tv Arts.21 - Curtain Up for Barrie Kosky Deutsche Welle December 11, 2018 7:30am-8:01am CET
the climate used green energy solutions and reforestation. coming to interactive content teaching the next generation about environmental protection and were determined to build something here for the next generation global ideas the multimedia environment series on w. . welcome to arts twenty one this time around we meet a master of vibrant opera production raise the curtain for barry kosky. i'm. i'm i guess it isn't it's his ideas he's just got fantastic ideas though at first you think oh god what does he want me to do the right.
guys you know that's always got so much depth and energy right from the start it's top level stuff often gets me full. and. he's someone who won't shy away from telling a singer look that was crap just now it's. done. kick ass a million ideas in one second. here's sammy being taken for a walk by a master that powerhouse of ideas very costly. to the p.p. much of that's at the village because i've been in the tie for nineteen. even of an internationally renowned artistic directors de australian very costly has had.
berlin's komi show person two thousand and twelve plenty of time to give the opera house a good shake up his appointment book is packed but we managed to get him to ourselves for two whole hours he's easygoing and casual. let's talk about these he shows i really love the t. shirts here where i was going to ask so i can take the jump with. do you pick your teeth for every every occasion no no no sometimes the t. shirt i buy the t. shirt i don't wear it for six months it's always decided at the very last moment and it's never actually why i must wear these t. shirts for this rehearsal this premie. in melbourne that's where you're born born and raised and educated in australia when did you realise that you were not a proper australian i didn't feel at home. in a strange. because all the interests that i had or that i was
being. introduced to music and theater which. didn't really seem to come from my daily reality. and so i created a sort of parallel world based on sort of fantasy and culture that was really inspired by my grandmother. for serving you you were the first time to. discover your career thirteen your new being jewish and music really determine your life so did you have to fight for your liking so everyone supported me i sort of had a very blessed childhood i must say i was bombarded with music and theater and. visual arts and i was literally a sponge and i just i just sucked. everything in and then you know at
some stage sort of came out. the concho stands at the very heart of berlin just off in today melinda it's always been a prime location very costly runs it with as much audacity as charm. the combination one investor rector at the twenty fourteen international opera awards. he's a darling of critics and audiences alike. he started off the two thousand and twelve season with a bang. not. twelve hours of broke three monte very operas in one night wild boisterous and full of joie de vivre and bare skin. the audience was thrilled he was just
what they've been waiting for. that was a panoply of parties drag queens and sex but that was only the beginning for barry cost. almost casually he revived the legendary spirit of nine hundred twenty berlin the swinging lascivious berlin the berlin as it sees itself crackling with energy. to see him and what's fascinating about him is his boundless energy i don't know where he gets it he's a bundle of energy he rehearses morning noon and night and when we've all run out of steam he'll say all right one more time and full power and you just want to do it again for him the stats would dispense if it's officially a month he someone who really runs the show is like a magnet that
a try. details he'll scrutinize every photo in the program that's my impression anyway because he really lives for this opera house leave the fifty's this helps me . very costly has taken some artistic risks like this extremely off the wall staging of the magic flute and come out on top. living here for five years and constantly has your picture of britain changed i mean what do you do what do you hate the chogm of is firstly this incredible collision of different elements of history both architectural and and spiritually i think it's good to just always maintains a work in progress feel towards and has
a sort of charmingly disorganized quality the spirit of believe is this openness and this little diversity people it's a city that stands to really welcome people from elsewhere the sort of city center the sort of big that embrace you. actually you're forced to speak and. crusade about it it's always. in very cost i've developed not just the form of not just form of german in this thing i've developed what they call. here in the comics or but which is a sort of i don't mixture of all sorts of things shall say i'm fucked. by to ut. zeb involved in coordinates your own. being in law. i.
