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Financial Times, Sep. 25, 2023 |
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Schubert: Der Doppelgänger, New York, Park Avenue Armory, ab 22.9.2023
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Jonas Kaufmann and Helmut Deutsch cast a spell in Doppelganger at New York’s Park Avenue Armory |
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Director Claus Guth brings dancers, actors and sound effects to his staging of Schubert songs
Sixty-two hospital beds surround a grand piano in the vast drill hall of New
York’s Park Avenue Armory. Electronic whirring reverberates as the audience
enters, punctuated by the sound of explosions that cause the inhabitants of
the beds to thrash and turn. It’s not your standard lieder recital, despite
the impeccable credentials of star tenor Jonas Kaufmann and pianist Helmut
Deutsch. Inspired by the military history of the venue, director Claus Guth
has imagined Franz Schubert’s Schwanengesang (Swan Song) from the
perspective of a soldier on his deathbed, in a production titled
Doppelganger. Guth points out that Schubert never imagined these songs as a
cycle — they were published as such after the composer’s death as a
marketing strategy. Schubert’s music is presented intact, though the order
of the songs has been lightly rearranged to fit the director’s narrative
conceit. The question with staged song cycles is whether the performance
would have been better off with just voice and piano, and indeed there were
times where Guth’s staging feels overly fussy. Rose petals fall from the
ceiling as Kaufmann sings about flowers, and the ominous shadow of a
warplane precedes a loud explosion. There are also moments of great
catharsis: Schubert’s murmuring brook becomes an intravenous drip, affording
Kaufmann’s tormented soldier a rare moment of repose. In a remarkable
theatrical coup, the back wall of the Armory opens and Kaufmann disappears
into Manhattan traffic, returning with a ghostly double that lends
Schubert’s song “Der Doppelgänger” (and the performance) its title.
Schubert’s songs are interspersed with compositions by Mathis Nitschke,
whose evocative soundscapes suggest both the hospital room and the
battlefield. Dancers, portraying nurses and soldiers, contribute to
Nitschke’s sound-world, beating their hospital beds in triplet rhythms as
Deutsch repeats fragments of Schubert’s songs in an obsessive, hallucinatory
loop. It’s the most interesting part of Guth’s vision, allowing him to shape
the silences between the songs and keeping the audience in a state of
heightened anticipation — a refreshing change from the usual coughing and
rustling of programmes in a standard lieder recital. Hospital beds are
arranged in neat rows; at the head of each row stands a nurse wearing an
old-fashioned uniform; each nurse has an outstretched hand holding a drip
mounted on a stand ‘Doppelganger’ is inspired by the military history of the
venue © Monika Rittershaus Kaufmann, absent from New York stages for two
years, is on fine form. Some tightness in his upper register aside, his
burnished tenor remains potent, unleashing powerful torrents of sound. The
unobtrusive amplification allows him some daringly soft singing that
occasionally ventures into crooning, though his diction remains admirably
clear throughout. Kaufmann’s fastidiously finessed singing has been accused
of self-consciousness, but Guth’s staging brings out a welcome spontaneity.
The most effective moment of the evening, though, is Deutsch’s interpolation
of the slow movement from Schubert’s last piano sonata — with the lights
dimmed and the cast sitting in silence, sometimes simplicity makes for the
best theatre.
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