Walk like Egyptian: Aida in Brussels 2004
Don’t expect any elephants in this Aida from Brussels. Also, no big mass scenes and – mainly – don’t expect emotions. With Robert Wilson, everything has to be minimalist and aesthetically pleasing, which undeniably makes for nice pictures but it makes for a very large discrepancy with the music. The singers move very slowly, almost in slow motion, and their (sparse) gestures are stylised after ancient Egyptian drawings.
No one touches anyone and no one is even looking at anyone else. All the characters are mainly preoccupied with themselves and their own suffering, which, according to the director, may be the key to the drama. For me it is too far-fetched.
The staging is dominated by the colours black and blue, there are hardly any sets and/or props. Deadly dull.
The truly amazing singers seem to be trapped in a straitjacket of emotionless acting, although Ildiko Komosi (Amneris) occasionally manages to sneak in a gesture. Together with Norma Fantini (Aida), she provides most of the tension and emotion, and their duet in the first act is a vocal highlight.
Marco Berti is an excellent Radames with beautiful high notes and a touch of “Pavarotti” in his timbre, and the rest of the cast is also first-rate. Kazushi Ono conducts calmly, with great attention to detail.
Returning to the director: Robert Wilson seems to repeat himself over and over again. If you have seen one of his productions, you have seen them all. Almost..
But then……
Nothing less than phenomenal: Die Dreigroschen in Amsterdam 2009
At the end of April 2009, the renowned Berliner Ensemble visited Amsterdam. They brought with them Die Dreigroschenoper, in the magnificent staging Robert Wilson had given to the company two years earlier. Worth knowing: the Berliner Ensemble is based in the Theater am Schiffbauerdam where the work was premiered in 1928.
All four performances at the Muziektheater were sold out and audiences responded with frenzied enthusiasm. Perfectly justified because everything was just great. The production, the direction, the lighting, the costumes, the movements…. And the performance, of course, because isn’t that why we go to the music theatre?
The performance was very cabaret-like, in the good sense of the word. It was grotesque and vaudeville-like with lots of slapstick, (film) quotes and whatnot without it becoming a complete farce. Occasionally I was reminded of Otto Dix.
In a word: breathtaking. And of course it was a treat to be able to hear all those well-known and still oh-so-current songs again, but now as part of a whole.
The performance did take a long time (yes folks, it was not only Wagner who took his time), over three hours, but then also you got a lot. For a start, the complete dialogues.
Stefan Kurt was a formidable, androgynous dandy Macheath and Angela Winkler a very moving Jenny. Also great were Jürgen Holtz as J.J. Peachum and Axel Werner as Tiger Brown, and Christina Drechsler was a terrific Polly.
Basia con fuoco 