live. spins you can see suspects forged. by live go mocked up close phones of the barges fair to all. who took over the corporate oprah in two thousand and twelve. as artistic director in turn don is of course it's a very special how were they were very special history and a very special tradition so why is that is it the perfect place for your idea of staging music. but didn't exist before i came to berlin i couldn't invent a better. place for me to work in. is
a theater with a turbulent history. after world war two one man made it the nerve center of a whole generation its founder and first artistic director votto felson stein. instead of a traditional opera house he set out to make it a music theater and for nearly thirty years he put real people expressing their lives and actions through song center stage not singing stars but an ensemble including the set technicians. i'm a person firstly that need to teams and a family of people around me i need to know that everyone not just the singers or the designers but you know the props and the technical people the stage management that there was a sort of as arts a media you get that here because of the tradition of fell's and stein from the end of the forty's where he developed this idea of you know music theater ensemble music theater and this is this is in the d.n.a. of this opera house the second thing is that they. it is sort of no opera house in
the world that presents such a diversity of music these are john arose from iraq to musicals and contemporary music theatre career that flexibility the recipe for running a successful house the recipe for around the commercial people don't come here to see you on a scarf on and on and a tank or does that it's not the. authentic history and tradition of the house so the model that we have here is the model but i think it makes the commercial for a functional twenty first line all the traditions to juggle all of this and make it an organism that works for burley. of cause of the reputation of the recreate or of the traditional especially river
berlin operator of the twenty's and thirty's very much connected with the history of this place what happened in the twenty's and thirty's in berlin was that. the european operator tradition collided with jazz and it's an intoxicating combination to have. dad that sort of lyrical sentimental old world put appears to vienna but then sort of did fused with this incredible. six scene. and this combination was an invention of the early do you feel an obligation to revive the jewish tradition though and bring it back and i don't revive it because i'm jewish i revive it that's great i don't make a decision about what to do based on religion color or rights but of course it's a loaded thing because you're dealing with an art form which was essentially
a jewish art form and in all that stopped in thirty three so my my responsibility is to say to the german public we're not doing this out of guilt i'm saying. this is german culture don't separate it from your own culture this is as german should be as german. did not worry such. was. coming. from. the. now. you have to talk about dr martin who is one of your big stars here in the house your heroes. how did you discover a few times in my life i've met
a performer who. when you work with them for the first time it's as if you work with them for hundreds of years and that happened with my not from from the very first and so it's been an absolute joy having worked with you in the last few years . since. i didn't. make the. fox i think i should say sue. says she suits hands to. rediscover musical theatre and operetta not just these cloying old lady and old gentleman productions and then you realize for the first time what an unbelievably emotional evening it can be.
found. this sounds kind say this. was. my. point. is. talking in general. i have to catch your interest what has to catch me is this because that's actually when it comes down to it the most important thing it's how they allow the audience a glimpse of that because they're really good performers don't allow everything else they don't reveal everything there is a particular mystery about right performers which you can't explain in words and
you can't articulate to other people what that is you can call it magic you can put stock quality you could a great great performance you don't talk very much i. have to let them breathe and let it come out and it's very natural we have here the house opera singers and dancers and actors and singing opera singers who spoke in opposites you can dance and you know it's like it's like a troupe it's like a big. i. in the circus where the line changes of the jugglers and the clowns and the trapeze artist and you have the midgets and elephants and you have this this troupe and this is to me what an opera house should be we've been talking to some singers that we heard often the word family would say you are the father are your words tricked are you know are your. mother and the father. you have to be you have to be you have to be patriarchal some time . and then you have to then be the warm embrace of come to mama's bosom and to
me the biggest job i have is to ensure that the problem solving process is not stressful. that we say what are the problems. so how do we solve the problems how do we communicate the problems. he's here directed here was the marketplace of thorough twenty you always take. things you want to show and very often what are you looking for in those pieces firstly i have absolute obsession and love of unfinished pieces secondly i do have . a very important desire to bring new repertoire and unknown pieces to the public but if you're taking a lot of taxpayers' money and if you're trying to get new audiences then i think it's very important for not just for us but the other houses is to make sure that
at least off the program contains discoveries for the audience i love the idea of an audience one thousand two hundred people coming in to see an opera written by missiles when ninety nine percent of the audience have never heard a note and. it's part of my g.-g. again as intended is to bring new experiences and and new flavors to the kitchen. but let's talk about the. composer i guess with your family background was not one of the house heroes on country bob talk and man and mozart
my my favorite five composer my hunger go there was was was wagner i mean that's how i first heard wagner and by the fact that the nazis killed most of the family and you like that yes. tristan and isolde you know other composers disappear when you're working but when you're doing behind each would. behind each note is him any form of exorcism that you'd like to do to get this richard spirit out of the rehearsal room doesn't work he is his text he wrote himself into his own works and no one the composer in the history of western music did that. and it's the most breathtaking example of artistic narcissism that we have.
