"I love German": François-Xavier Roth conducts "Lohengrin" at the Bavarian State Opera
Created: 01.12.2022, 17:30
By: Markus Thiel
François-Xavier Roth makes his debut at the Bavarian State Opera with Wagner's Schwanenritter saga.
© Julien Mignot
Other conductors always say that they don't let themselves be defined by the repertoire, François-Xavier Roth sets an example.
The Frenchman, born in 1971, is one of the most inquisitive and versatile of his profession.
He makes his debut at the Bavarian State Opera with Wagner's "Lohengrin".
Leader or protector of Brabant?
Klaus Florian Vogt (centre) as Lohengrin in Kornél Mundroczó's new production.
© Wilfried Hösl
Do you sometimes feel like a coach from France who is supposed to exorcise the pathos of the Germans with Wagner or Bruckner?
No, on the contrary.
During the Lohengrin rehearsals I talked a lot about the rich and special expressiveness of the German language.
It's such a theatrical text.
For example, I told the choir that, being French, I am very jealous of this language.
Not serious.
But yes!
Such diversity!
And how Wagner uses this power of expression!
We worked very hard on that with “Lohengrin”.
And as far as the piece is concerned in general, I'm interested: How can we better understand and implement today how new this music was back then?
Where exactly is she from?
Where are their roots?
Is it difficult to conduct this piece in a house where Wagner is part of the DNA? Can you assert yourself against traditions?
Before I make a decision to get involved, I analyze a lot: Would it make sense for me to direct this project in this house?
No question, there is a strong tradition here.
However, a new Wagner direction was also taken under Kirill Petrenko.
I also noticed in the first rehearsal how willing the orchestra is to try something new.
A section leader said to me: "I'm happy about it because I know why I'm rehearsing." I thought that was nice.
So there is a lot of flexibility.
You founded an orchestra that plays original instruments, Les Siècles. In general, you deal a lot with historical performance practice. So is conducting at a traditional house like Munich a permanent compromise?
no
I'm bringing some of my work here.
But I also get a lot from the Bavarian State Orchestra.
It would be foolish not to build on the virtues of the ensemble.
My path to Wagner began with the work on Bach and continued via Beethoven, Weber and Schumann.
I am incredibly lucky to have had the opportunity to get to know both extremes of music history intensively: the composers of our time and those of early music.
For example, I often talked about Györgi Ligeti during rehearsals.
Even Wagner invented this orchestral sound magma, these quiet, rich pads.
There is a direct bridge to Ligeti.
also read
No filter, no frills: Simply Red inspires Olympiahalle - and takes on folders
Salzburg Festival 2023: "Everyman" with Michael Maertens and Valerie Pachner
There was a debate this summer in Bayreuth about whether Lohengrin should end up singing "Führer von Brabant" as noted, or the unsuspicious "Schützer" as has long been customary there. What is he singing in Munich?
"Protector." Personally, as a Frenchman, I wouldn't have a problem with "leader".
But there are other parameters in Germany, and I understand them very well.
Do you actually like Wagner?
I'm interested in how he changed our world as a composer.
I'm not interested in the man.
Take French writer Louis-Ferdinand Céline.
Some of what he wrote is problematic and anti-Semitic.
But in other works he is brilliant.
Or: Everyone says that Debussy wasn't exactly a nice person - but his works... What I find so unique about "Lohengrin" is that a man comes out of nowhere, wants to help a woman and sets the condition that she not allowed to inquire about its origin.
This is incredibly timely.
Today there are exactly the same questions: What are we?
How do we define ourselves?
Where do we come from?
Do we accept others just by being there?
Can we love her like this?
You will be chief of the SWR Symphony Orchestra in 2025. Are you worried about the ensemble given the debate about public service broadcasting?
no
Because we can, and even more should, make it clear how important these ensembles are for cultural life, especially for communicating culture – which in turn is part of the broadcasting mission.
What scares me is a populist discussion in general: everything that has to do with culture, with intelligence in general and ultimately with values is declared to be dispensable.
I hope for a society where we all believe in intelligence and culture.
And for these goals we need appropriate institutions.
The politicians have to realize that we make music for all generations.
And that music can be a model for living together.
Being an optimist by nature, I haven't given up hope.
You broke up the concert structure in Cologne. For example, there was a hands-on orchestra or a citizens' orchestra, and they explain a lot on the podium. Others don't. Did the music makers also miss something?
Maybe we were a bit too arrogant in the classical world.
What I find fascinating about a Bruckner symphony, for example, is that it lasts as long as it lasts.
So she can never be a case for TikTok.
This is our darling.
And sometimes a difficulty in our time.
We must make it clear that such a symphony is for everyone, not for a private club of wealthy subscribers or for those who have studied it intensively.
We also have to find unusual formats for this – which means a different role for us as performers.
I once sang Trenet's chanson “La Mer” as an encore in Cologne.
Everyone said: "You have to do that more often." To which I: "No, that was once, and now we're finding other experiments."
Are you often jealous of singers?
Yes.
On the other hand, no, because I'm not jealous of her life.
I like to drink or smoke... All those very healthy things that don't quite fit the singer's life.
The interview was conducted by Markus Thiel.
premieres
December 3, 5 p.m.;
Internet broadcast on staatsoper.tv.
