Tempo de leitura: menos de 1 minuto
Hamburg, Germany – opera philosophy strange companions. The theoretical and passion of Puccini and Verdi, unusual, don’t fit exactly to clarify complex ideas and subtleties. But by accident, not just one, but two new operas and musicals on the most important thinkers in the 20th century – the two intellectual German Jews who fled the Nazis for the first time in Germany this season. Few would have predicted that Walter Benjamin and Hannah Arendt to join the ranks of Don Giovanni and Carmen.
“There is no document of civilization which is not at the same time a document of barbarism,” wrote Benjamin in 1940, in general, who committed suicide in the town on the Spanish border is Portbou. Strong second opera, Peter Ruzicka, Walter Benjamin, writing of the State Opera in Hamburg, where it was displayed until 16 June, takes us through the different stations in the region of the philosopher in 90 minutes. From beginning to end, it seems the music of disaster: the anguished, outraged, infernalmente surrealist.
Opera is not linear and associative, Yona Kim – who also present an exciting staging, in what seems to be the morning a decadent 19th – century changes, from Berlin to Moscow and Paris to Riga. Seven settings of the form of a series of mind-blowing episodes from the life of Benjamin.
He’s playing chess and talking about Marxism with Bertolt Brecht (the inevitability of tenor Andreas Conrad), discusses Zionism with the world of the Kabbalah Gershom Scholem (on behalf of private Tigran Martirossian) Dream Theater-child of the proletariat with his mistress Latvia Asja Lacis intense soprano coloratura Lenin gong). Private Benjamin is the number acossada and haunted, sung in a state of panic by the baritone Dietrich partner are Hin fail. (Ruzicka he agreed personal Benjamin added a double-talker, played by actor Günter Schaupp.)
Wrote a large orchestra, the musicians behind the scenes, a full choir and children’s choir, Benjamin is an important project. With the composer in the pit the result of the malfunction and crepitou with angry energy. Music is the language of Ruzicka heterogeneous and fluid – sometimes lyrical, diverse, intense, and explosive. Sometimes the lines sound irregular sounds laceradas by chords played furiously; in the other, sports soft, strings support the remarks of the right of the soloists or chorus.
The focus of the opera chorus of hellish adapted from the opera of the 2001 Paul Ruzicka Paul Celan Jews of Eastern Europe, survivors of the Holocaust, which is considered one of the greatest poets in the German language of the 20th century. The shrill cries of “Holy!” It seems to express a desire to escape the trends of Christian thought Not Orthodox, Benjamin. Work will take place in the next season in Heidelberg, Germany: opera powerful and awesome deserves to be seen widely.
Hannah Arendt a small participation in the Hamburg sing up from Baudelaire to Benjamin when he takes life, but is novel in the picturesque Bavarian city of Regensburg, where the new Opera House of the composer of the Israeli Ella Milch Sheriff, die Banalität der Liebe (apple of love) a study of the famous – or notorious – romance between Arendt the great theoretical and political Martin Heidegger, the towering German philosopher and member of the Nazi Party.
Unlike Ruzicka, Milch Sheriff chose the narrative direct music that harmonizes. At various points, the music lush, ironic, full of citations; there is a little bit of Wagner, Mahler, and even Bernstein in music. But the lack of a language in harmonic or melodic unification is only one of the parts that makes this work for two hours, the average of an entertaining, often stable, rugged.
One of the inspirations stranger than Milch-sheriff is to make the young Heidegger lyric tenor (Angelo Paul). We have found that, along with Arendt (sung when he was a young man with my excuse points Anna Pisareva and in the Middle Ages Vera Semieniuk, imposing mezzo), in 1924 during the lecture of philosophy in Marburg.
At the scene of the soul in the classroom, Milch sheriff and knows the passage of time, Heidegger to the music this is a parody of the vocals complete with the accompaniment of the mandolin. The scene is played mostly laugh – the language of Heidegger is notoriously complex – and there is a lot of debate on Palestine in the following. He made less as a commissioner of the contrary seduces and humiliates him as the pupil of the Jewish youth. His novel on the stage filled with touches of the eccentric, including sadism and masochism.
Libretto by Savyon Liebrecht based on a play jumps fluidly to the decades of the 1920s and the 1970s, from Germany to Israel and the United States. In 1933 when the Nazis appointed Heidegger as rector of Freiburg University, Milch-Sheriff replace the thrust of the Vanity baritone mefistofélico (Adam Kruzel).
The production of Itay Tiran an excellent job in dealing with frequent challenges geographical and temporal scales. While the sound is often impressive, and the production of its excesses. During his inaugural address Heidegger on the glorification of Nazism in Freiburg, the yellow stars of David the bathrooms on the audience, the spectacle of the trial of Adolf Eichmann is a piece of kitsch use Ken Russell.
Gideon Hausner, the chief prosecutor of Israel the star of David stamped on his forehead, while his hand stretched in the way the priestly Jews (no different in tribute to Vulcan, which inspired it). A caricature sugadora blood coming directly from the Protocols of the elders of Zion. Milch-Sheriff marks the scene with the device, making the trial look like self-faith. At the same time, it is Arendt, and Eichmann, which is located in the famous glass box, answering the accusations as “motive” Eichmann the love of Heidegger.
Opera is not enough to accuse Arendt, who coined the controversial phrase “banality of evil” to help explain the crimes of the Third Reich, give freedom of transit to the Nazis because they loved the German culture (and adults embodiments of Heidegger).
But in a note to the program, Milch Sheriff writes that his opera is to blame among the Jews who continued to “worship the German culture, and thus their killers.” This is false: Jewish thinkers like Arendt and Benjamin are an essential part of the culture in which the brightness of the Nazis sought to extinguish. This is what is unfortunate in all. Translation/ Claudia Bozzo