Freitag, 18. Dezember 2015

Oper Frankfurt: Iwan Sussanin – Opera Frankfurt: Iwan Sussanin

Ohne Bilder: ich kann nur sagen, ich werde die Oper wenn sie wieder aufgeführt wird, nochmals hingehen. Die Musik – ein Traum. Die Handlung wurde verlegt in den zweiten Weltkrieg – damit konnten die Bühnenbilder für das Verständnis des Publikums etwas machen.  Without any picture: I can only say, I will visit the opera the next time, when it will be on stage again. The music – a dream. The plot is transferred in the Second World War – therefore the scene designer could do a little bit more for the understanding of the plot – also for us, the audience.

Michail Iwanowitsch Glinka 1804 - 1857
Oper in vier Akten
Iwan Sussanin Michail Iwanowitsch Glinka verlegt den parabolischen Kern der Handlung in die Zeit des Polnisch-Russischen Krieges (1609-1618), der in der Befreiung Moskaus kulminierte. Die gleichwohl zeitlose Fabel lässt sich damit zusammenfassen, dass der Bauer Iwan Sussanin erkennt, dass hinter dem Wohl des Einzelnen auch immer das Wohl des ganzen erstritten werden muss. Es kann kein wirkliches Glück inmitten kollektiven Leids geben. Er führt die feindlichen Besatzer, den eigenen Tod in Kauf nehmend, in die Irre und rettet dadurch das Land. Der tragisch endende Weg des Mannes, sein bewusst geplanter Untergang als Blutzoll für die Befreiung der Unterdrückten, wird flankiert von großen, volksmusikalisch geprägten, metrisch aber hochkomplizierten Chorszenen und melodisch weit ausgreifenden, farbenreichen Kantilene, sinfonischen Zwischenspielen, mannigfaltigen Tanzformen und einer extrem ausgeweiteten Polyphonie.
Nicht selten liegt ein Gleichnis unter der Oberfläche der historischen Erscheinung. Modest Mussorgski hat dies erkannt, als er da 1836 in St. Petersburg entstandene Hauptwerk des tief verehrten romantischen Komponisten Glinka, des »Vaters der russischen Musik« charakterisierte. Als Held dieser ersten russischen Oper, die ohne gesprochene Dialoge auskommt, tritt ein einfacher Mann vom Lande auf den Plan, der selbst eine Legende ist. Er verkörpert ein Ideal, das sich als Werk der Notwendigkeit offenbart. Ein solches Ideal in der Tonsprache zu realisieren, war Glinkas Ziel. Zugrunde legte er dafür jenen später auch von Tolstoi immer wieder gestalteten Wechselbezug zwischen dem Einzelnen und dem Ganzen: »Es schafft das Volk die Musik, wir Musiker arrangieren sie nur. 

Michail Iwanowitsch Glinka 1804 - 1857
Opera in 4 acts and an epilogue
About the work

Glinka set this parable at the time of the Polish-Russian war (1609-1618), which culminated in the liberation of Moscow, to music. A farmer, Iwan Sussanin, realising that the wellbeing of the whole is more important than the wellbeing of an individual, and that no individual can be truly happy amidst general suffering, risks his life by misleading the enemy, and saves his country. The consciously planned, tragic end of the man's life, sacrificed to free the oppressed, is accompanied by wonderful folk music influenced, highly complicated chorus scenes, richly coloured rich cantilena, symphonic interludes and dance.
A parable often lies beneath the surface of an historical phenomenen. Modest Mussorgsky realised this when he described the main work of the deeply revered romantic composer Glinka, the »father of Russian music«, which was composed in St. Petersburg in 1836. The hero in this first Russian opera, which has no spoken dialogue, is a simple man from the countryside, a legend embodying an ideal, whose fate it is to carry out a »work of necessity«. Glinka wanted to reproduce this ideal in music. The interrelation of the individual with the whole, something taken up later on by Tolstoy, underpins everthing: »The people create the music, we musicians only arrange it.«
Synopsis
Moscow is about to be taken by enemy forces. In a village outside the city Antonida, daughter of the farmer Iwan Sussanin, longs to see her beloved Sobinin again. He returns from the front with good news: the Russian troups were able to hold their own against the enemy. Sobinin is the new leader of the partisans. When he asks Sussanin for Antonida's hand, her anxious father consents with great reluctance because it does not feel right to celebrate a wedding when the situation in Russia is so unsettled. Act 2 Occupied Warsaw. The enemy are celebrating their apparent victory over Moscow. But news soon reaches them that the taking of the city has failed. Refusing to tolerate such a military and economic defeat, they prepare to attack again. Act 3 Wanja, Iwan Sussanin's foster son, dreams of joining the battle, but he is too young. When Sussanin tells him about their new leader the young man longs to serve him. During Sobinin's absence the enemy force their way into Sussanin's house. They threaten to kill him if he refuses to lead them to the secret place where the new leader is hidden. Sussanin secretly sends Wanja off to warn the leader. Sussanin, pretending to accept a bribe, leads the enemy into the woods. Antonida is left behind, desperate. When Sobinin returns and finds out what has happened, he sets off immediately with his men. Act 4 Wanja reaches the leader's camp and wakes everyone up. They set out to march against the enemy. Meanwhile, Sussanin has led the enemy deep into the woods. The men fall asleep exhausted. Sussanin knows that his country has been saved because the enemy will never find their way out of the woods, but also that he will pay for this with his life. At dawn, when he admits having led them astray, they kill him. EPILOGUE The Russian people celebrate the liberation of their country and victory over the enemy. They laud and honour Iwan Sussanin's heroic deed.

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