Ankstesnės produkcijos apžvalgos
6Stefan Soltész und das Orchester der Bayerischen Staatsoper nahmen den spritzigen Humor und die Leichtigkeit des Dramas in ihrer Interpretation gekonnt wieder auf. Mit agilem aber geschmeidigem Dirigat und virtuosem Temperament blühte die von so zahlreichen musikalischen Zitaten und selbstreferenziellen Phrasen geprägte Partitur von Strauss im Graben richtig auf. Die hingebungsvolle Spielfreude der Sänger*innen unterstrich dies zusätzlich und ließ in seiner musikalischen Interpretation kaum Wünsche offen und das so text- und konversationsreiche Opernlibretto wurde mit großem Gespür für Timing und Tempo umgesetzt.
Replacing the ailing Simon O'Neill at just a few days notice, Stuart Skelton was magnificent as Parsifal, wielding his powerful tenor with colour and nuance to show the progression of an innocent “fool” to enlightened redeemer. His best singing came in Act 2: when the seductress Kundry’s cajoling and pleading became almost unbearable, Skelton countered with a beautiful and thrilling outburst of high notes to assert his freedom. Parsifal’s final declaration of Amfortas’ redemption and his own assumption of the Grail Knights’ leadership was sung with tenderness and sympathy as Skelton modulated his voice with pianissimo.
The king, embodied by a wonderfully doddery Andri Björn Róbertsson
No doubt, with such superb mythic material, another Orpheus adventure will surface, with yet another twist on the timeless tale. SO’s fresh interpretation was striking, tightly executed and perfectly suited to the small stage.
This slightly different, shorter ending is set to new music composed with close attention to Gluck’s writing by Stephen Stubbs, and the result is seamless.
As Sprecher and first priest one experiences the beautiful voice of Andri Björn Róbertsson.