i read that you. hated myself doing as and now are you going through the stage. for what made you change your mind i mean it's like the german hell dystopia for me and i thought i couldn't bear to be you know with these. i just thought the whole thing it's not for me it's a german piece it's for germans and is way too much the major for my liking when catarina asked me i said you know it's not my bass is not my people it's not my man . and he said you can have time to think about it. and in the end he was tempted by the offer of wagner director of the by rock festival and the composers great granddaughter. so it was into the lion's den the place that every year stages operas. are stay for composer. and the place where
the wagner family's complicity with the nazis keeps bubbling up. you have to all know what's great about the place and there are a number of things first i think you have to read my the fact that this man built up the itself to do. of reinvent music theater which which is very admirable. secondly you have to admire the fact that you try to create the sort of ritualized music theater and try to admire this it's very very important but the things you have to really be careful about is to be honest about what actually happened here during the i think you have to understand that many artists who sing here and who conducted here and who played here were sent to concentration camps or went into exile so you have to do both you have to you have to be very honest and upfront about it and i think you have to de mystify the place. very costly fuses the german chauvinism of the meistersingers with the world of his
own imagination and sets it involving those living room. with this opera wagner wanted to wreck the monument to himself as the rescuer of german art. an art of hitler had to meistersingers performed at the nazi parties annual nuremberg rallies with emphasis on operas anti-semitic and nationalistic tendencies. the challenge for koskie. the break was i realized this piece is not about german culture and german identity and german nationalism and german it's about wagner. of german nationality and german and german identity when i made that discovery i thought my little jewish shoulders does not have to be lumbered with the idea that i'm having to put five hundred years of german history on stage. because wagner and the meistersingers onto the witness stand.
the. their master the scapegoat of the piece where the characters. her mask of the jew as seen by anti semites a parody of wagners obsession and a wake up call against national chauvinism and racism. has the by right festival ever seen such a critical examination of wagner before. cos he wouldn't be costly if he didn't have another iron in the fire at the same time as his by word production he's presenting a leader in the dark easier. today took us out of circa. he and two singers have put together a very special program with a theme close to his heart jewish music and its worldwide influence operetta song.
oh. god i just love that. this is for not succumbing to the real thing so you get the wagner parody and then you get the real thing here but it's also to do with the fact i think it's actually just very recent for fishing after two months of being in by hoyt and and being in the most you know sort of go ish non-kosher. sort of cultural capital in germany to sort of come here and you know three jews put on a bit of a concert it's violence this may be the. one thing. i cannot. be. thinking. this music is not so i'm going to
be and says because this music was mostly written. or it was written really for the dish that it was only played. and perform to jews in eastern europe or in germany how with ah it of course is the missing gap between viennese. and broadway musical the missing link between these two traditions it's very important i think it would in theory. leak. from melbourne probably any dreams of your career came true is there anything left i don't view my career as a ladder climbing up to something as long as i can direct that's actually what gives me the most joy film is the challenge that i'd like to do i'd like to go back
into rehearsal with two actors and do something very very small that's a dream you know i'm fifty years old and i'm lucky to be doing what i love i'm lucky to be paid to do what i love and i'm lucky to be able to work with people who i love working with so you know any problems that i have a first world luxury will be. talking about working working fifteen hours in doing everything here i'm just going to interfere and. recharge your batteries so people like me perry had a fifteen hour days you did and i guess of course i'm working on the productions and i'm travelling and i'm running the house and but but i don't do it alone firstly and secondly. i get adrenaline and joy from it so that's why i've been put on the planet to do this so i'm not a small make the best of everything and best of every month thank you very much.
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