Closed Kiril Serebrennikov and his co-director Yevgeny Kulagin manage a witty new production of Mozart's "Cosi fan tutte" at the Opera in Zurich. An impressive act of resistance – and much more.
He does not have such a policy. At least, when it comes to daily politics with its often zeitgeistgetriebenen topics. The introduction of them on the scene unfiltered, as a rule, does not lead very far artistic, said the Zurich Operations Director Andreas Homoki recently in an interview with the NZZ. Nevertheless, Homoki participated in a big politics concert – because what happened on the scene of the opera in Zurich on Sunday night could be taken with suspicion, even in distant Moscow.
Homoki made a big commitment that director Kiril Serebrennikov could realize a new performance of Mozart's Cosi fan tutte in Zurich in 2016, although Serebrennikov was imprisoned in Russia in August 2017 and has since been isolated in home arrest. This manifest demonstration of the Kremlin's power, probably intended as a deterrent to the rebellious cultural scene, has led to the expression of solidarity in the free world for more than a year, mostly under Heftag # FreeKirill. The Prime Minister in Zurich, of course, sent an even stronger signal.
This art does not want to be forced under the thumb of arbitrary rulers of all stripes, one thing is. The fact that it remains an art in the struggle for freedom and not a downfall on the level of agitation and counter-organization means little less challenge. But this balance is now in the opera house, despite all the misfortunes. This evening Mozart is an impressive act of resistance, not a question; but at the same time it is light, sometimes comical, but never superficial; It has wit, almost continuous pace and it is even prepared – sometimes even very zeitgeist – the culmination of deeper melancholy.
This has a staggering sum with the dead-end hands of the late Mozart and, incidentally, finds a furious solution to the dramatic problems of this third and last opera Da Ponte. Their virtuoso who played with the unreliability of emotions was a stumbling block in the nineteenth century – especially Beethoven was upset about the moral abuse of his idol. In turn, at the end of the twentieth century, Libertinage, who so subversively celebrated this love Kui pro kuo, began to pay off, but it became increasingly difficult with an epoch – a typical concealed and confused comedy. Serebrennikov and his artistic partner, Ievgeni Kulagin, who co-directed the director's co-director's concept of Serebrennikov's forced absence in Zurich, are now changing Pontin's action to a central point with far-reaching consequences.
From a question that has been noticeable from the beginning, to the love and loyalty of the two women Fiordiligi and Dorabele, to the second act they do not become seriously serious; Serebrennikov and Kulagin suggest that even the exercise of their lover, Ferrando and Guglielma, can suddenly become an emergency, according to libretia: a heroic death, a state funeral, and a final leak of the urn. With all the pompas – including bombastic grave arrangements and the scary "Soave sia il vento" -Terzetto until the cremation of two crates – nevertheless skillfully stays in balance, whether it's just a terrifying vision of a lover or sad reality,
One thing is certain: from now on women meet with two other men, quiet dancing roles, baptized by Sempronio (Francesco Guglielmino) and Tizio (David Schvindling). Their function in this event is blinded as their outward appearance ("Turchi? Valacchi?"). In the beginning are only the revolts of Ferrando and Guglielma, who are in the background – like ghosts? – Drag strings and borrow their life dolls, where necessary, voice.
But then two doubles become independent, they become more and more true rivals. And so not only are the two women, whom the director extracted with pleasure in the clichés as the royal royal queen, will soon have to confront the confusion of their feelings; even men themselves, initially two dedicated gymnasts with more Muckimas from the brain, painfully remembered how cynical the game they are doing with their partners there. In the end, things get out completely, the hedonist Don Alfonso (with a strangely deep presence: Michael Nagi), who has a complete set, seeks comfort in alcohol, and the director gets a lot of loose threads that are no longer curled.
In search of interpolation, Don Giovanni's roadway has been expanded, enabling two comrades Komtura to come to unbelieving women, but does not get anything more than an old admission that the title of the opera is better "Cosi fan tutti" would mean. This is a bit flat and too little for this otherwise illuminated evening and we hope that one day Serebrennikov will adjust again.
The vocal side of the performance also has to be matched: Apart from the extraordinary tenor Frederic Antun (Ferrando), Ruzan Mantashian (Fiordiligi), Anna Goriachova (Dorabella) and Andrei Bondarenko (Guglielmo) form a wonderfully harmonious, playful ensemble; On the other hand, their solo numbers are missing, especially in the first act, in terms of dynamic and vocal fine tuning, in order to continue with the highest level of today's Mozart singing.
Ultimately, but not less important, Cornelius Meister, the new Stuttgarter Generalmusikdirektor, still appears to seek consistently consistent reading: In terms of historical performance, articulate moments change with less inspired passages, in which danger was dangerous to be dangerous Bianco with original continuous playing again and again for impulses. However, Meister meets the equally deep melancholy of the Notturn tone of the late Mozart, especially in the famous "false" spiritual spirits of the other act, which are really considered to be "real". Here they are – tragically and funny at the same time – nothing more than just staging. But what!