For opera legend Brigitte Fassbaender it comes to extremes.
The 82-year-old staged Richard Wagner's “Ring des Nibelungen” at the Tyrolean Festival.
Every summer she brings out one of the four pieces there, on July 10th “Das Rheingold” premieres in the Passionsspielhaus Erl.
After the performance, the director receives a special honor: For her life's work she receives the “Nightingale”, the trophy is awarded by the German Record Critics' Prize.
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“For me the 'Ring' is an end-of-time drama.
Alberich survived ”: Scene with Craig Colclough.
© Bibi Abel
Wotan has not just one spear with you, but several. That should be a novelty in the "Ring" story.
With us he not only has his rune spear, but also his combat or walking spear.
He doesn't need any for the trip to Nibelheim to Alberich, so he leaves all the spears at home.
I wanted to ironize the prop a bit - it doesn't fit our modern conception at all.
But if already, because already ...
After four years your "ring" will be rounded. Do you already have the final image of “Götterdämmerung” in mind?
Of course, I have the big bow in mind, if only because the set represents all four parts.
But I wanted to get to know the cast first.
I always have to know what's in store for me - in terms of enthusiasm, commitment, charisma, aura.
That inspires me a lot.
Then I can virtually compose the scenes and work towards a personality.
That actually contradicts what your colleagues do with the “Ring”. Concept papers are everything.
Might be.
However, I always try to start my very own journey through a piece.
Not that I reject concepts.
But there is hardly anything new for the “Ring”, almost everything has been said about it and almost everything has been interpreted.
The history of the reception cannot be overlooked; perhaps it is possible to shed light on a nuance here and there or to set an unusual focus.
Above all, I am always interested in the “people on stage” adventure.
This is probably called personal direction ...
Is it also a problem that every artistic director wants to attach the "ring" to his lapel and direct inflation ensues?
That seems to be the case, but I don't want to think about it at all. I think the “ring” is a great commitment for a house that can cope with the demands of the work in every respect. In Erl it is even a matter of course because the “Ring” is the founding piece. For me it is a tremendous challenge. I was once in conversation for the Royal Opera House in London, and then it didn't work out due to financial reasons, among other things. Basically, I was glad it was way too early. You need an infinite amount of experience and a certain human background for the four operas. This is such a complex event, every sentence can be interpreted in different important and unimportant directions ... So the "ring" is far from exhausted, but it has been interpreted, which is a difference for me.
That is one of the reasons why there are directing attempts to tell it again as a fairy tale.
I let it play in the here and now, but keep fairytale elements.
Our language of time cannot replace the archetypal and archaic things.
Wotan needs a spear, not a pistol.
There is also a snake and a toad in the "Rheingold".
But I treat everything a bit ironically and playfully.
In any case, “Rheingold” is the comedy among the four “Ring” pieces.
I find “Siegfried” the hardest to stage, musically I love him the most - and I don't really know why.
Does it help that there are so many role debutants here?
Naturally!
Debutants are open-minded and do not bring with them any stuck views or clichés that have to be laboriously broken down.
At the end of the “Götterdämmerung” and thus the “Ring”, the old world has had its day. Some kind of happy ending?
No, for me it's an end time drama.
Alberich survived.
This battered creature, which is played badly from the start, compels pity.
He is exposed to constant provocations.
His life becomes a campaign of revenge.
But musically there is still a great moment of hope in the last few seconds.
A brief bloom.
Also, sometimes you have to think against the music.
If we continue to perfect our downfall, the world will head for an end - that's exactly what the "Ring" says.
If we're like Alberich, then I see black.
Wotan, the father of the gods, abolishes himself, is no longer up to his demands and is resigned.
In the "ring" even hope dies.
Among other things, you sang Fricka yourself. It is often staged as a pair of pliers.
It's hard to avoid this constant pinching.
There was a great love between Wotan and her.
You just have to understand how hurt and frustrated she got from Wotan's infidelities.
He is the chief god and ruthlessly lives out his instincts, even boasting about them.
Who knows how long they've been together - and want to stay that way.
She woos him all the time.
That's why she also hopes that he steals the Rheingold.
She is not gold horny per se. I always think of a woman who wants to drive her husband crazy again and buy crazy underwear.
At the same time, she is ashamed of it.
She is actually clever and confident, has become his comrade.
The festival originated during your time as artistic director in Innsbruck. Did you find this annoying competition?
No.
I was just amazed at how much money was pumped into Erl, also from a private perspective, while we always had to struggle financially in Innsbruck.
I never wanted to do the “Ring” in Innsbruck.
In general, I think that small and medium-sized houses shouldn't have this ambition.
The “ring” only works out of a generosity.
It is always an effort and a very expensive business.
How long did you hesitate when the offer came from Erl?
Not at all.
"Thanks!
A dream comes true! ”That was my reaction.
Then I was just surprised that I dared to do it.
I see the “ring” as the crowning glory of my life as a director - even if there are still many other projects for me to do in the years to come.
But when I have that behind me, then I can slowly calm down.
Nobody believes you.
Wait and see.
The interview was conducted by Markus Thiel.