Switzerland Rihm, Jakob Lenz: Soloists, Zürcher Kammerorchester / Adrian Kelly (conductor). Zurich Opera, 26.10.2022. (MF)

Production:
Director – Mélanie Huber
Set and costumes – Lena Hiebel
Lighting – Dino Strucken
Dramaturgy – Fabio Dietsche

Cast:
Lenz – Yannick Debus
Oberlin – Jonas Jud
Kaufmann – Maximilian Lawrie
6 Voices – Chelsea Zurflüh, Bożena Bujnicka, Freya Apffelstaedt, Simone McIntosh, Amin Ahangaran, Gregory Feldmann
Children – Nina Gringolts, Lavinia Scorsin, Noelia Finocchiaro

Wolfgang Rihm’s opera Jakob Lenz is predicated on Georg Büchner’s novel a couple of younger man’s descent into madness. Büchner’s Lenz, posthumously printed in 1839, has been characterised because the “first ever third-person text written from inside lunacy”.

The plot is ready in January 1778. Jakob Lenz, the 18^th-century Sturm und Drang playwright, wanders via the Vosges mountains “as if madness were chasing him on horses”. The hounded poet finds refuge with the Alsatian priest and social reformer Johann Friedrich Oberlin. While sheltered by the well-meaning Oberlin, ghosts of Lenz’ previous hang-out and villagers confront him, as does his former buddy Kaufmann.

Büchner was 23 when he authored the novel in regards to the 26-year-old Lenz. 200 years after the occasions, in 1978, the then 26-year-old Rihm got down to compose this opera in 13 scenes. Zurich opera, in cooperation with the Zürcher Kammerorchester and the International Opera Studio (IOS), levels this manufacturing in homage to Rihm, who turned 70 this 12 months.

The work’s main goal is a musical psychogram. Rihm describes his opera as “an hour’s extreme chamber music, not so much a commentary, rather a presentation of the protagonist at multi-layered plot level.” Much of that is Rihm having set to music the voices “which Lenz alone hears”. With its extremely expressive, sharp-edged, but in addition lyrically delicate tone, the rating is a straight path into its most important character’s soul.

And fortunate we’re to be there. Swiss director Mélanie Huber makes use of a minimalist setting to most impact. The solely props in Lena Hiebel’s brilliantly decreased set are mild and multipurpose plywood, comparable to blocks serving as mountains, a fountain basin, bedrooms and in addition as a body for Lenz’ tormented internal life. The six voices are clad in monochromatically timeless costumes. Lenz will get to cowl his whiteish gray self with a vibrant purple coat, particularly when in dialogue with Oberlin and Kaufmann, each in dramatic purple and orange. Pastor Oberlin warms his head with a crimson smurf bonnet.

By now Jakob Lenz is of essentially the most often carried out chamber operas of the twentieth century; and but, when first confronted with the rating, German baritone Yannick Debus felt it was completely unsingable. Thankfully he overcame the preliminary shock. Debus, an IOS alumnus, is on stage for the total 75 minutes of the efficiency for an exciting vocal and bodily tour de pressure, deciphering his function’s wide selection of psychological states, from harrowing insanity to boundless exaltation. Quite merely spectacular!

He is supported, accompanied and infrequently feels menaced by the “six voices”, who take turns performing as a chorus-like ensemble illustrating Lenz’s internal life, as real-life villagers or serving to out as stage palms rearranging the picket packing containers. The six IOS members Chelsea Zurflüh, Bozena Bujnicka, Freya Apffelstaedt, Simone McIntosh, Amin Ahangaran and Gregory Feldman ship a compelling and poignant efficiency. The two different principal characters, Oberlin and Kaufmann, are additionally IOS members, Jonas Jud along with his heat and compassionate bass and English tenor Maximilian Lawrie.

Adrian Kelly leads the Zürcher Kammerorchester. The orchestra consists of a mere dozen musicians, together with a cembalo, producing a stirring and highly effective sound, often verging on the digital. It is direct, intense, and consists of choral parts, a sarabande and even a jazzy trumpet bit on the finish.

The memorable night takes place not on the principle stage of Zurich opera however at ZKO Haus, proper on the very fringe of city. A former energy present laboratory the place stage and auditorium are one, it gives a congenial surrounding to Lenz’ high-voltage mind waves.

Sadly be no additional performances on this season, however we hope the manufacturing can be revived both in Zurich or on tour. The set’s ingenious simplicity definitely lends itself to travelling. This reviewer ends with a notice to self: look out for extra IOS cum ZKO productions!

Michael Fischer