The new production was created by Australian conductor Simona Young and German director, set designer and costume designer Herbert Fritsch. End game It was played in Vienna from October 16 to 29, it was played five times. This opus differs sharply from other repertoire items on the Vienna State Opera’s autumn poster – both from Benjamin Britten Billy Badain which the brilliant new-generation baritone Hugh Montagu-Randle has just debuted in the title role, both from Giacomo Puccini Madama Butterflyin which soprano Marina Rebeka sings the main role (until November 15).
Operas by contralto Hilary Summers (Nella; from left) and tenor Charles Workman (Neg) End game in a new production in Vienna. Photo by Michael Penn
End games the production is a great creative success of the Vienna State Opera – it introduces the audience to the musical theater masterpiece of the last still active representative of the post-war avant-garde, Đerģs Kurtāgas. This job is very demanding for both the performers and the audience. End game does not let you relax for a moment. The world premiere of Kurtága’s opera took place in November 2018 in Milan La Scala Theatrethis production was then performed at the Dutch National Opera in Amsterdam. This spring, the opera was staged in the theater in Dortmund. In other European cities, the Endgame could be heard in concert in recent years.
A visually gorgeous, very expressive, playful and artistic production has been created in Vienna (director Herbert Fritsch is known as an excellent actor, he was the director of the Berlin theater Volksbühne star at the time it was directed by Frank Castorf). End game is an opera in one act, it is performed in French. The director and conductor have a good sense of the style and rhythm of both Kurtágs and Beckett – the performance emphasizes the importance of Beckett’s text. Kurtágs composed music taking into account the characteristics of the French language.
All these nuances can be felt in the wonderful performance of the four soloists. The roles are played by bass-baritone Philip Sly (Hamm), baritone Georg Niggle (Clow), tenor Charles Workman (Neg) and contralto Hilary Summers (Nella; six years ago she sang End games at the world premiere in Milan).
Bass-baritone Philip Slay (Hamm; foreground) and baritone Georg Niggle (Clough) operas End game in a new production in Vienna. Photo by Michael Penn
“Let’s discard the idea of Beckett’s theater as absurd! All human life is embodied in his works. In the endgame there is nothing absurd. When composing music for Beckett’s texts, it has always been essential for me that the words and music are equal, as in a Monteverdi opera The Coronation of Popeye a Verdi opera Otello and Falstafs,” asserts Žergis Kurtágs. He believes that the opera End game is still not finished and wants to supplement it with more scenes from Beckett’s play.
The show in Vienna is comical and poignant, with elements of vaudeville and pantomime. Director Herbert Fritsch has found the visual images and colors that become part of this hard-to-explain story. The world of Beckett and Kurtaag is open to interpretation. The creators of the production give us only hints.
“The smallest element in my work is inhalation and exhalation, or even an intention – how do I start speaking? The smallest element is a gesture, a signal that something is about to happen,” says director Herbert Fritsch in an interview published in the program of the show. “Gesture is my music. Gesture and grimace. At a time when gestures and grimaces are rare, they can be revolutionary. They can move a lot. I focus a lot on facial expression and gestures in my productions,” he says. “When a singer asks me why he moves this way or that way, I say, ‘I ask myself the same thing all day.’
Information: wiener-staatsoper.at
A Cheeky Look at the New Opera Production Endgame at the Vienna State Opera
So, it seems the Vienna State Opera has decided to dive headfirst into the whirlpool of post-war avant-garde with a new production of Endgame. Directed by Herbert Fritsch, with music composed by the still-kicking Đerģs Kurtāgas, this isn’t your grandma’s night at the opera—unless your grandma likes existential crises paired with a side of surrealist humor!
Now, let’s get serious for a moment—this opera, which ran from October 16 to 29, is not just a fleeting dalliance with the avant-garde; it’s a full-on commitment. They played it five times, so you know someone’s got a mortgage to pay! Unlike the familiar fare like Billy Bada or Madama Butterfly, which it’s safe to say you could hum in your sleep, Endgame is about as relaxing as a rollercoaster made of hedge trimmers.
