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bachtrack, 02 Juli 2018 |
Von Jonathan Sutherland |
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Wagner: Parsifal, Bayerische Staatsoper, ab 28. Juni 2018 |
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Pierre Audi’s new Parsifal grinds the gears in Munich
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This new staging of Parsifal for the Bayerische Staatsoper has as fine a casting as one could hope for and if Pierre Audi's production had been halfway decent, it would have joined Munich’s already lengthy list of legendary performances. |
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Regrettably Audi’s mise-en-scène was entirely bereft of mystery and magic
but had an abundance of travesties and textual aberrations. Stage designs by
Georg Baselitz omitted the Great Hall of Monsalvat entirely and instead of
the “mächtigen Saals” there was merely a slight modification of the forest
setting more suitable to Norma. Klingsor’s magic garden had neither blooms
nor blossoms, just a high cracked rock wall which looked like a deflated
children’s bouncy castle when it partially sagged to the ground at
Parsifal’s sign of the cross. There was no sign of spring flowers in Act 3;
in fact, the scene was exactly the same as Act 1 except the horse skeleton
had bolted and the cheerful campfire spluttered out. Titurel never made a
physical appearance and Bálint Szabó sang the role off-stage with overly
reverberant karaoke-sounding amplification. When Amfortas finally unveiled
The Grail, he held aloft a bleeding heart more like a peyote-drugged Aztec
making a ceremonial sacrifice than the heir to Monsalvat. Urs Schönebaum’s
crepuscular lighting ignored Wagner’s instruction that the forest should be
“nicht düster” as well as direct textual references by Gurnemanz such as
“hoch steht die Sonne”.
The most distracting distortion was Florence
von Gerkan’s costumes which had a fixation for prominent prosthetic buttocks
and genitalia. Klingsor could have been dressed by Stan Winston and the
knights wore Michelin Man padding which revealed mostly corpulent torsos and
everything reproductive, whilst the flower maidens had uniformly emaciated
sagging bosoms and tasteless menstrual-stained vaginas. No wonder Parsifal
wasn’t interested. For some inexplicable reason, von Gerkan also had Jonas
Kaufmann's Parsifal return in Act 3 wearing an enormous codpiece more
suitable to Blackadder II than Wagner’s ultimate masterwork.
Fortunately, the musical element redeemed the multiple directional
shortcomings. Kirill Petrenko gave a brisk reading of the score, with Act 1
coming it at just under 95 minutes, but there was scrupulous attention to
correct rests and pauses. Petrenko coaxed some fine playing from his Munich
musicians who displayed the requisite lyricism in the cantabile sections and
decibel shattering force in the Grail scenes and the opening of Act 2. The
empyrean remoteness of the Vorspiebl was not quite as ethereal as one might
have wished for, but the Transformation Music was more engaged. Trumpets and
trombones were raw and raspy and first clarinet and oboe were especially
effective. High strings had a silky sheen but the especially built tubular
Grail bells sounded artificially projected.
Wolfgang Koch was more
louche than loathsome as Klingsor with a particularly clarion top. The
contempt, or lust, with which he snarled “er ist schön, der Knabe” combined
effective word colouring with razor-sharp diction. Despite a slightly
intrusive fast vibrato, Nina Stemme was an impressive Kundry. Her lower
tessitura was served by some really plummy chest notes while the upper
extremities such as “umschlang” had metal without losing musicality. The
treacherous jump from top B to low A-sharp on “Gottheit Erlanger” was as
refulgent at the top as it was resonant at the bottom and the “Ich sah das
Kind” narrative had nuanced textual subtlety. Only “Ich lachte” was slightly
more Scandinavian circumspect than mystic manic.
René Pape has been
singing Gurnemanz since Titurel was a toddler but the voice is still in
remarkably good shape, especially the upper register where “entnimm nun
seinem Haupt!” had real punch. There was booming force in “wundervoller
heiliger Speer”. Pape’s articulation of the “Das ist Karfreitags-Zauber” was
a perfect example of masterful word painting and subtle phrasing. Hometown
lad Jonas Kaufmann sang a convincing reine Tor and his characterisation was
interestingly more timid introvert than idiot bumpkin. Vocally the lower
tessitura of the role suited the tenor’s smoky timbre much better than
recent verismo roles. A prolonged pause between “Amfortas” and “Die Wunde”
made a major dramatic impact.
The highlight of the performance was
Christian Gerhaher’s intense, embittered Amfortas. The German baritone’s
experience as a Lieder singer was evident in his exemplary diction and there
was some beautifully measured crescendos, diminuendos and phrasing. More
surprising was the volume this outstanding artist can employ when necessary
– “Strafe!” and “Erbarmen!” soared over the hefty orchestral tsunami. The
Chor der Bayerischen Staatsoper was consistently outstanding and “Zum
letzten Liebesmahle” and “Nehmet vom Brot” so convincing they could have
converted Nietzsche.
The singers, Petrenko and orchestra received
vociferous cheers and applause but there was widespread booing for Team
Audi. Perhaps locals felt they had been sold a Trabi.
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