Down Under lebt die Kultur

Down Under lebt die Kultur, Giuseppe Verdi, Ernani,  Sydney Opera House

Foto: © Sydney Opera House

Lust auf Oper? So richtig live – nicht gestreamt? Ein Gläschen davor zur Einstimmung, dann in den Saal, der Vorhang hebt sich… Das geht. In Australien. 

von Gabriele Lange und Kamila Abutalieva

Dort hat man in gemeinsamer Anstrengung die ersten Infektionswellen gebrochen. Seither gab es zwar immer mal einzelne Ausbrüche – aber diese wurden jeweils konsequent sofort wieder eingedämmt. Gerade geht Melbourne erneut in einen Lockdown. Weil 20 Fälle aufgetreten sind. Eigentlich erstaunlich, wenn man die freiheitsliebenden Australier kennengelernt hat. Allerdings – die leben in einem nicht nur wunderschönen, sondern auch nicht ganz ungefährlichen Land. Und sie wissen, dass es oft einfach nötig ist, sich an Regeln zu halten.

Man fährt nicht ohne anständige Ausrüstung ins Outback, latscht nicht in Sandalen und Shorts durchs hohe Gras (Schlangen) und hüpft nicht in jedes Gewässer (Strömung, Krokodile…). Ganz einfach, weil die Natur keine Kompromisse macht. Und so haben die Aussies es mit viel Disziplin, ohne Geschwurbel und vergleichsweise wenig Gemecker bisher geschafft, die Pandemie unter Kontrolle zu halten. Der Lohn: Ein nahezu normales Leben. Restaurants. Cafés. Fitnessstudios. Und: Kultur.

Mein Stiefsohn Benedikt und seine Lebensgefährtin Kamila arbeiten und studieren seit einigen Jahren in Australien. Dort gibt es zurzeit nicht nur Open-Air-Konzerte. Gerade waren beide wieder im Sydney Opera House. Mit Maske am Platz. Kamila berichtet. Und wir sind neidisch.

Verdis „Ernani“ – live

The glass of prosecco at the Opera Bar before performance begins is an old Sydney Opera House goers’ tradition. We are certainly not the ones to break well established rituals, so here I am with my flute glass enjoying the sunset overlooking Harbor Bridge, a sight that I will never get tired of. The combination of evening sun and South Australian prosecco in the company of such an attractive man is already good enough. But it is just about to get better when we hear the 15 minutes-call and slowly move upstairs to witness Verdi’s Ernani.

I would like briefly to explain the selection of seats. Our chosen circle (balcony) is a carefully thought-out seating preference. Opera would not be that musically rich without the hidden underground world – the orchestra. The balcony seating lets me see both the stage performance and the equally significant musical accompaniment, which sometimes can be as fascinating as the performance itself. That way balcony seating allows to acknowledge us both ‘top’ and ‘bottom’ masters.

Kamila und Benedikt im Sydney Opera House

Ernani by Giuseppe Verdi is co-produced with Teatro alla Scala, resulting in a both musically and visually rich and lavish performance. Verdi as a composer was known to produce dramatic and exciting scenes, setting the tone from the very beginning and in that way keeping the audience engaged throughout the show. Ernani represents Verdi’s style at its best, leaving me as a viewer, after the first act, on the edge of my seat. Starring as Ernani Diego Torre, Mexican-born leading tenor in Sydney Opera, Armenian-Australian soprano Natalie Aroyan as Elvira, Bulgarian baritone Vladimir Stoyanov as Don Carlo with his debut at Opera Australia and Ukranian bass Vitalij Kowaljow (personally my favourite) as Don Ruy Gómez de Silva, also making his debut at the Opera Australia. The first act features rapid changes in scenes, decorations, introducing leading performers of tonight’s show.

Ernani, Sydney Opera House

After about 45 minutes, the first act comes to an end and you feel overly excited and wanting more. Thankfully you are not yet sent for the interval. The atmosphere heats us as the story unfolds, the second act conveys the complexity of the situation, telling at the same time a story about love, dedication and death. As Natalie Aroyan says that it can be ‘tricky because you can get emotionally attached to a piece’, the cast truly gives everything, so you become emotionally engaged as an audience, creating an inseparable connection with the stage for the duration of the performance, and for some time after the show, when you are coming down the stairs, breathing heavily and expressively discussing the show with everyone around. Music is a way to connect nationalities and generations and share that great experience together.

The soul of third act can be described as liberated when the king finally allows Ernani and Elvira to marry, making the love story elevated. The viewer is, however, prepared for the tragic end and while Ernani’s death does not come unexpectedly, still it makes you a little upset. The final act is rather short, but duration does not decide the significance.

Gabriele Lange und Kamila Abutalieva, 14. Februar 2021, für
klassik-begeistert.de und klassik-begeistert.at

Frau Lange hört zu (23): Kurkonzert mit Schwiegermutter-Schmeichler

MeetYourMaster, Singen lernen mit Jonas Kaufmann klassik-begeistert.de

Joan Sutherland Theatre, Sydney Opera House

Ernani: Diego Torre

Don Carlo, King of Spain: Vladimir Stoyanov

Don Ruy Gómez de Silva: Vitalij Kowaljow

Elvira: Natalie Aroyan

Giovanna: Jennifer Black

Don Riccardo: Simon Kim

Jago: Luke Gabbedy

Opera Australia Orchestra & Opera Australia Chorus

Dirigent: Renato Palumbo

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