Human Wagner: Brigitte Fassbaender directs “Die Walküre” at the Tyrolean Festival

Created: 07/10/2022Updated: 07/10/2022 16:41

By: Markus Thiel

When looks say more than the usual concept being: Wotan (Simon Bailey, right) and Brünnhilde (Christiane Libor, left) at the corpse of Siegmund (Clay Hilley), over which Sieglinde (Irina Simmes) has thrown herself.

© Xiomara Bender

There is no scenic gimmick, but there are many clever details and five hours of intense acting: With Wagner's “Valkyrie”, Brigitte Fassbaender succeeds in one of her best directing works in Erl.

There is a utopian moment in this piece.

When Siegmund starts his "Winterstürme" hit and the possibility arises: Why shouldn't this hero be happy with Sieglinde in eternal love, including physical love?

Here, on the barren stage of the Erler Passionsspielhaus, he is holding his twin sister in his arms, suddenly swaying with her in a tender, only hinted dance - and even Wagner nerds have to swallow in these seconds.

That “Die Walküre” in “Ring des Nibelungen” has always been the most touching is a truism.

But one has hardly ever encountered her so all too human, so knowingly wise in the details.

Basically, it doesn't take much and yet the most difficult thing of all: just visualize the text, question it, listen to the commenting music at the same time and form a direction from it that develops everything from the inside out.

That starts with the thinking, feeling, acting human being and stays there, instead of plastering everything over with conceptual stuff.

Naked heroes are washed for the Valkyrie ride

Brigitte Fassbaender succeeded in doing this a few days after her 83rd birthday in Erl.

In 2021 she started her Tyrolean "Ring" with the "Rheingold" and this year she has surpassed herself with the "Valkyrie".

It even turned out to be one of her best productions.

There are a plethora of details, some of which are humorous too, that are completely coherent, and you ask yourself: Why hasn't anyone thought of that before?

The two glasses of water that Sieglinde hands the harried Siegmund before she serves mead and he appreciates the bottle (there are actually three such moments in the work).

Or Siegmund's quick look in the mirror when he recognizes himself as "unfortunate".

Or when Sieglinde hides her head in her brother's lap while Nothung pulls it out of the ash tree - and the eroticism of the sword motif becomes clear in a way that is subtle and subtle.

A seating area in the first act, a desk in the second and a cuboid as a “Valkyrie rock” in the third (equipment: Kaspar Glarner), that's all it takes.

Finally, for the atmosphere, there are the videos by Bibi Abel.

During the otherwise martial ride of the Valkyries, the female warriors carefully wash naked warriors.

And once the Fassbaender refers to the future, when Waltraute steps out of the Valkyries as a rebellious one - you will find out later in the "Götterdämmerung" why.

Impossible to teach the ensemble every little thing during rehearsals.

The director must also have done a great deal of motivational work that encourages self-initiative.

And listen: That is reflected in the singing.

"Siegfried" and "Götterdämmerung" will follow in 2023

Especially with Irina Simmes and her first Sieglinde.

One hears a slender, flexible, lyrically socialized voice with a jubilant pitch, which surpasses itself - although it would be better off with Elsa or Elisabeth for the time being.

Simon Bailey doesn't have a typical Wotan gun, which doesn't matter.

With him everything is cleverly and clearly developed from the word.

Christiane Libor brings in her highly dramatic experience and yet understands her Brünnhilde like new.

Clay Hilley has to deal with a costume accident as a member of the Kelly family.

But thanks to his bright, exemplary, focused tenor, he can almost play the Siegmund role, including prolonged “Wälse” calls.

Claire Barnett-Jones never gets flashy as Fricka.

Anthony Robin Schneider's bass voice is beauty award-worthy

During these five intense hours, it seems as if the Tyrolean Festival had reinvented itself as a place for drama.

The fact that this doesn't quite go together with the music (yet) is a small problem.

Erik Nielsen, chief conductor in Erl since this summer (and thus the official successor to Gustav Kuhn, who was sacked long ago) trusts in the smooth, velvety sound of the festival orchestra.

He likes it so much that act one sags dangerously.

Only later does the interpretation become denser, more concise.

The fact that the orchestra and conductor, as always, act behind a gauze curtain on the backstage makes it easier for the singers.

But especially in the special acoustic situation, Nielsen should sharpen, sharpen and show what a black piece the "Valkyrie" can be.

There's still time.

In 2023 Erl brought out "Siegfried" and "Götterdämmerung", in 2024 the complete "Ring" was shown.

And this much is already clear: This is likely to be one of the most remarkable at the moment, especially given the lack of scenic trinkets (which the rudimentary technology of the Passion Play House doesn't even allow for).

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Further performances

on July 15 and 17;

More information about the rest of the program and advance sales at www.tiroler-festspiele.at.