Forgotten gem Die Vögel by Walter Braunfels in Oldenburg

GermanyGermany Braunfels, Die Vögel: Soloists and Chorus of Oldenburgisches Staatstheater, Oldenburgisches Staatsorchester / Henrik Vestmann (conductor). Oldenburgisches Staatstheater, 25.1.2025. (DM-D)

[l-r] Dorothee Bienert (First Thrush), Penelope Kendros (Nightingale), Arthur Bruce (Ratefreund), and Brianna Meese (Wren) © Stephan Walzl

Production:
Director – Holger Potocki
Stage and Costume design – Lena Brexendorff
Lighting design – Arne Waldl
Videos – Robert Emil Tappe
Dramaturgy – Anna Neudert
Chorus directors – Thomas Bönisch, Paul Plummer
Extra Chorus director – Felix Schauren

Cast
Hoffegut – Jason Kim
Ratefreund – Arthur Bruce
Voice of Zeus – Seungweon Lee
Prometheus – Juhyeon Kim
Hoopoe – Aksel Daveyan
Nightingale – Penelope Kendros
Wren – Brianna Meese
First Thrush – Dorothee Bienert
Raven – Irakli Atanelishvili
Eagle – Seungweon Lee

This opera with score and libretto by Walter Braunfels (1882-1954), based on the play by Aristophanes, was premiered in 1920 and was quite successful in Germany until it was put on the index of forbidden art by the National Socialist regime in 1933. After World War II, it remained nearly forgotten, with the exception of two productions in 1971 (Karlsruhe) and 1991 (Bremen). A Decca recording of 1996 launched a small revival of interest, with eight productions from 1996 to 2019 and a further eight productions since 2020 – with one to go this year in Braunschweig. Braunfels’s score is in the mode of late romantic music, influenced by Wagner, Strauss, Mahler and Berlioz. Braunfels never imitated those who inspired him, however, developing his very own musical language, which is both dramatic and playful. In this particular opera, the world of the birds is depicted with relish.

In Holger Potocki’s production, the curtain opened at the start of the overture to reveal a large screen. On it was projected black and white film material of Hoffegut, the opera’s main character, bored with his daily life and office job. In his dream, with closed eyes, he encountered a flock of birds and in particular a nightingale. The opera represented this dream, from which he awoke at the end of the opera. The bed on which Hoffegut slept while dreaming was part of the set throughout the production.

In Hoffegut’s dream, the central character of the plot was his friend, Ratefreund. Hoffegut (Good Hope) and Ratefreund (Loyal Friend) entered the world of the birds, initially encountering distanced suspicion. Ratefreund then persuaded the birds to create and physically build a state to rule over the gods. After some hesitation, the birds did. A long sequence followed, depicting a conversation between Hoffegut and the nightingale. The birds had completed building their state, represented on the stage by a small house, reminiscent of the Faller houses known from miniature worlds. Prometheus warned the birds against hubris and against invoking the anger of Zeus. Ratefreund was able to persuade the birds to wage war against Zeus. In the end, Zeus destroyed the state of the birds (the house on the stage fell apart with thunder and lightning), and ruefully the birds praised the greatness of Zeus. We then went back to the black and white film of Hoffegut, ending with the idea that the dream, particularly his encounter with the nightingale, has lifted his mood and brought about a major shift in his life.

In contrast to the black and white mode of the film, life in the world of the birds was extremely and vividly full of colours. Stage and costume designer Lena Brexendorff paid considerable attention to minute details of a wide range of birds with their different headwear and plumage. General Music Director Henrik Vestmann mirrored such multifaceted colours in the playing of the orchestra. The music was lively, multi-layered and sounded simply beautiful throughout.

[l-r] Jason Kim (Hoffegut), Aksel Daveyan (Hoopoe), and Paul Brady (Ratefreund) © Stephan Walzl

Jason Kim brought his agile, lyrical voice to the part of Hoffegut, giving it a rigorous foundation which allowed him to express the more heroic material, especially in the duet with the nightingale, most beautifully, with even transitions between registers. The biographical note for Penelope Kendros on the company’s website notes that she likes challenging new material. Her part, the Nightingale, must be one of the most challenging, intricately demanding, composed for coloratura soprano, with many exposed very high notes. Kendros certainly rose to the challenge superbly. Her technique was assured, her breath control flawless and her ease admirable.

Arthur Bruce was able to convey Ratefreund’s nature as populist demagogue through his acting, particularly the noncommittal facial vacuity when dealing with those he exerts his power over, and the almost accidental slips into a personal level where he can hardly believe that the others are falling for him and the stupidity he represents. Vocally he brought out these characteristics and the distinct shift between them as well. Juhyeon Kim’s baritone revealed more bass qualities as Prometheus, appropriate for his serious warnings to the birds – which they did not to heed. Aksel Daveyan, Brianna Meese, Dorothee Bienert, Irakli Atanelishvili, and Seungweon Lee provided reliable support in the smaller parts of the Hoopoe, the Wren, the Raven, and both the Eagle and the voice of Zeus. The chorus and extra chorus, led by Thomas Bönisch, Paul Plummer and Felix Schauren, were strong and thus completed the success of this production.

Daniel Meyer-Dinkgräfe

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