Politicians “marginalized” culture in the Corona crisis, complains tenor Wolfgang Ablinger-Sperrhacke.
Not only in Austria, also in Germany, especially in Bavaria.
An interview.
Munich
- As a lodge, Herod or - just like again at the Bavarian State Opera - as a captain in Berg's "Wozzeck", Wolfgang Ablinger-Sperrhacke is almost unrivaled.
Singing is not enough for the native Austrian.
Since the beginning of the Corona crisis, the 53-year-old has been committed to his colleagues and to the reopening of theaters and concert halls.
In Austria there was a close alliance between the press, the opposition, the artistic directors and the artists' initiative for freelancers.
Ablinger-Sperrhacke is the spokesman for this initiative.
Among other things, the overwhelmed State Secretary for Culture Ulrike Lunacek was urged to withdraw.
How much fun is it to perform in front of 500 people instead of 2100?
Ablinger ratchet:
Singing is always fun, of course.
The matter becomes problematic, however, when you consider that it is only a pilot test in Munich - and how difficult it was to implement it for the Bavarian State Opera and for the Gasteig in general.
At the beginning of the lockdown we didn't have a better political situation in Austria than we still do in Bavaria.
There was a Federal Chancellor who did not even use the word culture until the beginning of May.
As in Germany, culture has been politically marginalized in recent years.
What bothers you the most?
Ablinger-Sperrhacke:
My colleagues and I have pointed out that it cannot be that a hall can accommodate four times as many guests as it is used for cultural purposes.
I have repeatedly insisted on the constitutionally guaranteed freedom of art.
It was only when there was a new State Secretary for Culture in Austria that more visitors could be admitted, better rehearsal conditions made possible and a narrower seating arrangement for the orchestra allowed.
All of this has been endorsed by health experts.
So it was no coincidence that the Salzburg Festival worked out.
These insights seem to exist everywhere - except in the Free State of Bavaria.
Ablinger ratchet:
That's how it is.
And that although here too culture and artistic freedom have constitutional status.
There is a clear constitutional problem where gastronomy and air travel are treated so differently in comparison to the cultural sector.
You can play "Elektra" in the Klagenfurt City Theater, but currently not in Richard Strauss' home town, Munich.
I also find it astonishing that people in the Bavarian cabinet spoke disparagingly about Salzburg - instead of maintaining an exchange with the Austrian authorities.
The current pilot study is not just about avoiding corona cases.
What is more important is that if there is an infection, all the instruments are now available to enable tracing.
Visiting the Bavarian State Opera is safer than going to a restaurant.
In Austria, artists have come together to achieve something in cultural policy.
Did your colleagues in Germany fail to do that?
Ablinger ratchet:
Yes.
Perhaps this has to do with the fact that Austria is essentially illiberal and the artists have always seen themselves as an essential corrective.
Politicians, on the other hand, have recognized that cultural tourism brings extremely high indirect profitability.
In Germany too, one should be aware that there are more employees in the culture industry than in the auto industry.
But why the hesitation of the artists?
Is it a lack of solidarity - or is it fear because you are labeled and no longer engaged?
Ablinger ratchet:
It is obvious that you don't want to offend.
I did it relatively easily.
I've lived in Munich for decades and have always been an outsider in Austria.
This made it easier for me to become politically active there - because there are no dependencies.
And because I noticed that you can make a difference in culture in Austria than in Bavaria or Germany.
Also, for personal reasons, I've always seen myself as a fighter for a cause.
As far as gay and lesbian rights are concerned, Austria has always lagged decades behind.
I'm used to having to fight for everything.
So what are you accusing whom in Germany?
Ablinger-Sperrhacke:
The artists should have
drummed
more.
And one should have been much more aware of the constitutional obligation.
Apart from the word event, we have nothing in common with sport.
There is no freedom of football in the Basic Law.
Besides, the audience is very different.
On an FC Bayern home game day, stand on Marienplatz at lunchtime - and compare it to an opera audience.
Does it all have to do with a different generation of politicians who are now in power?
Ablinger ratchet:
She has a very peripheral interest in culture.
Some associate art with just five dull Wagner hours at the opening of the Bayreuth Festival.
It is not crucial that someone understands nothing about opera.
It only becomes a problem if the wrong political conclusions are drawn from it.
Have you ever had the idea of leaving the opera system?
Ablinger ratchet:
never!
Broken Europe with its closed borders almost physically attacked me as a European artist.
Through the international exchange with colleagues born out of necessity, one noticed that Europe is still alive after all.
I hope that it will emerge stronger from the crisis.
And it becomes especially great when you really achieve something politically and see that the fight is worthwhile.
Are you afraid of the virus?
Ablinger-Sperrhacke:
I feel very well looked after by the Munich pilot test and the many tests.
That's why I'm not afraid.
The statement that the Salzburg Festival cannot be compared with a repertoire is true!
At the festival, up to four events sometimes had to be secured, in repertoire operations this is usually only one.
Where is the Problem?
When you are seen in your roles, you notice that you never retreat to the declamatory or bizarre.
Ablinger ratchet:
I never wanted that.
It always has to be sung well.
You shouldn't bend your voice for these roles.
If you know how to do it technically, the captain at “Wozzeck” is no problem either.
You don't hurt yourself.
I'm also on the safe side when it comes to the length of my career.
You can still be a character tenor at 109.
However, I plan to 106.
The interview was conducted by Markus Thiel.