About half an hour of Luigi Cherubini’s Opéra comique “medee” without your title design. But then the figure of the sorceress and the child killer takes all. The five will appear Medea, distributed over the stage at the Saarland state theatre; she lurks in every corner. It had begun in the saarbrücken theatre everything is still reasonably harmless: a spirited Overture, something to play music hectic, a breezy operetta Setting, rüschig colorful costumes. Jason and Dircé are planning your wedding, but in Medea burns with the fire of revenge. Later, they will kill the cruel woman, the whole of the Greek mythology, following your two with Jason begotten sons.

The revenge of the forsaken wife, a mother’s love on the other side. In this contradiction, the young choreographer and, most recently, aspiring Opera Director Demis Volpi sees the key to Interpretation. He splits Medea’s personality in five different performers, including a dancer and a dancer, also the figure of the servant Neris coincides with Medea. All Medeen wear the same black robe; the otherness of this woman, the second essential point in Volpi interpretation, manifests itself already at the first Occurrence in the contrasting costumes (Carola Full). That Créon, king of Corinth, informal and strongly sung by Peter Beautiful, can be excluded, to protect in his blue tailored suit, the children in front of the quintet. Strangeness leads to Isolation and eventually madness. A timeless motif, pleasing, unobtrusive resonates with it in this staging.

In single images convincing

Demis Volpi Director’s decision is for the individual scene as a stroke of luck. Cherubini’s Opera lives anyway more of the inner conflict of your protagonist as the thin outer action. The emotional world of the woman who wants to know Volpi not, from the outset, as the embodiment of Evil, stigmatized, carved the film without superficial in their contrasting traits. The audience experienced a deep sharpened Medea as an angry, absent, or on the leg of the beloved Jason hanging like a child, or everything is dreamy in the legendary Golden fleece in each others ‘ arms, and at the same time. This is challenging and leaves the viewer enough an act of Interpretation, after all, who embodies here, which is exactly what is conveyed is not always.

What is convinced in the individual images completely, try harder over the entire range. The stage is sometimes a bit too full, as in the unnecessarily complicated choreographed wedding scene. Who only the with – and against each other operating Medea performers to pay attention to, it loses at the same time, for Cherubini’s music. Also, the musically-painted Storm in the prelude of the third act, a harbinger of the final catastrophe, will be extended this evening by the dance. A certain infatuation with his really good idea, one might forgive Volpi, however.

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Sébastien Rouland leads in his musical theater experience Premiere as the Saarbrücker music Director, in the case of smaller Balance and Timing problems between pit and stage, dynamic and with a healthy enthusiasm by the music. In addition to Pauliina Linnosaari as the main Medea, the good ensemble of Singers, leading with vocal elegance, forms just the dancers, Stefane Meseguer Alves and Isabella Taufkirch, the figure in small Gestures. “My dear children, the most beautiful victim”, – stated in the dialogue between the musical numbers, Pascal Paul-Harang has him set up for the production in English. The children are at the mercy of the spiritual life of their mother who wants to protect you at the same time and kill them. Angelos Samartzis is a strong-voiced Jason.

two and a half hours this evening challenging, but coherent, before he loses on the final straight of stringency. Following the Opera, the Director Iannis Xenakis’ Suite for six instruments and men’s choir “Medea Senecae” and a monologue from Heiner müller’s “Medea material choreographed”. A compilation, are not confident in your result completely.

A small shadow

The previous setting, an oversized black-brown Billy bookcase combination, as an empty library at the same time, the prison of the ring ends, the protagonist, had deconstructed in the course of the piece’s decoration. Left an open space remains, the choir sings Xenakis’ piece with forehead lamps, Medea is dancing, on the stage of bone and a wind machine. The killed children tell the legend of the ship Argo and the Argonauts, the history of Cherubini’s Opera, but as astronauts. The air space in the contrast to the sea, yet the discovery potential, it is an obvious, but also somewhat banal reinterpretation of the myth. So foreign to Medea in the frilly operetta world was so foreign to Xenakis’ raw, almost uncivilized-looking musical language, hard cut to the musically pleasing Cherubini, as a detour in a new story, after the curtain had to be dropped already.