Robert Schumann - Genoveva

I have seen this production live at the Zurich opera house february 2008.

Musically, people tend to think of Schumann as the composer of small miniatures. As a result, he is not easily associated with larger orchestral works such as Szenen aus Goethe`s Faust and the genre of opera. These works are therefore unfortunately hardly ever performed. When I heard that Mr. Harnoncourt wanted to do a scenic production of this opera and that it has been a 15-year old wish of his to do so I did not hesitate and drove the 600+ miles to Zurich to see this production twice.
Harnoncourt is a strong advocate of Schumann`s music and has been for a number of years. An older ecording of Genoveva with him is available on cd. This performance is completely different, though. Contrasts are much sharper, musical lines longer, tension more evident. What really stands out is the richness of the orchestral sound. The performance makes it evident that Scumann is a great composer, not only of miniatures but also, perhaps especially, of great vocal works. Every detail is audible in the orcestra as well as the chorus, singers stand out when the score calls for it and blend when this is indicated. What beautifull music! Why is this piece never ever performed?! And how is it possible that an almost 80 year old Harnoncourt still treads new ground in choice as well as performance? It is incredible how he takes you by the scruff of the neck, as it were, and forces you to see what a complete musical genius Schumann really is..
The music as well as the story has a sort of `holiness`to it that reminds me of the great oratoria sich as Haydn`s Creation, for example. In this respect Schumann breaks new ground with this opera. It is almost as though he wants to focus on the inner drama of the characters, much more than on dramatic development in the story itself.

Martin Kusej (stage director) has used this aspect to create a psycho-trip. In his rendition we see the story unfold through Golo`s eyes, the eyes of a warped mind. To do so, a box has been erected on-stage, in which most of the handling takes place. The box is completely white inside and only holds a chair, a mirror and a wash-stand. I tend to think that what takes place out of this box, which is open only at the front, is the only part of the action in which we do NOT look into the mind of Golo. The effect is overwhelming allthough I must admit that if you do not know the opera it can be extremely confusing. Some details I still do not understand. There is a scene for example where a female chorus sings to a mute, nude Genoveva. They are dressed as nurses and hold raw fishes in their hands. Halfway the chorus the fish are thrown to the nude Genoveva who as a result stands in a pile of fish. What does this mean? It takes place out of the bos and therefore not in Golo`s mind. I should be able to understand it but am at a loss. Kusej loses his audience there.

The singers are excellent. I belive that they are all part of the regular group of the zurich opera house but am not sure. Alfred Muff stands out, as allways, for his extremely dramatic performance. Particularly where he stands on the wash stand of Genoveva`s prison cell as the sink gives back blood.. Ruben Drole sings excellently allthough his parts are restricted to the opening and the final scene. That one will grow very large in my opinion, so young and allready so excellent. Juliane Banse a very convincing Genoveva. The chorus should be mentioned here as well, very tight, disciplined and dramatic to the extreme at the same time.
Martin Gantner should also be mentioned here. I did not know him before. What a beautifull, rounded voice. Excellently sung.
One negative point: Felix Breisach did not do a good job cutting for the screen. As mentioned before, the box on stage is very important as it suggests that action takes place outside of reality. On the dvd this does not become clear because of the many, way too many close ups that are made. In my opinion, the overview is relevant. The cutting does not give you that. I believe that Martin Kusej knows exactly what he wants to show and how it looks when you sit in the theatre. It is a great pity that this is not captured in the cutting. Obviously, Breisach has not understood the stage direction.

For me this opera was one of the greatest musical experiences of the last 10 years and I am really glad that it will now be brought out on dvd. If you want to hear beautifull music performed at its best, get it! If you are looking for a modern staging that will hold a mirror in front of you and may very well change you, get it! If you like classical performances and traditional costumes on stage, this adventurous production is not for you.

Der Verdacht ist alt, daß die Oper "Genoveva", richtig gelesen, Schumanns Rang auch als Musikdramatiker schlagend beweisen müßte. Doch erst in dieser jetzt auf DVD dokumentierten Zürcher Inszenierung von 2008 findet die Vermutung volle Bestätigung. Harnoncourt, unterstützt von wunderbaren Sängerdarstellern und einer klugen analytischen Regie, schlüsselt die Partitur absolut packend und folgerichtig auf. Was kam heraus? Ein Psychogramm kruder männlicher Fantasien, hervorwuchernd aus unscheinbar kindlichen Anfängen (Golo), als wilde Übergriffigkeiten primitiver Vertreter ihres Geschlechts, lauernd unter der blasierten Oberfläche gerechtigkeitsvernagelter Familienoberhäupter (Siegfried). Zwischen den Mühlsteinen Genoveva. Sie hat nichts zu gewinnen und zu verteidigen als das zuletzt sichere Wissen darüber, Opfer männlicher Projektionen geworden zu sein. Siegfried, ihr Leid erkennend, darf am Ende kleinlaut sein Entschuldigungssprüchlein stottern. Der Chor tönt dazu konventionellen Triumph, doch der Riß zwischen den Gatten sitzt zum Erschrecken tief. Wird er noch zu kitten sein?

In der doppelbödigen und einzig akzeptablen Lesart wie hier in Zürich ist er es allenfalls angesichts Genovevas schlechter Chancen, allein in dieser rabiaten Welt durchzukommen (bei Hebbel durfte sie in einer Höhle wie derjenigen überleben, die nach ihr benannt ist und ein malerisches Ausflugsziel in der Nähe von Trier bildet) - und angesichts Siegfrieds erwachter Einsicht in das, was er angerichtet hat.

Regisseur Martin Kusej verweist mit einer Bildästhetik, die mit der romantischen denkbar kontrastiert und sicher nur eine von mehreren guten Lösungen bietet, zurecht darauf, daß das Werk nach außen gekehrte Innenwelt eines sich selber problematischen Charakters darstellt. Damit wird "Genoveva" zu einer Vorläuferin der ebenfalls verkannten Musikdramen César Francks und der Novellen Conrad Ferdinand Meyers (z.B. "Angela Borgia", in: C.F.Meyer - Das Gesamtwerk, vollständig auf 5 MP3-CDs gelesen; ISBN 978-3-00-024887-0).

Robert Schumanns Genoveva gilt als äusserst schwierig zu inszenieren. Schön, dass dieses Experiment trotzdem endlich wieder jemand gewagt hat. Und da ist Nikolaus Harnoncourt und Martin Kusej wahrhaft Grosses gelungen! Die ebenso geniale wie kongeniale Inszenierung ergänzt sich hervorragend mit dem präzisen und passionierten Dirigat. Die Solisten sind allesamt grossartig, allen voran die wunderbare Juliane Banse. Ein Meisterwerk zum Immer wieder Erleben. Da tut sogar die nicht ganz so glückliche technische Umsetzung der DVD (Kontraste!) keinen Abbruch. Unbedingte Kaufempfehlung für Freunde unkonventioneller Inszenierungen.