The production is indeed a “great creative success,” or so the critics say—not that I’m one to trust critics, they once called my dad’s BBQ skills “avant-garde,” and we all know the only thing truly avant-garde about them was the smoke alarm going off.
Performed in French—because, of course, why not?—Endgame features a cast as dynamic as a set of chess pieces hopped up on energy drinks. You’ve got bass-baritone Philip Sly as Hamm, who perhaps took the role too literally; I hear he’s been napping in the props box. And then there’s tenor Charles Workman as Neg. Clearly, they thought, “Why not go with the absurdity of naming a character after the most negative person you could possibly imagine?”
“Let’s discard the idea of Beckett’s theater as absurd!” exclaims Kurtága. That’s like saying, “Let’s discard the idea of sky as blue!” Sure, let’s all pretend that life doesn’t occasionally feel like a bizarre slapstick skit where the performers have just dropped the script. But he insists that his music and Beckett’s text are like peanut butter and jelly—if peanut butter occasionally questioned the absurdity of existence.
The visuals are a joyride, though. Herbert Fritsch clearly has an eye for the dramatic, creating a stage that’s an explosion of color and expression. It’s like if a circus and an art gallery got into a heated argument and decided to throw a party. You can almost hear the colors bickering over who wore it better.
As audiences stumble through this emotional labyrinth, Fritsch reminds us that the smallest elements—the gestures, the inhalations, the eyebrow raises—are the crux of the performance. Because, let’s face it, nothing screams “deep philosophical insight” quite like a well-timed facial grimace, right? If there’s anything I’ve learned from watching too much reality TV, it’s that a good eyebrow raise can communicate worlds!
In summary, if you fancy an evening of pointed commentary and a bit of musical gymnastics that tests both the performers’ talents and your endurance as a spectator, Endgame is your ticket. Just don’t expect it to be a picnic; this opera isn’t about lounging on the grass—it’s more akin to wrestling with existential dread whilst balancing a plate of shrimp cocktails. Bon appétit!
For more information on this artistic spectacle—proof that life, and opera, is sometimes stranger than fiction—check out the official page at wiener-staatsoper.at.
The latest opera production, End Game, boasts the creative talents of renowned Australian conductor Simona Young alongside the multi-disciplinary expertise of German director and set designer Herbert Fritsch. Following its debut in Vienna, the production ran from October 16 to 29, captivating audiences with five remarkable performances. This particular opus stands out sharply from other offerings in the Vienna State Opera’s autumn lineup, including Benjamin Britten’s Billy Budd, which features the talented new-generation baritone Hugh Montagu-Randle in his debut as the title character, and Giacomo Puccini’s beloved classic Madama Butterfly, starring soprano Marina Rebeka in the leading role through November 15.
In this fresh interpretation of End Game, the unique collaboration features contralto Hilary Summers as Nella and tenor Charles Workman as Neg, bringing heightened depth to the production. The stunning photography by Michael Penn beautifully captures their performances, showcasing the emotive and complex layers of the opera.
End Game represents a significant artistic achievement for the Vienna State Opera, immersing audiences in the musical theatre masterpiece of Đerģs Kurtāga, one of the last remaining active figures of the post-war avant-garde movement. A challenging work, End Game demands intense focus and engagement from both the audience and performers alike, consistently maintaining an atmosphere of unease throughout the performance. This work made its world premiere in November 2018 at Milan’s prestigious La Scala Theatre, followed by performances at the Dutch National Opera in Amsterdam, and most recently staged in Dortmund. In the past few years, the opera has also had concert presentations in various European cities.
