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A little exhausted and eyed she already looks out, façade of Opera house in Halle, but she has been doing it since 1951, when destroyed in war, formerly flash and Neoclassical buildings at university ring with Beethoven’s Fidelio reopened again. The successes, risks, aestic disturbances and internal clashes of past twelve months are refore not likely to have left ir mark here. Or do you? An exciting first season is behind new management team, and naturally, at beginning of second, it would be time to take a breath. The image campaign, which city before year still confused with posters (“Everything Burns”), has fulfilled its purpose, and “house visits” of director (one meets Halle citizens in ir homes for discussion) enjoy cult status. Much has been achieved, much not yet, everything on top?
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The question is: how can Furor of new beginning be preserved without being arrogant and hardening fronts? “We are ashamed,” wrote more genteel visitors to guestbook in foyer after premiere of Wagner’s Flying Dutchman, with whom new era began: everything “spiritual diarrhea”. From Foyerwänden, portraits of Anna Netrebko and Jonathan Meese looked in addition to textual outbreaks of Slavoj Žižek and Peter Handke – which is what general discourse Theater gives. Thus, common goers as well as left-or right-liberal intellectual (in Saxony-Anhalt AfD has been seated since 2016 with 24.3 percent as second strongest force in Landtag): What for heaven’s sake, both ask mselves, has one to do with or, Sacred halls of a culinary art company with debates of our time? Much, say Halle opera makers, and y let assertion of aestically serious, even touching deeds follow.
The Flying Dutchman plays in a spectacular, parquet-possessing space stage, with and after Foucault called “Heterotopia”, or place. With lust for happening (sleeping glasses for everyone to overture) and deconstructing of expectations (cakes and cocktails for everyone in spinning parlor), boundaries between actors and audiences, indoors and outdoors, are blurred, art and world. That’s principle in Halle, so to speak. Also restaging of Kurt Weill’s rise and Fall of city of Mahagonny or premiere of Sarah Nemtsovs Music Theater Sacrifice (Time No. 11/17) aims with and without a stage on fact that opera has to be more interested than for opera, like Hal Les chief dramaturg Michael from mills in a post for atre of time formulated: for a “political debate and relevance” namely, for “pain points” of society, to which neverless always also employment with art belong. The political is not a “marketing tool” to better legitimize or “sell” opera, stresses from mills – and this distinguishes what happens in Halle, beneficial from all performative or installation experimental balloons that are released elsewhere When old narrative and interpretation atre hits its limits. The political, at Saale, it goes without saying.
This article comes from time No. 39/2017. Here you can read entire output.
The Halle Opera line consists not only of a three-point ( director Florian Lutz, 38, his deputy Veit Güssow, 40, and Michael from Mills, 38), but also, and that says a lot, from three active directors. Anor aestic, according to its common credo, requires or organizational structures. So in dramaturgy strong “second competencies” are desirable (as activists, network politicians and so on), in dealing with each or, in spite of all operational hierarchies, “visions and arguments” are in foreground, and work is being carried out in flexible Community offices, according to needs. A kind of folk stage spirit ( Castorfschen kind of course) blows through aisles, and that also has to do with fact that in Halle, thanks to Händel festival, traditionally accomplished music atre is made, already in fifties and, with effects to date, in Eighties, under conductor Christian Kluttig and legendary director Peter Konwitschny. For Lutz/Güssow/from mills, this heritage initially caused a reversal of one’s own expectations: “The older, well-situated ones who were socialized in Eighties, go with when performances such as Mahagonny or sacrifice limits of medium opera foreign Do, even if you disagree with results, “reports Florian Lutz. “The boys are doing harder. They often lack conditions, y seek experience, not lust for friction. “
