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Staatsoper Prelude: Here I am now, I poor ear – culture

Thursday, October 5th, 2017 | bitcoin updates

With beatings against the Iron Curtain, with music by Schumann, and texts by Goethe, the Staatsoper was to be brought back to life. "For the moment, say:" Still, "was a tricky chosen motto – inevitably supplements the educated citizen:" … you are so beautiful. "What makes an opera house really beautiful is this" prelude " a new closing time until December, can still discuss. The fact that a good acoustics is absolutely essential does not question anyone. Finally, the sonorous reformation of the house is the greatest merit of the general performance, after the originally planned blessings of a modern hall had suddenly been of the devil.Presence of Brasses for the AcousticsThe first symphony concert of the Staatskapelle Unter den Linden is all the more tense, as Daniel Barenboim the acoustics on the stage in high tones. Yes, the general music director was so full of praise for the new concert situation, that for the main task, the music playing in the ditch at full opera operation, he remained only narrow words. Is the purpose optimism? After all, the Staatskapelle has programmed many of their concerts for the 2017/18 Unter den Linden season, before it could give a first acoustic test. Hightech flashes through every crack It must sound good in the new concert room, the stage design for symphonic evenings, which Richard Paulicks suggested The pupils are visibly behind the musicians. In addition, there are two rows of acoustic sails floating above the stage, free from the prescriptions of monument protection in sober functional omnipresence. The old new state opera seeks the genius of the place and ends up inevitably with Barenboim and the sound of its Staatskapelle. The program reads like a log of a classic sound check on Wednesday: Jörg Widmann's "Second Labyrinth" from 2006 splits the orchestra into five unequal groups, the most exciting of which are two wings, two harps, Hungarian and Belarusian cymbals, zither and bellied guitarron. Nothing is played neatly here, the wings beat with the keyboard covers, sound bodies are knocked, strings are ragged torn. A percussive lunatic, filled with blasters and strings without a goal. This is a bit clumsy on the podium. But where could individual groups of orchestras evade? In the proscenium litter film cameras lurk.

Maurizio Pollini drags himself through his performance. A paralyzing rebuilding phase follows, for Schumann's piano concerto, which lives beyond classical proportions and therefore struggles at every moment for balance and middle. The soloist is Maurizio Pollini, the once clear-sighted pianist who knew the classics in the light of the Second Viennese School. The 75-year-old has left nothing to it, for years he has been dragging himself gloomily through his performances. He can not make an exception for Schumann either. It hurts. Barenboim has to adapt his conductor constantly, because no impulses come, missions fail or mumble. The resultant stop and go casts the sound of the state chapel.Stronging soundThe actual acoustics test is associated with Debussy's "Images"; the government, which has been temporarily unemployed after the gambling, has rehearsed it particularly intensively. And in fact, we can guess something about the new state-of-the-art sound that individual voices like the English horn know how to carry. You can hear a lot, as long as the volume does not rise too much, but must also provide for the mixture of the sound in your own hearing, at least, if you are in the front parquet rows. The sound of the Staatskapelle – a question of identityThe sound of the Staatskapelle is to change under the Linden. This is exciting at first, but tipping over when the full orchestra is used, if instead of sonorous depth a glaring, impenetrable sound front is formed – almost as if the ears simply closed at high sound levels. Barenboim does not yet know any real answer to this thoroughly human reaction. But one thing is already audible: the sound of the Staatskapelle will change under the Linden. The question of the identity of the house is thus all the more urgent.


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