. He doesn't want everything to revolve around just a few singers.
"We are certainly not trying to stage a self-boasting production of the "ring" to make. There are enough of them", he says. Instead, he wants to devote himself to wagner the payer and show his figures without classifying or even labeling them. Wotan as a tumbler, industrialist or general? "We try to avoid all these classifications."
Director wants to undermine classifications
Wotan (johan reuter), woglinde (eri nakamura), wellgunde (angela brower) and flobhilde (okka von der damerau) he wants in the "rheingold show differently: "as soon as i as a viewer see and understand allocations, i have gross difficulties in building emotional closeness to the characters. We try to undermine this and want to make the characters perceptible in their psychological details." Free according to the motto: head off, wagner on. Shortly before the premiere, kriegenburg has to make an unexpected change in the cast. The role of "alberich, originally intended for wolfgang koch, now johannes martin kranzle takes over, because koch is ill.
Opera director nikolaus bacher calls the ring a "blockbuster. Wagner, according to kriegenburg, had with the "ring" also a psychological "fine chamber play" created. That's what the director wants to show the work as – with a production that, on a stage that was almost empty at times, was anything but classically opulent. "We don't want to meet the music with visual overkill, but understand wagner both as a sound artist and, above all, as a payer", says kriegenburg.
This is not an entirely unadventurous undertaking in a city like munich. The performance of wagner's "ring could be a rough deal for any opera house in the world. In munich, however, where the first part of the tetralogy will be performed on 22. Premiered in september 1869, it is something very special.
"I will also "disappoint" expectations
Kriegenburg's "ring is the first in munich for ten years. And at that time – in 2002 – the cycle did not stand under a good star. Director herbert wernicke died shortly after the premiere of "rheingold, the "walkure-production, for which his successor hans-peter lehmann took over wernickes concept, was quickly discarded. David alden staged the "walkure" new and completed the cycle with "siegfried and "gotterdammerung. The final curtain for this "ring fell 2006.
"As a director, I know exactly that I will also disappoint expectations", says kriegenburg. "I am trying to counter this with a different, surprising and sensual experience. I'm taking one away to make room for the other." His plan, which he calls "radical we are trying, as far as possible, to work our way through to the core." History instead of reception history is his strategy. He tries to fade out how the "ring" is have been brought to the stage so far.
What he wants to perform now is "a scenic equivalent on stage of what happens in the orchestra". When wagner writes of a rocky landscape, kriegenburg wants to show one, not a parking garage. When wagner writes about the krote, kriegenburg wants to show one. But he wants his audience to say: "what the cake was like was surprising"."