There is only the water wheel between Schwarzmüller and Krabat and the heavy work.
Photo: Pawel Sosnowski
The Schwarzmüller has a problem: he threatens to assume the servants. Whether it is on the Thirty Years’ War and the corresponding lack of men or the miller’s bad reputation – shortly before Easter he is empty. According to the contract with the death goddess Smjertnica, he has to complete the dozen again if, as every year, he has brought her victim to one of the employees. Otherwise he has to believe in it himself. His magic book, however, helps. He goes into the future and recruits the young Krabat, who proves to be his most learned magic student.
Marius Felix Lange used his family opera for a Lausitzer saga material and a Sorbian form. It was obvious that the Gerhart Haupmann Theater Görlitz-Zittau cooperated for the premiere with the Lausitz Festival. The composer, who also wrote the libretto, used different variants of tradition for his opera, which is largely based on fairy tale and myth motifs. The figures are not based on psychological complexity. If the order of good and evil fluctuates, it will be restored quickly. This helps to clarify opposites; Fairy tales, legends, legends have helped mankind to cope with the world. This applies not only to children, but also to adults. In this respect, a family opera actually wrote for a long time.
His music is inappropriate without letting in demand – at least if there is no claim, music today must be avant -garde. For a long time, the musical modernism melts gently into a style that is most likely to be described as late romantic. It turns out that the traditional procedures are still suitable today, also for adult listeners. Instrumental colors are hardly ever used contrary to the expectation. Quotes from the song and chorale put scenes into a – historical – everyday practice. Excursions in border areas of tonality indicate the danger and evil, stable harmony stands for the positive. Under Roman Brogli-Sacher, the new Lausitzer Philharmonie shows how effective and differentiated these means know how to use for a long time.
At the same time, he is a skillful dramaturge. His text is extensive; If a number of passages were not spoken, there would be more than two hours of music. The plot develops quickly. Each of the 19 scenes has their own tension, and almost everyone aims at a climax. Long knows how he has to write for concentrated courses, in such a way that the words also challenge the addition of music. At most, something must be obtained against his handling of style levels. Krabat as a boy from the future and later also his mother, who contributes to his rescue, sometimes talking and singing modern slang. This blends in naturalistic the fairytale world, which should also be timelessly when it comes to leaving time.
The water wheel of the mill is in the center of Vinzenz Hegemann’s stage design. It describes the necessary work and has the dungeon with which the Schwarzmüller threatens. One night must be horrible; We never find out why – what increases the threat. The bike serves as the starting point for the excursions in space and time that put the animations of Felicia Bergström in the picture. The videos transport stage processes in a poetic-signal way that blow up space and time or otherwise can hardly be implemented otherwise. This applies especially to the final phase in which Krabat and Schwarzmüller turn into other animals to combat each other. In this way, the director Rebekka Stanzel gets the necessary space for convincing people who conveys power, threats, but also affection without unnecessary ingredients.
The premiere nervosity may be due to the fact that this did not always work exactly to the point or the concentration on musical. The opera was well occupied until the supporting roles. In addition to death – or, more precisely, the seductive deadly – by Shouthik Barsouman, Peter Fabig is to be mentioned as a Schwarzmüller who gave the necessary threatening and powerfully the necessary. Buyan Li became a reasonable counterpart as a Krabat; What was not easy here, as it is often otherwise, stimulate evil and power to make it more impressive. Sometimes gently, sometimes with clever advice Lisa Orthuber brought a female tone into the men’s world from the miller and his assistants as a servant Měrćin; The Schwarzmüller had had to do so as if he looked through Měrćin’s easily transparent cladding as a boy and did the girl. So the love act can also insert the love act for a long time, without which hardly any opera that has ever been successful.
A family opera? “Krabat” actually offers something for all generations to listen, see, think. The (few) children at the premiere remained calm to the end, so that seems to work. Your content? No serious person believes that love, even in this opera in this opera, defeats evil. The situation is different when love for utopia (the season topic of the Görlitz-Zittauer Theater) is. This enables targeted action – and in fact Krabat, saved by his mother, has to fight against the miller.
For freedom? The Müller Krabat, whom he wanted to install as his successor, belonged together. Krabat asks: whether the miller is not afraid? Of course, the mill owner is worried every year before death, whether he finds a new servant. And of course he denies his lack of freedom. Only at the end does he go happily with the Smjertnica. The end of rule also frees the rulers; But so that you understand this, this opera sage tells us, they must first be defeated.
Next performances: September 21, 11. And 12.10.
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