29 December 2018
Directors are the most favorite target for reviewers’ critics, and the directing rating show it!
The three productions with lower staging score of 2018 are realy close to zero… We can start to see them immediately:
Third prize 35/100
Ernani is a rare Verdi’s opera and La Scala brought it back on stage after 35 years. The new production could rely on a good conductor, Ádám Fischer, and an even better cast. But the director Sven-Eric Bechtolf, from Germany, tried to contextualize the complicated plot looking for a metatheatrical and ironic solution.
Italian critics reject completely his point of view with Alberto Mattioli that nip the stage direction on “La Stampa”: “Fin qui, sarebbe solo uno spettacolo insulso. Diventa un insulto quando Bechtolf comincia a prendere in giro l’opera, fra ballerine di cancan che sgambettano sul coretto giubilante del secondo atto, comprimari che fanno i buffoni, una costante, voluta, stucchevole esagerazione. Ma se c’è qualcosa che «Ernani» proprio non tollera è l’ironia.”
Second prize 19/100
The second prize goes again to La Scala, this time because of another German production (that come from Salzburger Festspiele) and director: Peter Stein, who signed Fierrabras, the Schubert opera.
This time there are no controversies, all the critics judged this direction as “irrisolta e deludente […] pedante, didascalica anzi “letterale” come in altre recenti del regista, ma senza cuore né ispirazione” (Angelo Foletto, “La Repubblica”).
First prize 13/100
Luckily for La Scala the Staatsoper Unter den Linden did even worst, handing the new production of the Rameau’s Hippolyte et Aricie officially to Aletta Collins, but actually to the artist and performer Olafur Eliasson. His lighting project and dancing choreography didn’t like at all to the critics, which consider them disturbing, boring and redundant.
For Maria Ossowski of rbb24 “Eigentlich hätten wir essen, trinken, reden und flirten müssen, um die Langeweile zu überbrücken” because of “der erschütternd einfallslosen Regie der britischen Choreografin Aletta Collins und einem erstaunlich langweiligen Lichttapeten-Bühnenbild des dänisch-isländischen Künstlers Olafur Eliasson”.