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The wrath of the rich man does not hide his greed – Vorarlberger Nachrichten

Thank God it’s not a century “everyone”, but the mystery game takes on new aspects.

Salzburg Again nothing to do with the game of the rich man’s death in front of the cathedral square. While the TV viewers recently saw the dress rehearsal, the second performance of “Jedermann” had to be moved to the Festspielhaus after the premiere. This year, given the Salzburg Festival founded in 1920 with the mystery play by Hugo von Hofmannsthal, to expect something like a century – “Everyone” seems strange, the work was premiered in Berlin in 1911, director Max Reinhardt found a suitable place in front of the cathedral . The piece is also played elsewhere, but there is never so much fuss about it as in Salzburg.

Valery Tscheplanowa, last year’s bourgeoisie, quoted by Brecht, also thought so, to make it clear that director Michael Sturminger focuses on the distribution of goods, greed, rather than the redemption of the repentant as a central Catholic element of faith. It doesn’t just stay that way, it has increased in this production, which with Wolfgang Mitterer’s composition has a strong tendency towards music theater and in which Caroline Peters now appears as a bunch. Already appearing as a Marilyn Monroe pastiche on a multi-story cake seems like a critical reference to the decadence that is spreading. Not because it is measured here, but because greed determines the way of life. She defends Tobias Moretti with a lot of anger, who is playing everyone for the fourth and last time this year, adding further aspects for which the audience will bring him back to the stage several times during the final applause. This alleged right to lack empathy is also expressed by Gustav Peter Wöhler, who joined the ensemble as a fat cousin. With Gregor Bloéb (again the good companion and devil) it is there and, of course, furiously distorted.

The Salzburg Festival will dedicate a symposium to the socio-cultural phenomenon of greed. The consequence must also be shown on the stage. Moretti shows with what force the knowledge hits him and therefore occasionally does not need to worry about the text, which also does not allow Caroline Peters as much pragmatism as she simply takes. It works strongly for both.

Further performances until August 26th on the Domplatz or in the Festspielhaus Salzburg. Symposium on the timeliness of the piece on August 6, 11 and 19.

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