The announcement of the performance begins with the words
Lucrezia Borgia, brewer of poisons, adulteress and murderer, does her best to live up to an image of womankind created by men, and just as passionately she does whatever she can to find a new identity.
Having read this some time ago, knowing Donizetti and Hugo likewise had been reason enough to make sure that I sit right now in the Nationaltheater while passing Munich on a longer trip across the continent, joining for Lucrecia Borgia.
Of course, there is at least an indirect statement going hand in hand with this: this attempt, this striving to adapt to expectations has a perverse effect – we may see B, the letter, as matter of base, in the understanding of a foundation. But Lucrecia Borgia, with her attempt of living up to expectations of others, having lost her genuine own orientation and identity, apparently lost exactly this: the B. Look at the name – see what remains without it ….
COMMEDIA DELLA VITA OR PÁNTA RÊI'S FIRM GROUND 
Simply fantastic, especially the determined performance of John Releya, the amazing ease of Edita Gruberova’s voice and the frivolity of Silvia Tro Santafé
May be: bourgeois: Going to the opera. But actually may be the opposite – nor really citoyen. This is at least one reading: the fundamental and unsolvable tension between the two. Emerging from the same soil – the rebellion against the ancien regime. But failing to merge: the bourgeois remaining on the ground of crude individualist materialism – the citoyen remaining in the dreamworld of the idealism of the ideal world – and the ethics remaining separate, split – leaving after the Borgia lost the B – after the orgy, the bachanalia actually just the B on the stage. Not the basis, the foundation. Or on the contrary: just this: the foundation of it all: the bourgeois – at the end not possibly tamed by merging with the citoyen as the only merger can come from actually transcending both.
What remains …?
"Mi piace""Mi piace"