The Viennese production stands out for its visually stunning, expressive, and playful artistic design, reflecting the theatrical legacy of Herbert Fritsch, recognized for his innovative direction during his tenure at Berlin’s Volksbühne. As a one-act opera presented in French, End Game deftly intertwines the intricate styles and rhythms of both Kurtága and playwright Samuel Beckett, with the production highlighting the critical importance of Beckett’s text. Kurtága has composed the music with careful consideration of the nuances inherent in the French language, enhancing the overall impact of the performance.
Audiences are treated to the extraordinary performances of four soloists: bass-baritone Philip Sly as Hamm, baritone Georg Niggle as Clow, tenor Charles Workman as Neg, and contralto Hilary Summers as Nella, who previously captivated audiences as part of the world premiere cast in Milan six years prior.
Herbert Fritsch expresses a compelling perspective on the nature of Beckett’s work, stating, “Let’s discard the idea of Beckett’s theater as absurd! All human life is embodied in his works. In End Game, there is nothing absurd.” He emphasizes the necessity for an equal balance between text and music when composing for Beckett’s complex narratives, drawing parallels to masterpieces like Monteverdi’s The Coronation of Poppea and Verdi’s operas Otello and Falstaff. In fact, Kurtága desires to continue evolving End Game, wishing to incorporate additional scenes from Beckett’s original play.
The production is characterized by its blend of comedy and deep emotion, incorporating elements of vaudeville and pantomime while remaining true to the essence of Beckett’s narrative style. Fritsch has masterfully crafted visual imagery and vibrant colors that vividly illustrate this complex and often ambiguous story, inviting varied interpretations of both the Beckett and Kurtága worlds.
Herbert Fritsch elucidates his creative process, stating, “The smallest element in my work is inhalation and exhalation, or even an intention – how do I start speaking? The smallest element is a gesture, a signal that something is about to happen.” His focus on gesture and facial expression elevates the performance on stage, asserting that in a time when they are seldom seen, they can achieve a revolutionary impact. “I emphasize facial expressions and gestures in my productions,” he shares. “When a singer asks me why they move in a certain way, I often find myself contemplating the same question throughout the day.”
Information: wiener-staatsoper.at
Uggesting that rather than merely viewing it through the lens of absurdity, one should appreciate the myriad facets of human experience that Beckett encapsulates. “It’s a dance of existence,” Fritsch might say, “each gesture and expression a reflection of our shared struggle, unfolding in a state of perpetual uncertainty.”
This artistic tension is deeply felt throughout the performance of *End Game*, where the cast navigates an emotionally complex landscape with deftness and humor. Philip Sly’s portrayal of Hamm, for instance, blends deep comedy with existential despair, evoking laughter and contemplation in equal measure. Harmony exists in the discord, as the characters grapple with their circumstances, each poignant moment underscored by Kurtága’s meticulously crafted score, which, according to Kurtága, is itself an extension of Beckett’s text—a seamless marriage of word and sound, much like the equilibrium he seeks in an opera.
The stage design by Herbert Fritsch further complements this intricate dialogue between music and movement. Vivid colors and surrealistic visuals not only capture the essence of the characters’ plight but also invite the audience to engage their own interpretations—a quintessential aspect of both Beckett’s text and Kurtága’s music. Every flourish, every meticulously choreographed gesture serves as a reminder that there is life in absurdity, a heartbeat in the silence, resonating through the very fabric of the production.
In a world where we often seek confirmation and reassurance, *End Game* dares to challenge its audience, offering instead a smorgasbord of uncertainties. It’s an invitation to embrace the chaos, to laugh in the face of despair, and to find beauty amidst the bewilderment.
Thus, *End Game* stands as a testament not only to the creative prowess of its artistic team but also to the enduring relevance of Beckett’s reflections on the human condition; a work that asks us not just to witness but to participate in the existential dance of life. As the curtain falls and the applause rises, one can’t help but wonder: did we truly ever leave the stage, or have we merely taken on different roles in this ongoing performance?
