Melanie Uhl saves Munich premiere of Strauss' rarity Danae

Melanie Uhl saves Munich premiere of Strauss' rarity Danae

Richard Strauss' opera "The Love of the Danae", which was created between 1938 and 1940, was premiered in Salzburg in 1952. The opera combines two antique legends and bears the subtitle "Merry mythology in three files". Nevertheless, the question is raised as to whether the staging of Claus Guth can actually be found. Director Guth describes the term as a "quite a false track" and sees deeper, abysmal topics in the opera that are more than a "purely Bukolian costume game" (Süddeutsche). .

Today, the performance of the opera, which is still rarely played, is on the program at the Bavarian State Opera in Munich. Claus Guth's staging moves the plot to a modern high -rise building and cleverly connects antique mythology with contemporary topics. With a stage design by Michael Levine and costumes by Ursula Kudrna, the throne room of the King Pollux is presented as an American office floor. Pollux is embodied by Vincent Wolfsteiner, whose trademark is the representation of a Donald Trump. This complements the economic topics of the opera, while DANAE is being courted by Midas, whose tragic ability to transform everything into gold is placatively staged Stage) .

critical sound landscape and actor

An unexpected incident led Melanie Uhl to stepped in at short notice for the Malin Byström, who was suffering from flu, and took on the title role. Worn by the musical direction of Sebastian Weigle, who precisely conducted the Bavarian State Orchestra, received Uhl with her performance standing ovation. The staging also points to clear musical qualities, with sophisticated choir movements, a light conversation tone and a mixture of heroic emphasis and fiddle -sized simplicity (FAZ).

The staging shows a devastated high -rise office in the third act that reminds of the horrors of wars and terrorist attacks and creates a dark dystopia that plays with the risks of wealth and tragic consequences of MIDAS ’ability. Christopher Maltman and Andreas Schager convince with powerful performances of their roles as Jupiter and Midas. The image projections in the final that show destroyed Munich and present Richard Strauss in the garden strengthen the question of identification with Jupiter and the composer
( Bühne , FAZ ).

a rarity in the repertoire

Despite the work strength, "The Love of the Danae" remains a rarity in the opera repertoire. The staging is criticized as psychologically plausible, but aesthetically not appealing. The emphasis on dystopic elements and the fainting of people in the face of wealth impressively show how timeless the topics of the opera are. (Süddeutsche)