Axel Ranisch levels Prokofjew’s “Player” in Stuttgart | EUROtoday
Die Bärtierchen können nichts dafür. Mit ihnen haben Menschen einst das Mondambiente kontaminiert und ihre mutierten Nachfahren nun als Dienstpersonal versklavt. Menschen? Nein, nur einige superreiche und maximal dekadente Restexemplare dieser auf der Erde selbst verschuldet dem Untergang geweihten Spezies, die es sich jetzt auf dem Mond in einem Vergnügungspark gut gehen lassen. Axel Ranisch hat an der Staatsoper Stuttgart Sergej Prokofjews Vierakter „Der Spieler“ in ein lunares Las Vegas versetzt, das wie Kurt Weills Wüstenstadt Mahagonny auf Sand gebaut wurde.
Vor der Pause inmitten der zweieinhalbstündigen Vorstellung erstreckt sich auf Saskia Wunschs Bühne eine extraterrestrische Landschaft. Zu filmreif aufschäumenden Orchesterklängen wird ein bühnenbreiter Bretterbogen mit blinkenden Farblämpchen hochgezogen. Kein Zweifel: Wir sind im Kino, irgendwo zwischen Hollywoodglamour und früher Stummfilmzeit.
When the younger Prokofiev composed his opera “The Player” after the novel of the identical identify by Fjodor Dostojewski within the years earlier than the October Revolution, a efficiency was out of the query. The topic would have been model new. While the collapse of the previous social order is already evident, a colourful group of talked out of the wealthy and delightful from the tsarist empire gives the dance on the volcano.
Everything revolves round roulette
Two -strange figures sit in a resort and go the time at roulette. A burned common is proud of the half -world woman blanche. Since the large win within the on line casino doesn’t must borrow cash from a doubtful Marquis. The arms, as a tutor at General Alexej, falls in love together with his stepdaughter Polina, which exploits him for her functions. Everyone tacts in their very own curiosity. The common speculates on the legacy of an previous relative, however as an alternative of the longed -for demise message, Babulenka, who was believed to be believed, personally faces his horror and cheered all of her belongings on the gaming desk.
Ranisch, as a movie and as an opera director, equally profitable, has populated his creativeness planet with a somewhat loopy employees. The costumes of Claudia Irro and Bettina Werner are patched up from ridiculous remaining items of consultant wardrobes. Although you needed to have feathers all over the place, you attempt to maintain your face. On skinny legs, the lovable hooded beards rip round and supply privateness safety when the gents will be massaged under. Babulenka is adopted with a winkeeper once they go away in a portfolio.
After the break, the staging comes into driving
Despite Satirical theater supervision, Ranisch’s staging is on the spot within the first three information. The finale is all of the extra sensible after the break. First Alexej and Polina meet in a form of underground cathedral. In the foreground, the beards do a ritual. Suddenly life comes into the sales space. In the center of the stage, an enormous area with roulette boiler is unveiled. The pseudosacral -looking corridor seems to be a playful. People storm into black cowboyklors from all sides. Hectic navigation on stage ensures drama and pressure.
Musically, an impressive mass scene with Manuel Pujol’s brilliantly truncing choir is now profitable. Nicholas Carter – in the summertime of 2026 he would be the successor to Cornelius champion new common music director of the Stuttgart Opera – unleash this frenzied dance across the golden calf as a everlasting state of pleasure. With shrill trills, wild woodwind bustle and uninhibited tuba bikes, the exact orchestra is beside itself, sparked caricatively brilliant noise. Lumpy dissonances drive the greed into the fortissimo. Rhythmically stamping, deep sheet publicizes the poisoned dream of happiness.
Goran Jurić as a self -in love common, Aušrinė Stundytė – the excellent Elektra of the Salzburg Festival – as boyish, soprano pageant, blossoming Polina, Daniel Brenna as a heated singing Alexej, the mezzo -soprano Véronique Gens (for a few years a gifted poetry of the French tune) as a slope Babulenka, Elmar Gilbertsson as Marquis a protracted -legged delicate and Stine Marie Fischer as a lascivious blanche – all of them need to share this dream.
Only Shigeo Ishino as a baritonally severe Astley within the golden yellow swimsuit watches the Hellspluk and finally presents the bill for the souls bought as a moralizing Mephisto.
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