"We see the consequences of the war": scene with Anita Rachvelishvili (Amneris) and Brian Jagde (Radamès, right). © Wilfried Hösl
Ten years ago, Damiano Michieletto caused a sensation in Austria with two directorial works: in Salzburg he sent Verdi's "Falstaff" to a retirement home, and in his Viennese production of Mozart's "Idomeneo" he had Elektra commit suicide in a mud bath. Now the 47-year-old Venetian is making his debut with Verdi's "Aida" at the Bavarian State Opera. The premiere is on 15 May.
Damiano Michieletto (47) comes from Venice. © Stefano Guindani
Where did you first meet the "Aida"?
In my grandfather's workshop. My grandpa loved opera. He was a very simple, modest carpenter who preferred to listen to opera music during his work, and he was passionate about belting out entire passages – including the famous melodies from "Aida". His irrepressible desire to sing has burned itself deep into my memory. When I'm directing, I often think about him.
How?
I imagine that he is sitting in the audience. In this way, I avoid delivering an intellectually convoluted production that cannot be understood without a 20-page explanation. With my work, I want to reach as many people as possible – including people like my grandfather, who simply want to be carried away by the power of a gripping story told with great music without any previous training.
Do you remember your first "Aida" live experience?
Yes, that was when I was 18, in the Arena of Verona: the pompous production with pyramids and all the pipapo. But this badly statuary fairground fuss didn't touch me, because the actual story was literally slain by the bombast.
Fatal, especially since "Aida" is a quiet chamber play for long stretches.
That was also the biggest directing challenge for me: the change between delicate, intimate scenes and spectacular, triumphant moments – this opera is almost like an accordion. At the same time, one should not lose sight of the relationships between the characters in the monumental passages.
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Fancy a voyage of discovery?
My Area
On pre-published photos of your Munich "Aida" you will not find pyramids, but a basketball hoop and a pile of ashes.
Yes, our production is not set in ancient Egypt, but in the present: in a place destroyed by war, which evokes wistful memories of the time when people came together here to play and have fun. Now everything is in ruins, and we see the consequences of the war: more and more the place is covered by ashes, until finally it resembles a desert. Against this background, we tell the tragic love story between Aida and Radamès, which is somewhat reminiscent of "Romeo and Juliet" because the two lovers come from deeply hostile families. The tragedy is triggered by Aida's father, who blackmails his daughter into betraying Radamès. This motif is often found in Verdi – just think of "Rigoletto", "Luisa Miller" or "La traviata": all fathers who force their children to do cruel things. Just terrible!
There are also said to be directors who exert pressure to enforce directorial ideas.
Just as terrible – and completely pointless! As a director, you always have to realize that you have ideas, a concept, a vision – but you are not God! And it's not you who have to go out on stage, but the singers. And if they are reluctant to follow orders there, if they are not happy and convinced about the matter, then they will not convince your grandpa in the audience either! (Laughs.) That's why you should always remain open and flexible in rehearsals.
How long did you rehearse for "Aida"?
I've been in Munich for almost six weeks, and I really enjoyed my time here. Next door, in the Residenztheater, I was able to watch "Three Sisters" and "Woyzeck", for example...
Didn't you think your German was "not so good"?
Yes. (Goes on suddenly, in a fluent German, with astonishingly good pronunciation.) The problem is: I don't have the words to speak. But I can understand German. I learned it in school when I was 14 years old, for two years. And when I was 16, I was in Frankfurt a month because I had an aunt there. That's why German has stayed in my ear. And when I've been to Salzburg or Vienna, then I've spoken back to German. I also like German operas very much. I'm dreaming: Next time I might stage a Wagner opera – and then I can give an interview to you on German! (Laughs.)
The interview was conducted by Marco Schmidt.
