heard again after almost thirty years, L'incoronazione di Poppea by Claudio Monteverdi, on DVD, as amended by René Jacobs, Schwetzingen Festival 1993 (in the meantime one or two times the disk and CD recordings of Nikolaus Harnoncourt and Jean-Claude Malgoire ). Almost every DVD production at the Opera area for which I especially cherish no sympathy throws at me: Image and sound quality leave much to do anything with headphones, and thanks to the subtitles to the action, without preparation, can also be followed concentrated. This creates a more productive relationship which the individual moments can come to light decided clearly than the debilitating libretto and score reading (there is a complete score it is not) a least along with records, cassettes, or - even better, but only late after graduation - CDs. Since the computer has produced no childish audience gets on my nerves, which is socially Deficient Opera hidden: it confronts herself tel to a user selected time with a work quel, whether it was already old, written in ancient and more limited language or new on the surface (in dealing with the same leaves every work of art in New reveal to him). The Poppea has worked like new again. Unlike the first time, it seems clear today that this great work permits multiple readings and that it was unreasonable to a single, supposedly true and the work in the depths of adequate breitzutreten; the geschähe just stood on the contradictions that grasp at a glance used to be very difficult to specify in a live performance (Zurich under Harnoncourt). Monteverdi's Poppea tolerate it well, to stand both as a power-critical structure of the learned art as an entertainment farce, as full-length song revue as advanced as the depiction of human emotions through the social roles than anticipated opera characters through, beyond any rigid doctrine of the affections. After Monteverdi was a big step back to the music and contented himself in the opera with the presentation of the figures alone. No, by Mozart, there is no Drusilla more - but stylize her performance as that of ordinary people with Monteverdi as a sensation, is reversed so wrong because it is performed in a concept that includes several other figures, of which they are not much is deposited.
shame that you can pull in old age piece by piece, the arrogant assumptions and begin to become more and more over to the mainstream. The idea is gradually pale that it has historically always been moments that could imagine a different progression than those actually performed. More and more seems like everything properly be apart unfolds. From extravagant Monteverdi's remains then only the ordinary uniqueness of the predecessor of Bach, Handel and Mozart, as if something else does not have to develop more humanistic, less formal.
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