Rise and Fall of the City of Mahagonny


Rise and Fall of the City of Mahagonny: “Each bed is made in this world”

Teatro Real, 19.50h. Is the season opener and the boxes are sparkling. The large central chandelier illuminates new and silky dresses that accompany the ladies scented that, at the same time, They accompany sober and elegant gentlemen. Everything is excitement and glamor, everything is exquisite and luxury. Please, switch off their mobile phones.
The curtain rises and a large dunghill appears before us, and all together and at the same time share the same space. One is a consequence of the other and this is what Kurt Weill We want to show. That is the greatness of Mahagonny.
Weill she spent two years working on this book. Interwar years. Years 20 Y 30 Stimulants were enough to make them the most musical and operatic creativity of the whole story. They coalesced at that time rhythms, genders, composers, interpreters, writers ... The classicism coexisted with an explosion of music and literature represented by Kurt Weill, Alban Berg, Korngold, Schomberg ... Authors of works that well could have been written yesterday. Such is the case of Mahagonny. Then pointed a work so successful future, and that chance has wanted this production lands in Madrid, precisely at this time. Lucidity music Kurt Weill and libretto Bertolt Brecht, They have led minds, always boiling, from Alex Ollé Y Carlus Padrissa. We have in front of our own detritus. The decline of a society ghost, zombie, where represent, in a particular way, The seven capital sins.
A scenario loaded with garbage and great plasticity, full of volumes continue to grow throughout the work. Since only a dump grows.
Components La Fura dels Baus this time raised a sober stage, simple, without the large metallurgical and technological productions to which they have become accustomed lately. Only mountains of garbage cover, sometimes and like any city, apparently velvety golf courses, They intended to cover what will end sooner rather than later deglutiéndolos.
On stage everything is done compulsively and alienated. Everything is consumed collectively and instinctively, from eating, on a large industrial comedero like chickens on a farm. O sex, multitudinously practiced and mechanically. A scene "porn" very well resolved, even, elegantly settled on mattresses that move the graceful rhythm of the music.
All it illuminated by genially Urs Schönebaum, which it contributed to the delirious atmosphere of the city.
The music was a pleasant surprise. Much more complex than could be expected. Intersperse songs with an air of musical, far from detracting from the work, It provides great vitality. A music full of energy, por momentos upset, Young fruit baton (but runs without it) Director of the Grenadian Pablo Heras-Casado. He did not flinch and directed firmly and verve to end a requiem Orchestra of the Royal Theater that was brilliant. Highlight, especially, section metal.
The cast formed a very balanced set. Something that rarely happens and who brought up the average quality of representation.
There were no voices that emerge from outstanding way. Jenny, played by Canadian soprano Measha Brueggergosman, He voiced to a master interpretation. It's a spectacular Jenny although somewhat limited power. It was less to more, a shame when you consider that the best-known piece is the beginning, “Alabama Song"Which lacked a full and powerful voice. Not so at the time to seduce Jim, It was a fantastic canora sensuality.
The weight of the work in the second and third act, rests with the voice of Jim MacIntyre, interpreted by Michael King, a light tenor, but provided with a voice metallic hues and brightness. almost Wagnerian role so demanding and resolved with dignity.
The rest of the cast very balanced, the roles were clearly defined, even physical was the right. The tone of the recitatives imbibed criminals rulers came to power and vigor to the peculiar inhabitants of the new city. American mezzo-soprano Jane Henschel, with a strong, confident voice as his character. the tenor Donald Kaasch with a good midrange and agile voice, in addition to providing his character of great comic. also mention the low-baritone Jamaican Willard White and tenor John Easterlin. The latter demonstrated its way through Broadway with an almost buffa interpretation of his character.
Another novelty was the chorus. In the absence of some adjustments in attacks, impasto, and a divo who walks loose, what we have heard is very promising after a year of crossing the desert. Power and quality and a significant pianos. A chorus, not only sings, also interprets and mounts / dismounts scenarios. High quality voices under the direction of Andrés Máspero promise great moments.

Kurt Weill (1900-1950)
record: Bertolt Brecht
D. musical: Pablo Heras-Casado
D. scene: Alex Ollé, Carlus Padrissa.
Distribution: Jane Henschel, Donald Kaasch, Willard White,
Measha Brueggergosman, Michael King, John Easterln, Otto Katzameier,
Steven Humes
Orchestra and Chorus of the Teatro Real in Madrid
2 October 2010