"Freischütz" premiere
How to embrace ghosts in Bregenz
Light and sound effects galore, interventions in the text and music, and great singers: "Der Freischütz" took to the lake stage in Bregenz in a wintry landscape!
Not "birch leaves" that "whisper", not "nightingales and crickets". No, this "Freischütz" is not set in the forest, but in a very inhospitable village in winter. Everything is gruesome here, and the devil Samiel (Moritz von Treuenfels) is present throughout as the mastermind behind the plot, explaining all his interventions and even taking over the lyrics in the arias on occasion, for example in Agathe's big scene. Director Philipp Stölzl wants to "embrace this ghost story", but after all the spookiness of light, smoke, eerie noises and a constant soundtrack - sometimes even in the arias - he allows the redemptive ending, in which Agathe and Max become a couple, which is exactly what Carl Maria von Weber's score envisages.
Weber's much-loved opera is otherwise noticeably shortened and the texts have been changed. So much so that Ännchen (Katharina Ruckgaber) sings her aria from the "slender lad" to a "slender maiden" and cavorts in the water with scantily clad girls. Everyone, including Kaspar (Christoph Fischesser), has to dive into this water, which represents something like a village pond and is part of the stage set, when he and Max pour the free balls in the Wolfsschlucht gorge that the bride Agathe is supposed to kill according to the diabolical plan.
However, this scene, which represents the culmination of the entire dramaturgy of Weber's original, reveals the weakness of Stölzl's direction. From the beginning to the end of the evening, the audience has already experienced so many uncanny, i.e. directorial gags, that nothing can be improved upon and this scene is not exciting, but unfortunately tiresome. The singers, however, are unreservedly happy, without exception. In addition to those already mentioned, Nikola Hillebrand as Agathe deserves great praise with her clear soprano and Mauro Peter as Max, who sings as differentiatedly as if he were singing a Schubert song. Enrique Mazzola conducts the beautiful-sounding Vienna Symphony Orchestra and the fabulous Prague Philharmonic Choir with a fresh approach.
Anna Mika
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