Recensioni di produzioni precedenti
2Il ne faut pas généraliser : si l’Allemagne est le berceau du Regietheater, toutes les productions germaniques ne sont pas assujetties aux principes d’absurde et d’extrême dont ce type de mise en scène tend à abuser. Pour autant, Idomeneo passé à la moulinette théâtrale de Jan Philipp Gloger n’échappe pas à certains des poncifs de notre époque. Transposition, mitraillettes et extrapolations en dehors des chemins balisés par le livret bousculent le plus œdipien des opéras.
Never mind that the not-to-be-ignored ‘interpretations’ had to be ‘different’ at all costs; or that (often rankling) ‘insider’ concepts by groupie-inspiring-directors had to be explained (if indeed that were possible) with extensive program notes; or that decent enough singers were sometimes secondary to the buzz-worthy ‘event.’ The city opera house on the Main River was a place to see and be seen, challenge and be challenged. And then prime movers and shakers moved out, and the company seemed shaken indeed not only by those high profile departures, but also by devastating budget cuts in the last Time of Austerity. They almost cut the chorus entirely, for crying out loud! What followed was a well-intended but languishing period when the company’s productions unwillingly digressed from ‘shock and awe’ to ‘schlock and awful’ on more than a few occasions.
