SEEN AND HEARD INTERNATIONAL

Weber,  Der Freischütz:  Soloists, Orchestra and Chorus  and Extra Chorus of Staatstheater am Gärtnerplatz, conductor: Roger Epple – Munich, 17.11.2010 (BM)

Production Picture © Hermann Posch

Beverly Blankenship’s new production of Der Freischütz will do little to promote the cause of Carl Maria von Weber’s vision of Romantic Opera among those not familiar with German culture – or even with those who are familiar it, for that matter, since it leaves even the most open-minded opera-goer feeling dazed by an Alice in Wonderland meets Roger Rabbit jumble of cartoon-like masks and performers in artificial get-up, which simply does not work at all. This is a story about the forest and bridal wreaths, superstition and fear, war and the devil, deeply rooted in national tradition and symbolism, and many of its catchy tunes have long become the equivalent of folksongs in Germany. It can suffer only so much abstraction, and here the line has clearly been overstepped. One or two intelligent ideas – Agathe’s alter ego, portraying women as targets and victims (costumes: Susanne Hubrich) the clever wood-plank construction raised at the sides to form the wolf’s gorge (sets: Heinz Heuser) – are not enough when they fail to involve the singers, who are reduced to practicing the old stand-and-deliver technique in the midst of all this paraphernalia, and the overall result is baffling. Few clues are provided, for instance, as to why Kilian comes on stage as a Humpty Dumpty egghead look-alike (albeit sporting a mustache) to sing his splendid opening, “Schau der Herr”.

This is all the more regrettable since most of the cast is excellent: Sandra Moon lends her warm soprano to Agathe and Heiko Börner’s tenor, although on the small side, makes for a pleasant Max, celebrating his signature aria “Durch die Waelder, durch die Auen”. Stefan Stevenich is a smooth and crafty Caspar, and, above all, special mention is due to Christina Gerstenberger’s Ännchen, agile and clear as a bell, making her the highlight of the evening.

The sumptuous numbers of the Chorus and Extra Chorus of Staatstheater am Gärtnerplatz under Jörn Hinnerk Andresen outdid themselves, and this applies not only in the superb Hunters’ Chorus!, and the same can be said for the theater’s orchestra with Roger Epple at the rostrum. Despite the befuddling action going on just above the orchestra pit, it was well worth the audience’s while to come out for such an engaging rendition of this well-loved music.

Bettina Mara