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Performances

28 Dec 2004

Schnittke's Gesualdo — Another View

Staatsoper: Neuer Versuch mit dem Kindsmord VON WILHELM SINKOVICZ Alfred Schnittkes "Gesualdo" wieder auf dem Spielplan: exzellent besetzt, aber nach wie vor problematisch. Das Stück wird nicht besser, wenn man es bis in die kleinsten Rollen mit edelsten Stimmen besetzt,...

Staatsoper: Neuer Versuch mit dem Kindsmord

VON WILHELM SINKOVICZ

Alfred Schnittkes "Gesualdo" wieder auf dem Spielplan: exzellent besetzt, aber nach wie vor problematisch.

Das Stück wird nicht besser, wenn man es bis in die kleinsten Rollen mit edelsten Stimmen besetzt, en gagiert spielt und singt. Doch reizt es gewiss jeden Musikfreund, der sich für die jüngste Vergangenheit der Operngeschichte interessiert, Alfred Schnittkes Spätwerk "Gesualdo", für die Wiener Staatsoper komponiert, noch einmal zu erleben. Ein paar Mal wird das Werk, von Jun Märkl offenbar sehr gewissenhaft neu einstudiert und mit grossem Engagement dirigiert, jetzt wieder gezeigt.

Nun werden Platitüden ja nicht besser, wenn ein Burgschauspieler sie mit viel Pathos vorträgt und einem Raffinement, das suggeriert, es wären in ihnen Pointen und Weisheiten versteckt, die es zu erahnen gälte. Doch veredeln die Philharmoniker zumindest die wenigen Klanggesten, die Schnittke jenseits vieler gesichtsloser Instant-Bausteine aus dem postmodernen Klangkatalog unter Richard Bletschachers Bilderfolge aus dem Leben des Fürsten, Komponisten und Mörders Carlo Gesualdo da Venosa gelegt hat. Die fortwährende Dreiklangs-, Terzen- und Sextenvermeidung führt zu ermüdenden Ansammlungen von Sekundreibungen und, vor allem, zu Orgien von Tritonus-Sprüngen. Liebesduett oder Lebenskrise, Begehren oder Hass, gleichviel, alle singen, als wären sie hübsche, also in höhere Oktaven transponierte Verwandte von Wagners grausigem Fafner-Lindwurm.

Zwischendurch finden sich, apropos Postmoderne, ein paar versprengte Anklänge an Dur- und Moll-Welten romantischer Prägung. Von ihnen profitiert vor allem John Dickie, der tenorale Herausforderer des autistisch-selbstverliebten, immer auf der Jagd befindlichen Fürsten, den Peter Weber kraftvoll gibt. Dickie darf zwar so wenig wie alle Kollegen, ob Vizekönige, Fürsten, Herzöge, Mägde oder Jägerburschen, melodiöse Kantilenen zum Besten geben. Aber die vielen unangenehmen Intervalle, die er zu bewältigen hat, bettet Schnittke auf milderen, tonal gefestigten Grund. Das verschafft dem Ohr Entspannung und sichert dem Gesang höhere Aufmerksamkeit.

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