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On Wednesday evening at the Wien Modern, the premiere of the revised version "The Outcast" saw the second major project at the Olga Neuwirth Center of Gravity take the Konzerthaus scene. A gigantic number of people, music and material, who was remarkably renowned at the end of the 100-minute show, except for a solitary court bailiff.
09:06, November 15, 2018
Above the scene, in addition to five video views of different sizes, there are also many series. Are cable wiring for large speakers and headlamp batteries, microphone-mounted (the Ö1 station has recorded) or is it a hit? The singers who appear are dressed as a remarkable ship crew and makeup. Suddenly someone remembers Benjamin Bryden's opera "Billy Budd", based on a story by Herman Melville.
Although the author is personally present as a "Old Melville" character (spoken by Johan Leysen) on the left-hand side of the stage, he has a keyboard besides books, but Neuwirth, who is very interested in the work of the great American writer (1819). 1891), devoted primarily to another Melville book, the novel "Moby-Dick". And Bartleby the Scribe, a hero of the homonymous narration of the refugee, can in the form of Diseuse Georgette Dee over and over again his famous believer "I prefer not to do" for the best.
There is also a chorus of tough sailors (the Society of Music) and the boys' choir of Munich, dressed and decorated with a gray mouse, which is quasi-positioned behind the podium on the railing. And of course ORF Radio-Symphonieorchester Wien conducted by Ilan Volkov. There are many layers that overlap in this "musical theater store" whose premiere in Mannheim in 2012 was distanced by the composer before the premiere. Even in Netia Jones' concert of the concert, which looks more like an oratorio than a musical theater, in the evening it is an excessive demand to be treated as a listener to develop a strategy.
Due to lack of super-titles, the English version of the Barry Giffords libretto and the Melville monologues written by Anna Mitgutsch contain only fragments. The political and social impact of the text as a parable of xenophobia, demagogy, persistence of power, and exploitation of nature is just beginning to emerge. So it focuses on musical and visual impressions, which result in a less coherent unity than a few days ago in the premiere of Neuwirth's music for the silent film "The City without the Jews," but also much more complicated.
Neuwirth has written major vocal pieces, such as Danish soprano Susanne Elmark as Ishmaela, Otto Katzameier as captain Ahab, counterattacked Andrew Watts as Harpunier Queequeg or Joel Beer with his soprano boy as Pip. He works confidently with the possibilities of solo voices, two choirs, speech and orchestra, towering, rising mountain waves, strong and efficient music up to each other and impresses between small effects – for example, when the sounds of a electric guitar The working material or Klaus Nomi echoes. This music is smart and efficient at the same time and makes a lot of predictions about her announcement of the State Opera "Orlando" in December 209.
The Netia Jones night's design and the aesthetics of mixed video images of waves and clouds, column columns and crystal lattices, ship details, nearby Melville and a slowly appearing white whale attempt to keep a course between atmospheric and abstraction. They complement this "new production designed for concerts and non-opera" with a picture and approach Neuwirth's perception of a modern "music installation theater". A scene of the world premiere is still pending. And along with exploring the dramatic potential of an interactive "The Outcast" staff. However, it is very likely that Olga Neuwirth deliberately answers the issue of the scene more than internal action: "I do not prefer to."
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