Napisala i Przyslala Basia Jaworski

“The” sound. That is what Schreker was obsessed and fascinated by. A sound that died off on its own, but not really, because it had to keep resounding – if only in your mind. It had to be a pure sound, but one containing orgasmic desire and it should be intertwined with visions.

Sight & Sound Experience of Gustav Klimt – Atelier des lumières Paris

Of course, it also had to do with the spirit of that time; other artists too were experimenting with it, though perhaps not so fanatically.
“The” sound, Schreker never let go of it, even when, at the end of his short life, he seemed to be going in a different direction.

This sound, which according to our chief conductor Marc Albrecht is “narcotic”, is abundant in Der Schatzgräber. It was Albrecht’s deepest wish to conduct the opera one day, a dream that came true in September 2012.

The making of Der Schatzgräber in Amsterdam:

And Albrecht is good at it, at creating the perfect sound. It still needs to be perfected, though, as the sound at the premiere was, especially at the beginning, far too loud. Fortunately, after the intermission it became more lyrical and softer, gently guiding you through the music, just like in Els’s stunning lullaby at the beginning of the third act.

About the staging, I can be brief: it sucks. In the first two acts I was still able to somewhat relate to the neglected, aggressive cult members (?). The beautiful Els resembled Catherine Deneuve in Belle de Jour, with her blonde wig and the very high heels under her short, sexy dresses. Something that was also a bit true for the Queen (good silent role by Basja Chanowski).

Wiecej TUTAJ