Berlin, Deutsche Oper, sesason 2024/25
“INTERMEZZO“
A bourgeois comedy with symphonic interludes in two acts
Libretto  & Music by Richard Strauss
Court Conductor Robert Storch PHILIPP JEKAL
Christine, his wife MARIA BENGTSSON
Franzl, her little son ELLIOTT WOODRUFF
Anna, the Chambermaid ANNA SCHOECK
Baron Lummer THOMAS BLONDELLE
Kapellmeister Stroh CLEMENS BIEBER
Notary GERARD FARRERAS
Wife of the notary NADINE SECUNDE
Kommerzienrat JOEL ALLISON
Judicial Council SIMON PAULY
Kammersänger TOBIAS KEHRER
Resi LILIT DAVTYAN
Live Camera SILKE BRIEL, REILLY CROUSE
Orchesters der Deutschen Oper Berlin
Conductor Sir Donald Runnicles
Director Tobias Kratzer
Set-design, Costume-design Rainer Sellmaier
Light-design Stefan Woinke
Video Jonas Dahl, Janic Bebi
Dramaturgy Jörg Königsdorf
Berlin, 13 March 2025
Richard Strauss’ 1924 Intermezzo is with good reason a theatrical rarity Turned down by his usual librettist, Hugo von Hofmannsthal and others, it is autobiographical, written in prose by the composer himself. It seemed archaic when written and involves a great deal of querulous parlando text, 13 different scenes, and hardly any dramatic conflict. Yet at the Deutsche Oper Berlin stage director Tobias Kratzer has created a revelatory, entertaining and unselfconsciously modern evening from this unlikely source. From the opening scene to the gracefully operatic red curtain which finishes it, this evening manages to engage, entertain and at the same time deepen our understanding of the bonds of a long term relationship. Kratzer integrates Strauass’ music into the piece-again in a modern outwardly simple way. The music adds important depth to the characters of Christeine and Robert Storch. Originally conceived as a barely disguised version of Strauss himself and his wife, Kratzer has transformed them into archetypes which we can recognize even in ourselves. Strauss’ music is made visual and relates directly to the characters onstage. We feel and understand that their dialogue is only the most superficial aspect of their actions and feelings. This synthesis make the whole evening thought provoking yet entertaining, turning what has been a difficult to understand and unsympathetic theatrical piece into an exploration of the complexity that our actions and words and the emotions they reflect. Kratzer has integrated videography into his storytelling, not as a modern affectation, but as a means of elevating his story. He unifies Strauss’ rather clumsy conglomeration of 13 scenes by having a cinematic black screen descend at the end of each scene. Rather than stop the action the blackout screen becomes a live video of the orchestra and conductor, keeping our eyes on the stage, and makes the music a direct expression of the opera’s characters. At the beginning of the next scene the screen lists the next scene it rises but often remains as a video strip above the stage, and gives closeups and/or shots of the music making, but never taking over from the stage. It clarifies, comments and entertains but doesn’t substitute for onstage interaction. Music, the story and the characters become one. The video team, led by Jonas Dahl and Janic Bebi, shot live footage during the performance and blended seamlessly with the pre recorded pieces. The set and costumes by Kratzer’s long time collaborator Rainer Sellmaier, told us at a glance all we need to know about the characters whith clothes, furniture and cars. The large open set with it’s angled rams, and two platforms, allowed for effective operatic movement and singing in varying stage configurations and was well lit by Stefan Weinke. A large plush white sofa and a parked car with an open trunk easily set the modern tone for the opening scene where the famous conductor and his wife bicker while preparing for his extended trip. Christine, feeling abandoned, later literally runs into a young Baron, not as in the original archaic collision of snowy toboggans, but in the immediately recognizable fender bender of Christine’s expensive BMW with the Baron’s much less financially imposing vehicle. The costumes too are modern and relaxed but are indicative and communicate almost instinctively. The balance of the visual with the emotive power of the music and the verbal dialogue elevates this production from a presentation of a rarity to an evening to remember.  All this would be lost without the music, and Sir Donald Runnicles and the wonderful Deutsche Opera Orchestra deliver a sumptuous and precise performance. The “small” Strauss orchestra included a piano and handled the accompanied dialogue and the famous lyrical orchestral interludes with aplomb, if not the last degree of sublimity. As Christine, Maria Bengtsson’s warm sympathetic soprano informs her character with a humanity which could all too easily be lost by a superficial reading of the text. High notes were ringing and consistent but her lower voice lacks sheen and power. Her Strauss cantilena was very good, but also lacked the last degree of sublimity. Philipp Jekal as Hofkapellmeister Robert Storch, aka Richard Strauss, produced a solid, bright and present baritone and delivered a stolid and accurate portrait of the artist as a normal person who depends very much on his wife. Thomas Blondelle, a longtime Deutsche Oper Berlin ensemble member, has just the right voice and physique for the importunate but sporty Baron Lummer. His tenor was always clear and attractive. In addition to 13 scenes, this piece has a total of 12 roles, and is ideal for an Ensemble Theater like the Deutsche Oper Berlin, which has a full time stable of experienced an talented singers. all of whom delivered performances with presence and professionalism, and there was not a single moment of letdown. Kratzer’s reinvention of such a difficult piece bodes well not only for him, but for opera theater as a whole. It led to his selection in February as “Director of the Year” by ‘Opera! Awards’ and in August he will assume the post of Intendant at the Hamburg State Opera. He has already revived Strauss, and it can be hoped that Hamburg will become a beacon for new and vibrant interpretations of this sometimes archaic art form. Photo Monika Rittershaus