The 2018 Salzburg Festival production of Die Zauberflöte really pushes the envelope of reenvisioning the piece. Is there anything to say about this piece that hasn’t already been said? Lydia Steier thinks so and goes some considerable way tp making her point. So what’s the big idea here? Essentially the kicking off points are that it’s about (in a sense) a dysfunctional family and it’s a fairy tale. So we open on the dining room of a rather depressing bourgeois Austrian family in the mid 1930s sitting down to dinner. There’s the mother, the father, the grandfather and three boys; all rather formally dressed. A portrait of a bride hangs behind the table. The father has a hissy fit and storms out. The mother, who appears to drink, starts breaking things. The grandfather takes the boys off to the nursery to read them a bedtime story.
Wajdi Mouawad’s production of Mozart’s Die Entführung aus dem Serail, originally seen in Lyon, opened last night at the COC with Valérie Négre as revival director. The piece has been somewhat restructured and the spoken dialogue changed to explode the idea that the piece is “about” some kind of crude juxtaposition of the “West”; Enlightened, civilized etc, and the “East”; obscurantist, cruel, barbarian etc. To this end Mouawad has inserted a prologue before the overture where Belmonte’s father is holding a party to celebrate the return of his son and the others where he makes the above comparison in extremely crude terms and then invites his guests to play la tête du Turc, a game that involves hitting a Turk’s head with a sledgehammer. The guests wade in with drunken abandon, except for Konstanze and Blonde who are clearly revolted by the idea. This leads to a conversation around who changed and how while they were in captivity and so to telling the whole story in flashback.