Oct 1, 2022 7pm Komische Oper Berlin
Nono: Intolleranza 1960
Cond: Gabriel Feltz, Dir: Marco Štorman
Sean Panikkar (Emigrant), Gloria Rehm (Companion), Deniz Uzun (A Woman), Tom Eric Lie (An Algerian), Ilse Ritter (Angel)
(scroll down for English review)
諾諾1961年在威尼斯首演的《黨同伐異1960》是一個長年離鄉別井的礦工，決定捨棄一切回鄉，途中被捲入和平示威、被拘捕及受到酷刑，然後明白自己需要自由多過回鄉。走到前衛音樂尖端的諾諾在找到靜默風格前，這齣大約80分鐘歌劇卻是充滿噪音，常規大小的樂隊有巨型的敲擊組，歌唱風格、尤其是合唱的運用，深受荀伯格《摩西與亞倫》影響。
柏林喜歌劇院這個新製作，將大部分觀眾席當成舞台，舞台則擺放像球場的看台。想沉浸些，像看時裝展般坐在舞台側近也可以，但要穿上雨衣，免被水或粉末沾到。樂隊則放在最高層的觀眾席，指揮向着鏡頭指揮，歌手或樂師看屏幕演唱及演奏。為了貼近今天，導演似乎要強調男主角作為難民，多過是外勞的身份，在歌劇期間組合的破木船，成為另一個難民標記。最後主角回鄉前遇到的洪水，則令人有全球暖化的聯想。
如此這些，加起來還是一齣悶劇，說些老生常談。特殊的舞台，令這輪演出的個多星期，不能演其他劇目，但我覺得最大得益者並非戲劇，而是音樂。假如正常地在樂隊池演奏，敲擊及銅管的聲音只會困在樂隊池中，如今放在頂層，聲音自由擴散，所以嘈到拆天。我對諾諾還是有一點興趣，約十年前在柏林音樂節聽過《普羅米修斯》，音量極低，如今聽最嘈的《黨同伐異》，算是聽足他的兩極了。
Komische Oper Berlin presents Nono’s Intolleranza 1960 as a spectacle that redefines the opera house’s space. Most of the audience area is now the stage, and the stage space has arena-like “tribune” seats for conventional watching. Those who want an immersive experience might sit close to the stage but raincoats are provided. There is no more orchestral pit as the orchestra now plays on the top tier, with the conductor facing a camera that diffuses his gestures to screens scattered throughout the stage.
To make this 1961 opera reflects on our times the director seeks to emphasize the protagonist’s identity as a refugee instead of a homecoming migrant worker. A wooden boat (made up of broken pieces) is assembled throughout the show and that could be seen to represent the refugees’ plight. The flood at the end of the opera seems to be the result of global warming.
All these sum up as a boring 80-minute show which tells us something we already know. The special staging benefits the music more than the drama. The huge percussion section and brass section are liberated from the pit. Played from the top tier they make a ruckus, the truly shocking part of this opera. Before Nono settled on a style bordering on silence and nothingness it’s still quite an experience to be hit on the face by such noise.