Festival review
The downfall of a nouveau riche, brutally contemporary!
A successful rescue, a new "Jedermann" at last: Robert Carsen presents an unprovincial purification play with the brilliant Philipp Hochmair as the highly charismatic Prasser and Deleila Piasko, a more than merely decorative Buhlschaft.
The difference could not be more striking. A year ago, the climate stickers arrived, first the staged ones and then the real ones, which were mistaken for part of the performance due to a lack of qualitative differentiation. The staged ones sprayed the expected onto the backdrop wall with which the cathedral portal had been covered. The audience was satisfied with these small-scale updates: Faced with the threat of a slump in sales, the festival dropped the mishap from the program and engaged the Canadian world director Robert Carsen.
Now the opening belongs to a solo of the great organ and the unmolested majesty of the cathedral at night (the previous production team would probably have planted the Leiner building site in front of the church this year). The few set pieces that are brought in over the course of the evening disappear piece by piece. When it comes to the last things for the Prasser, the carpet of grass is pulled from under his feet. It has been a long time since we have seen such an image of loneliness as that of the almost exposed outcast. In this second part, that of purification, there is no longer any doubt that the role has been waiting for Philipp Hochmair.
Until then, of course, it takes time: Carsen comes from the opera and is used to moving crowds. This seduces him into an overlong, overdone dinner party, as if a musical troupe had taken command. Of course, this also serves the realization that makes Hofmannsthal's text timeless: that we send ourselves to hell with our greed for money and pleasure. But there is still work to be done here.
Then we could concentrate even more on the characters costumed by Luis F. Carvalho. On the great Andrea Jonasson as the mother; the fascinating Dörte Lyssewski as the works and poor neighbor; the comical, precise cousins (Lukas Vogelsang, Dieter Lommatzsch); the furious Mammon Kristof Van Bovens, who informs the Everyman as a malicious doppelganger; the rhetorically brilliant Christof Luser as the devil and good companion. And the extraordinary death of the young Dominik Dos-Reis, a gentle and punishing angel of redemption. It is only Deleila Piasko's highly present Buhlschaft that the director is unable to do anything with: Her contribution is largely limited to the ballroom dancing.
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