Opera as a film ǀ THE ARME SAILOR, hammer murderer splatter – Friday

The three-part house of Mainfranken Theater Würzburg had the short opera for the end of January The poor sailor by Darius Milhaud (supplemented with a few works and excerpts from Beethoven, Schubert and Shostakovich; because the half-hour short opera would have been far too short for an evening filler) are in the premiere calendar. Nothing came of this because of Covid-19.

What to do?

Opera as a film!

“As an artistic creative team, the director Tomo Sugao and stage and costume designer Paul Zoller who were also hired for the originally planned stage version and who reworked the scenario for the film; most recently both of them drew together for the spectacular production of Wagner’s Götterdämmerung responsible at the Mainfranken Theater. When realizing the film work, they work with the Würzburg cameraman and film artist Steffen Boseckert (mindcore productions) together.

The sound recordings with soloist ensemble and Philharmonic Orchestra Würzburg under the musical direction of general music director Enrico Calesso instead of.”

(Those: mainfrankentheater.de)

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The result of this spontaneity, which has almost overturned its cinematic ideas – we received the stream published on mainfrankentheater.de yesterday evening – is well worth seeing!

The plot goes like this:

“For 15 years a woman has been waiting for her husband, the sailor, to return home from a foreign country. He actually comes, heavily marked on the outside, but in possession of a precious pearl necklace. Incognito, he asks for a night’s lodging and allegedly notices the woman’s return home impoverished man. In the night she slays the ‘stranger’ and takes the chain in order to save her husband with this fortune. “ (Quelle: dto.)

And we suspect itBerthold Warnecke (the dramaturge of the video) was who recommended a prehistory to the short opera plot, which in turn became very progressive:

It is the wedding and the bride and groom are happy. But then the groom leaves the bride immediately and without any warning; and we interpreted that to mean that he was already fed up with her before they even tried such a beautiful and normal marriage with each other, i.e. panic, escape and freedom. And then we see the man who has not been divorced from his bride spend a certain amount of time on the high seas, and then he is probably stranded somewhere, and his sailor’s face, which had remained intact until then, had so many scars that one should have concluded that he had become ill or survived as a victim of violent attacks … / cut //

Then he meets his old friend again, who in turn, and since the bride’s groom has been missing, has an eye on her. He shows him a pearl necklace, which in turn animates the greed of his old friend to the point of murderousness (very beautiful dream sequence of a sailor-murderer hag rolling in blood). And in the meantime the bride and her drunkard father eke out a pitiful pub landlady and still waits “faithfully” for the groom who was believed to be missing …

The (ex) groom, who pretends to be a friend of the groom, is accommodated by the bride. He tells her that he was with the Queen of Mexico (with a “Wild ones”? the colonial bride was horrified) had to sleep and got the said pearl necklace from her as a reward … / cut //

Yes, and that night the bride then kills the (ex) groom, who pretended to be a friend of the groom, with a butcher’s hammer in order to be able to appropriate his pearl necklace, with which she, as she said, wants to save the groom from his pitiful poverty. She and her father drag the slain out into the open; and song out!

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Silke Evers plays and sings the hammer murderer, who wanted to prove herself in a show business way long before her blatant negative development.

Roberto Ortiz can be seen and heard as the title hero; twice he also tunes an orchestrated song from the Winterreise from Franz Schubert on, yes and that fit like a fist on the eye.

Kosma Ranuer shines as a sex and murder addicted bride and groom pursuer; in addition, as Pizarro from the BeethovenFidelio also consider the criminal energy of the father from the bride to be questionable.

And Igor Tsarkov can as fourth in the gang-like beasts quartet, where he mimes the bridal producer, even when singing Lorcas De profundis (from Symphony No. 14 by Shostakovich) to earn additional points of enthusiasm.

Conclusion: The video is a litter!

Look, listen !!

Spread the word !!!!!

[Erstveröffentlicht auf KULTURA-EXTRA am 15.05.2021.]