Thursday, 03/03/2011, 19: 15 clock: In the foyer of the chamber Games bustle, culture vultures read program notes, the Munich Nobility is in the form of colorful, editor in chief Patricia Riekel and her partner - present - Focus editor Helmut Markwort. Occasion: Ludwig II on the film by Luchino Visconti is given.
The next three hours notice at a portrait of a lonely idealists, "I want the thoughts and feelings Louis come as close to me, man interested in Ludwig." Says director Ivo van Hove and meets with actor Jeroen Willems an interesting choice for the role of the fairy king. Willems a dreamy, unsociable Ludwig, whose representation through its Dutch-language coloring is somewhat incomprehensible, but over time exposed to a significant increase, which makes the growing of a man fleeing from reality to stage a shocking event. If he listens thoughtfully melodies of Wagner, the stage is filled with chalk drawings into a trance or destroyed in all his desperation, a wing, the audience begins to understand that Louis was never a life: a fairy tale. Much more can be found in the figure of Ludwig - so the program - the desperate desire to "man" by the power that is inherent in the art, "on its own Perishability also to bring to the Creator of the world. "He fails, lonely, drowns herself.
Willems representation is Brigitte Hobmeier over as Empress Elisabeth of Austria. With a" Sissi in the Romy Schneider films has Hobmeier role, only the name in common: lots more it draws a surprisingly authentic image of a ruler who flees the golden cage of the Habsburg court: she is resistant, moody, obnoxious, sometimes flirtatious but sometimes breaks through the emotional Schutwall Elizabeth and gives the audience award all their fragility, which acts by Hobmeier fascinating timbre very convincing.
Two lucky strike van Hove, however, managed to Catherine Hackhausen and Wolfgang Pregler: Hackhausen as Ludwig's betrothed Princess Sophie embodies a lot of feeling a young girl whose deep love for Ludwig is bitterly disappointed.
Pregler however, shows a priceless, arrogant Richard Wagner, for whom the best is good enough. While Ludwig him as a "masterpiece" honored the composer's fanatical fan sees as a steady trickling source of money for an extra-vagantes life with his mistress, Cosima von Bülow (Sylvana Krappatsch: great cinema!)
But despite the fine cast faded the acting Overall performance compared to the visualization concept: Jan Versweyveld minimalist set design allows a glimpse of Louis Cosmos: On the front stage - and therefore in the first place - is the art and coaxed her a grand piano, the pianist Silke Avenhaus wonderful Wagnerian melodies.
Beyond is a sober, black stage, which Ludwig in delusion with chalk drawings of houses, figures and bodies littered the sky - it is a place for feelings, interpersonal relationships, the private Ludwig.
But he is forced to leave his world in that he is in a cube-shaped room in the middle of the scene: his "government" monitors every step of the monarch - And with it the audience can watch carefully Tal Yarden skillful video projections, what is happening within the area.
But as the depression Louis, changed his world: the cube slowly disappears from the stage, Wagner dies and his patron, destroyed a wing - what remains is merely the escape into privacy, in a loneliness that is totally different from the outside world has dissolved. The result is a death that takes viewers into the rain of downtown Munich - a man died, but his legend lives on in a bit Jeroen Willems, the hero of the evening further.
Quotes:
van Hove, I., flyers back
van Hove, I. Tachelet, K., "A nation of musicians", in: Programmehft from 03/03/2011
Quotes:
van Hove, I., flyers back
van Hove, I. Tachelet, K., "A nation of musicians", in: Programmehft from 03/03/2011
