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Interview with
Conductor Mr.Dietfried Bernet,
Q. Mr
Bernet how difficult is it for the Orchestra to perform
" Die Tote Stadt" ?
A.Very.
It needs the full concentration of every single musician in every
single moment - to
fulfill the composers indications.
Q.
What do you think are the virtues of the opera?
A.
It is wonderful MUSIC !!
.. A great “symphony” for singers and orchestra .. !!
Q. Are
the roles for the leading singers
demanding ? I am not talking only technically but also
emotionally
A.
The “demand” is – that in this opera every singer
has to be a real MUSICIAN .. !
..
here “the-making-music-together” is especially important
Q.
Do you prefer a "modern" or "classic"
performance for the opera ?
A.
I prefer that opera is performed
like it is written.
An
opera is written by a musician.
And
we performing-musicians are taking care – diligent and with
very great honesty and responsibility towards the composer –
gauging also the smallest indications in the score to find out the
composer wish and intentions.
And
there is no need for – that stage directors, nowadays mainly
far away from being musician, or even loving music at all –
encumber a masterwork with their own “private” ideas, which
obvious very often destroy the delicacy of the intentions of the composers.
Of
course we have also wonderful “modern” stage directors
– but you asked me about “A modern” performance –
and I tell you my general experience.
It
is absolutely ridiculous and horrible, when, for instance in Don
Giovanni, you see “rockers” in leather jackets on stage,
taking heroine and from
the orchestra in the pit you hear a “Menuetto” –
The
music the composer has written - ONLY fits to the story and the
“ambiente” he has written this music for. When Wagners
Lohengrin plays on a modern staging - it is like going into the
Louvre and paint a mobile phone on Mona Lisa. Nobody would allow this
- !! Police would come if you do it.
Why
is it allowed and “fashion” to do this with music
masterworks ??
Q.
What is your approach to the score of" Die Tote Stadt"
(musically speaking) ?
A.
Study. And study it again. And study it again. X-ray every note
in the score to find out the composers ideas and intentions – to
be able also to read “between the lines”
Q.
I would like to know your thoughts
on all of Korngold's opera's from "Violanta"
to "Heliane" to "Katrin".
A.
I was plannig to
perform “Katrin” at Volksoper Wien next season, but,
because of" Tote Stadt" at Staatsoper, this idea had to be changed.
Q.
Why was Korngold forgotten for so long ? Was his "style"
old fashioned at the time he lived?
A. Not at all
“old
fashioned”.
I believe that
12-tone music originally had led public interest into a certain
direction, and had made much public “noise”. So
that “other” composers had to suffer.
But later
fortunately started a great interest “how” the musical
developement HAD gone on – parallel, sometimes in the shadow of
the 2nd Wiener Schule and their successors.
By
the way : 20 years ago I had started the Zemlinsky re-vival in
Germany with “Kleider machen Leute” – as I did with
Schreker – and in 2002 I conducted Martinu’s
“Julietta” at Bregenz Festival.
And
I am happy that I was asked now already two times for Korngold.
Interview : Eleftherios Neroulias // Correction : Troy Dixon (23 Okt 2003)
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