Chamber Opera Schloss Rheinsberg: Mozart with a view of the lake – culture

Art, one might say, is successful when it becomes the starting point for a basically endless whirlwind of thoughts and associations, a mine-like digging for ever more knowledge. So there you sit in the courtyard of Rheinsberg Castle at the first premiere of this year’s chamber opera season, believing fully that you know Mozart’s The Abduction from Seraglio by and large.

And then actor Christian Dieterle shows up and first demonstrates what you actually do not know. Dieterle gives a lecture on the possible location of the event – probably in Algeria – on the history of slavery and the hypocrisy of Christians, on the architecture of Ottoman palaces and the complex relationship between Islam and alcohol.

He quotes Casanova, who visits a pasha and discovers a wine shop behind the bookshelf, or Lady Mary Wortley Montagu, who reports in 1717: “A Turkish palace is harder to describe than anything else because it is irregularly built. There is nothing that looks like a front or wings. ”

A joy: Conductor Werner Ehrhardt

Lots of bits of knowledge leading their own lives in their heads. At this point, there was still some music, and yet it all stopped, because of Dieterle’s dark, sonorous voice, and because it’s just incredibly interesting. And because every time the speech threatens to become too much, the opera comes into its own.

Brad Cooper as Belmonte has constantly whistled back and forth in the background between the sculptures and the sparkling lake, looking for his consistency. Kammerakademie Potsdam is located in the corner, so it does not block the view of the lake, so large parts of the yard can be used as a playground.

And the audience sits right in the middle and comes very close to what is happening, the voices pass so close to the ear that it would never be possible in a conventional opera house – and suddenly something new emerges, for example the big quartet (“Ach Belmonte ! Ach, mein Leben “), which Mozart wrote for the finale of the second act, was truly appreciated for the first time.

Additionally: Seeing Werner Ehrhardt is a pleasure. The specialist in early music and the founder of the Chamber Orchestra Concerto Köln is one of the conductors who lets the music flow through the body, making their joy and fun in it visible to everyone: he laughs, laughs, sings with, without that it spills into the embarrassing or the ridiculous. The acoustics in the castle courtyard are excellent despite the open flank towards the lake.

Perfect scene: the Prussian architecture and the lake

The castle’s pleasantly sober Prussian architecture, the drama of nature unfolding on the horizon, the clusters of clouds, the glaring, slowly sinking sun, the call of the musk ducks over the water, plus Mozart’s wonderful music and the accents that a few aufs to create minimally reduced scenery and historicizing costumes (Barbara Krott) – all this merges into a fine, even magical evening. The highlight for director and chamber opera director Georg Quander: commentator Christian Dieterle soon turns out to be Bassa Selim himself.

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Zwei gleichwertige Besetzungen aus Preisträgern der Kammeroper gibt es, am Samstag sticht vor allem Changjun Lee heraus, der einen gleichermaßen furcht- wie mitleiderregenden Osmin singt, dessen kerniger Bass von den Wänden des Schlosshofs widerhallt, der sich unerschrocken in einen Brunnen fallen lässt und dann, bei sinkenden Temperaturen, noch eine Viertelstunde in nassem Kostüm weitersingt, bevor er sich endlich umziehen darf.

Ein äußerst gelungener Abend

Die Figur des Belmonte darf getrost den Don-Ottavio-Preis für die langweiligste Mozart-Rolle entgegennehmen, insofern hat Brad Cooper einen undankbaren Job. Er knödelt etwa zu Beginn, bevor sich seine Stimme glättet. Gregor Drake spielt mit blaublitzenden Augen einen attraktiven, listigen Pedrillo, sieht sich allerdings in den Höhen vor Herausforderungen gestellt.

Die Damen brillieren: Sophie Bareis als auch in der „Marter aller Arten“-Arie gefasste, ja majestätische Konstanze, Jihyun Kang als umtriebige schwarzhaarige Blonde, die allerdings gerade in den Sprechpassagen an der Verständlichkeit ihrer deutschen Sprache arbeiten muss.

[Nächste Aufführungen: 12., 13., 15.-17. & 19. Juli, kammeroper-schloss-rheinsberg.de]

Outdoor happiness and sorrow: The quartet ends the second act, but becomes the play’s finale. No rain, but the temperatures put an end to the performance, the orchestra cares about its instruments, third act is canceled. A painful, cold turkey. It would have been nice to have seen and heard the evening, which until then had been extremely successful. So much the more reason to visit one of the remaining performances.

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