Contents page 1 — More madness, please! Page 2 — The conductor has no desire On a page

read up There, the Problem is, and here below you can see it pretty well. Even the mayor came to the inauguration and the culture Senator, stand next to the Director, Georges Delnon, in a heated hall in Rothenburgsort, the new collection of the Hamburg state Opera, and look up to the shelves. Here, all stage store pictures, props, and costumes of the productions from the Repertoire of the Opera productions of the Opera in the program, but just doesn’t play. In the main building at the Dammtor street, the space behind the stage is limited to the summer, the outsourced everything in the old shipbuilding research Institute in Barmbek. There are 600 apartments, the Fundus and the workshops of the Opera to arise now moved to the site of the piggy-back train station. The complex, built for 68 million euros, is the state of the art theatre logistikbau in the German-speaking countries, maybe even Europe-wide, again and again the Directors and the managing Director of the other Opera houses would come to the halls to watch, told built the workshop Manager: the joinery and locksmithery, the huge painting Studio and the Assembly hall, where the decorations for new productions and, in the Dry, loaded. And, door to door, the Fundus, in which the Repertoire is kept: 60 ballet, and 40 operas, stage pictures, in a high rack such as in a furniture store, in huge baskets made of steel for a Truck load space to fit.

Here is the legacy that George Delnon since 2015 has to work, it is a blessing and a curse at the same time: a Hansel and Gretel production from the year 1972, a Barber of Seville in 1976, the famous Ruth Berghaus’s staging of Tristan and Isolde from the year 1988, of course, also the Work of Peter Konwitschny, Director of the classics that linger until today. And others, he would have never given in life in order, but now you are. Just firewood for the twilight of the gods is the store in two weeks, emerged as a Prestige-project of Delnons predecessor, Simone Young. The honest Trojan, the first production in its responsibility, the gaudy marriage of Figaro by Stefan Herheim, the Opera advertises on a Billboard at the airport, and the Fidelio, Delnons first production in Hamburg, a terrific Flop.

Delnon, in the blue suit, belongs to the set of a workshop Director, and in his ears, he sounds meaner than it was meant to be. In other houses Director to drive, to go to the Opera. To Hamburg you are currently, to the Fundus. The most advanced in Europe, where the productions of the past such as drawers out of the shelf. Drawer, Opera out drawer.

part of the problem: The past light up Golden as the presence of

Delnon, 60, has been a tricky Problem. His house, the Hamburg state Opera, like to claim to belong to the leading Opera houses of the world. And I’m sure there were phases in which that was true, also, therefore, Delnon came to Hamburg. Brought Senator for Culture Barbara Kisseler no longer had it because it was so. A leader, that means: a solid and exciting at the same time. The Feuilletons, but the Hamburg Opera called “nuts” and “asleep”, and really great voices you heard here. Delnons contract – and that of his companions, Kent Nagano as General music Director has been extended until 2025, it’s going well, the Opera is in the third season under the new management better than their reputation. “Nuts” and “asleep”, such words remain long. And that’s what makes the work particularly tedious, because the reputation is crucial. As soon as a house in the industry is considered to be exciting, come exciting artists almost by itself, regardless of the level, then in fact, there are a lot of examples. At the Moment Delnon can do nothing except continue to. And wait until the Wind turns.

On the question of how the quality of an Opera house is based actually, there isn’t a valid answer. But the three of us. The first, on the issue officially, appears at the end of each season in the magazine world of Opera. It is the choice of the “Opera house of the year”, a detailed survey of the 50 most important international music critics. Hamburg won the title twice, in 1997 and 2005. In the 2016/17 season was in the category “production of the year” to the top: with Lulu, staged by Christoph Marthaler, with Barbara Hannigan in the lead role. The production is now back in the high-Bay warehouse in Rothenburgsort. This year: not even a mention.

This article dates back to the TIME no 48/2018. Here you can read the entire issue.

the past is always a bit of a Golden than the present, this fate was shared by the Hamburg state Opera, at least from the point of view of the more conservative audience, with all the Opera houses of the world. Since the Hamburg Opera is no exception: Founded as the first public, not of a Prince, for himself, built an Opera house at all, work of Georg Friedrich Händel and Georg Philipp Telemann, later, Gotthold Ephraim Lessing. Here, conducted Giacomo Puccini and Tchaikovsky their own works, Gustav Mahler was chief conductor. Enrico Caruso was a guest, Plácido Domingo made his debut, Rolf Liebermann brought the house to Bloom. The building with the gold collected in glass facade, in which the Opera house sits today, is the result of the fifty years, the previous building was destroyed in the war. The new house has externally, a special Clou: It looks, if no light is burning in the Foyer, desolate and orphaned. For its appeal, it needs an audience.

And also Delnon need, more urgent than ever. Excluding the ballet, visited last season, is 205,000 viewers an Opera performance in the previous season, there were about 186,000, a historic Low, the commercial Director spoke of a frightening valley.

This is the second answer to the question, what is the meaning of an Opera house quality: if what happens to find an audience.

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In an Interview with the office of Delnon and Nagano said: “If the next Generation do not think that the Opera house is also your house, we have not done our Job.” With Paris and London wanted to keep up with the German-speaking area anyway. The utilization shows that this is easier said than done. A small inventory, two years later. Wiener Staatsoper: 99 Percent. Berlin Staatsoper unter den Linden: 94 percent. Bavarian State Opera: 97. Oper Frankfurt: 85. Semper Opera Dresden: 92. Deutsche Oper Berlin: 72. The crisis-ridden Metropolitan Opera in New York: 63. Hamburg: 77 Percent – The City Theatre Level.

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